Okkervil River hit their 'Dylan Phase'., 09 Sep 2008
The 'Dylan Phase' refers to a statement a friend once made in regards to Bob Dylan's 1965-1967 phase, when everything he released, wheather on any of his albums or bootleg recordings, seemed to resonate with such greatness and importance as to reduce everything else to a mere substitute.

This is how I now feel Okkervil River are currently enjoying. With each release they seem to edge closer to a greatness that many aspire to but rarely claim. 'The Stage Names' was one of 2007's best records and this album just proves the vast amount of songwriting and playing talent that the band were creating around the time.

Songs such as 'Lost Coastline' and 'Bruce Wayne Campbell.......' would have perfectly slotted onto the parent album, but at the same time neither would have out-shone any of the 9 songs on 'The Stage Names', simply because all 20 songs over both records are of such a high standard that had they been released together we would have had a double album to rival 'Exile On Main Street' or 'Blonde On Blonde', surely the highest praise any band can gain.

Now I just hope the band can keep these standards for their next release, if so, the phrase 'The Dylan Phase' could well turn into 'The Okkervil River Phase'.

Another Great Album, 26 Aug 2008
The Stand Ins is pretty much a seconds disc to the previous Okkervil album 'The Stage Names' (if you put this album cover underneath the Stage Names cover they link up to form a bigger cover!! Woo!) Those familiar with the previous album will see similarities between these two, the more upbeat folk style with the beating of tamborines and drums is expressed throughout the album rather than the slower approach taken in 'Black Sheep Boy' and 'Down The River Of Goldendreams'. The Songs 'Lost Coastlines', 'Singer Songwriter', 'Starry Stairs' and 'Pop Lie' show this upbeat approach. This makes this, possibly, the most easily accessible Okkervil River album for people new to the band, as previous albums do take a good few listens to start to appreciate.
I don't believe this is the bands greatest album as i am a big fan of the more passionately sang songs by Okkervil, HOWEVER it is still a great record and a good starting point for anyone new to these. Where the passion is missing in some parts it is made up by great catchy melodies.

Even before it totally kicks in, Brighten the Corners displays a sense of improvement over the listless, shapeless Wowee Zowee. A few simple musical touches like Mellotron strokes and ever-developing vocal harmonies open up Pavement's sound without carrying them off into overly textured snooziness. While this is often cited as Pavement's "domestic" record--several members got married around the time of its creation--its songs more often evince puzzlement than McCartneyish delight with family matters. And as always, Pavement is buzzed about rock; the album's final song is called "Fin" not so much in homage to French film as in rhythm to the marching cadence of Fleetwood Mac's "Tusk". --Jimmy A. Corrigan

Okkervil River hit their 'Dylan Phase'., 09 Sep 2008
The 'Dylan Phase' refers to a statement a friend once made in regards to Bob Dylan's 1965-1967 phase, when everything he released, wheather on any of his albums or bootleg recordings, seemed to resonate with such greatness and importance as to reduce everything else to a mere substitute.

This is how I now feel Okkervil River are currently enjoying. With each release they seem to edge closer to a greatness that many aspire to but rarely claim. 'The Stage Names' was one of 2007's best records and this album just proves the vast amount of songwriting and playing talent that the band were creating around the time.

Songs such as 'Lost Coastline' and 'Bruce Wayne Campbell.......' would have perfectly slotted onto the parent album, but at the same time neither would have out-shone any of the 9 songs on 'The Stage Names', simply because all 20 songs over both records are of such a high standard that had they been released together we would have had a double album to rival 'Exile On Main Street' or 'Blonde On Blonde', surely the highest praise any band can gain.

Now I just hope the band can keep these standards for their next release, if so, the phrase 'The Dylan Phase' could well turn into 'The Okkervil River Phase'.

Another Great Album, 26 Aug 2008
The Stand Ins is pretty much a seconds disc to the previous Okkervil album 'The Stage Names' (if you put this album cover underneath the Stage Names cover they link up to form a bigger cover!! Woo!) Those familiar with the previous album will see similarities between these two, the more upbeat folk style with the beating of tamborines and drums is expressed throughout the album rather than the slower approach taken in 'Black Sheep Boy' and 'Down The River Of Goldendreams'. The Songs 'Lost Coastlines', 'Singer Songwriter', 'Starry Stairs' and 'Pop Lie' show this upbeat approach. This makes this, possibly, the most easily accessible Okkervil River album for people new to the band, as previous albums do take a good few listens to start to appreciate.
I don't believe this is the bands greatest album as i am a big fan of the more passionately sang songs by Okkervil, HOWEVER it is still a great record and a good starting point for anyone new to these. Where the passion is missing in some parts it is made up by great catchy melodies.

Well, MY corners have been brightened..., 17 Aug 2007
This is a terrific album. I'd kind of forgotten how much I liked Pavement until seeing the "Slow Century" DVD recently. I'd continued following Stephen Malkus - I love his first solo album and I saw him with the Jicks twice, and those gigs were fantastic. I've heard the other two Malkmus and the Jicks albums, but I don't have them yet. They haven't immediately caught my imagination, except the song, "It Kills" which is fantastic.

Anyway, "Brighten The Corners" was the first Pavement record I ever got, having seen them live in 1997. I also think it's (probably) their best. "Crooked Rain Crooked Rain" is a little patchy in quality, and while "Terror Twilight" is wonderful for the most part, it is a little overproduced, and does possess one or two clunky tracks. So while "Brighten the Corners" is more polished than "Crooked Rain", it is its imperfections that raise it above the quality of "Twilight".

When I first heard it it was the first tracks that really stood out for me: "Stereo" - with the wonderful line, "what about the voice of Geddy Lee/ How did it get so high?/ I wonder if he speaks like an ordinary guy" which is answered with, "I know him, and he does!"- "Shady Lane" - with the brilliant, "you've been chosen as an extra in the movie adaptation of the sequel to your life..." - and "Transport Is Arranged" with it's wicked guitar duelling.

As the years have passed, and I've listened to the album more and more, it's the later tracks that continue to surprise and delight me. I still like "Stereo", but the way Malkmus sounds a little uncomfortable when he sings, "Pigs they tend to wiggle when they walk" disturbs me slightly. A small qualm, but it is at the forefront of my mind nevertheless.

I'm glad to have rediscovered Pavement. You should discover or rediscover them too. They still sound fresh, and their arrangements and musicianship is excellent. The way they combine dissonance and off-key singing with some excellent tunes while playing a beautiful mix of lead and rhythm guitar - almost progressive songs but kept generally within the 3 to 4 minute area - is unique. I really do miss them, now I've found them again. Still, at least we still have Malkmus... his Jicks may not be as much fun as Pavement, but they are equally as good in other ways.

theres no coast of nebraska, 18 Mar 2007
'whats your favourite pavement album?' is a rhetorical question for me, i mean if push came to shove, i guess ill listen to crooked rain crooked rain the most, but brighten the corners is a cryptic record, that really does seem to change everytime you listen to it. Lyrically its just fantastical-SM's bizzare phrasing is not only highly original but the unpredictability makes every listen seem different. and what a range of songs on offer here! so different, even though the album is bought together by a strange and slightly disturbing undercurrent. I always think of this album as the personality fight we all endure within ourselves, the conflicting emotions that at times make us feel literally insane.
anyways, highlights include- shady lane - transport is arranged-passat dream-starlings in the slipstream-blue hawiian and date with ikea is awsome too.
one of those special albums, that reminds you just how complicated it is to be human sometimes- the comedy, and the tragedy.

Edges papered, but tenderness remains, 26 May 2006
Coming nearer to the end of their career than the start, 'Brighten the Corners' does seem to encompass most of the facets Pavement have to offer

The opening track, 'Stereo' opens with a strolling bassline, soon overwhelmed with typically vicious guitar feedback. However, the feedback is all a little too consistant, and the production seems a lot more polished than previous albums. Whether this is good or bad is a matter of opinion, however personally I feel that the band have missed a trick here, with the song lacking the edge it should have if the production was left a little more free.

The second track, 'Shady Lane' is a move away from the attacking noise of the opening. It shows Pavement at perhaps their most tenderest, and with that, their most vulnerable.

These first two tracks were both singles, and are a great start to the album

Other highlights include 'We are underused'. The opening riff sounds like something straight out of tetris, but then moves on to Malkmus's lyrics dragging the rest of the band in classic apathetic unison.

'Starlings in the slipstream' Once again shows the softer endearing side to Pavement, but unlike 'Shady Lane' has a darker edge, both lyrically, and in the breakdown midway through.

Overall this album represents some of the best aspects of Pavement, and is perhaps the best of their later albums. However, if it is the Lo-fi edge you are looking for, you may find yourself slightly disappointed. While the shearing guitars, strolling lyrics and distressed structure is all present, it is underneath a sheen of uncharacteristically tidy production



Fantastic, 22 May 2006
One of my favourite albums, laid back and relaxing, yet with moments of indie noise and a more `rock' feel to it, in my opinion a pretty perfect balance between the two sides, and full of some of the most irrelevant lyrics I have heard.
A perfect example is the first track, `Stereo' opening with burbling synthy noise, and a back and forth simple guitar line, leading into a quick burst of noise and the bass line of the verses, the opening lyrics being `pigs they tend to wiggle when they walk, the infrastructure rocks, and the owners hate the jocks' three completely unrelated lines together in the song, yet somehow sounding great, happy and somehow fitting, this then leading into the chorus of loud fuzzy guitars, back through another short blast of noise into the next verse, the slightly more coherent `what about the voice of Geddy Lee, how did it get so high? I wander if he speaks like an ordinary guy (I know him and he does)' which almost makes sense as one, but completely irrelevant to the rest of the song. Odd, yet very enjoyable to listen and relax to, without feeling the need to listen to a big message about humanity or politics, just sitting back and listening to some very enjoyable music. This never really detracts from the songs though, as they still flow perfectly, with some excellent guitar playing and musicianship. Which is probably one of the things I like about this band, no need to try and force a view on you or make music that has a meaning to people, but purely music to enjoy playing and listening to, but with some inventive and excellent sounding playing too.
A stunning album from an excellent band.

Brightener, 19 Jan 2006
"Brighten the Corners" remains Pavement's most settled, accessable rock record, but the band doesn't eschew their musical sound or their indie roots. Rather, they just polish up the howly vocals and multilayered musical arrangements, and the result is pretty mellow and pleasant.

It starts off with the intermittently bombastic "Stereo," before shifting to the mellower "Shady Lane" and uplifted sound of "Transport is Arranged." A more raw sound enters with the fun rockers "Date with IKEA" and lighthearted "Embassy Road," while a plaintive confusion arrives with "Old to Begin." The remaining songs harken back to their indie roots, with the monotone jazziness of "Blue Hawaiian" and the weirdness of "We Are Underused" and "Passat Dream." It ends on a pretty strong note with the vaguely ominous "Fin," in which Malkmus requests, "I trust you will tell me/if I am making a fool of myself..."

"Brighten the Corners" serves to connect the lo-fi scratchiness of their early work to a more polished sound. Sure, there are some cries of "sell-out." But Pavement's sound transfers to the smooth studio sound without losing its complexity or raw magic.

The guitar riffs are as good as ever, starting and stopping one moment, and whirling around Malkmus's vocals the next; the percussion is a solid backdrop. There are also some coy beepy-bleepy snatches of mellotron, as well as what sounds like a wavery flute, giving a feeling of vague vulnerability to the lost-soul-type songs.

Malkmus will never sing in the opera, but his soulful monotone is wonderfully well-suited to the music. The songs themselves have a certain feeling of confusion, as if the world is bewildering and chaotic. "I heard what you said/the leaders are dead/now they're robbing the skies/you can hear the followers cry..."

Pavement was still in solid form in "Brighten the Corners." While it may not be the best, the mix of complex rock and thoughtful singing is enough to make it another budding classic by Pavement.

The medically minded Scrubs is an eccentric affair, populated by a zany cast of residents saving lives while learning life's little lessons in the process. Though lacking the show's oddball humor, its soundtrack is undeniably earnest, with a rich understanding of the pleasures and hardships faced by the hospital workers. The show's theme song, Lazlo Bane's quirky banjo twanger, sighs "I'm no Superman", as an uncharacteristically subdued Guided by Voices track cautions to "Hold on Hope". Ex-Men at Work frontman Colin Hay lends his sage advice with acoustic renditions of "Beautiful World" and the chestnut "Overkill", while Eels' "Fresh Feeling" begins with a tuning orchestra and turns into a tripping beatfest. The highlights, though, belong to Francis Dunnery, sounding uncannily like Peter Gabriel on the high-tea string elegance of "Good Life", and the Shins, with "New Slang", a humble campfire song. Puttering along pleasantly, Scrubs, while a little bland, is nevertheless a life-affirming collection that's as hopeful as the aspiring young doctors on the show. --Annie Zaleski

Okkervil River hit their 'Dylan Phase'., 09 Sep 2008
The 'Dylan Phase' refers to a statement a friend once made in regards to Bob Dylan's 1965-1967 phase, when everything he released, wheather on any of his albums or bootleg recordings, seemed to resonate with such greatness and importance as to reduce everything else to a mere substitute.

This is how I now feel Okkervil River are currently enjoying. With each release they seem to edge closer to a greatness that many aspire to but rarely claim. 'The Stage Names' was one of 2007's best records and this album just proves the vast amount of songwriting and playing talent that the band were creating around the time.

Songs such as 'Lost Coastline' and 'Bruce Wayne Campbell.......' would have perfectly slotted onto the parent album, but at the same time neither would have out-shone any of the 9 songs on 'The Stage Names', simply because all 20 songs over both records are of such a high standard that had they been released together we would have had a double album to rival 'Exile On Main Street' or 'Blonde On Blonde', surely the highest praise any band can gain.

Now I just hope the band can keep these standards for their next release, if so, the phrase 'The Dylan Phase' could well turn into 'The Okkervil River Phase'.

Another Great Album, 26 Aug 2008
The Stand Ins is pretty much a seconds disc to the previous Okkervil album 'The Stage Names' (if you put this album cover underneath the Stage Names cover they link up to form a bigger cover!! Woo!) Those familiar with the previous album will see similarities between these two, the more upbeat folk style with the beating of tamborines and drums is expressed throughout the album rather than the slower approach taken in 'Black Sheep Boy' and 'Down The River Of Goldendreams'. The Songs 'Lost Coastlines', 'Singer Songwriter', 'Starry Stairs' and 'Pop Lie' show this upbeat approach. This makes this, possibly, the most easily accessible Okkervil River album for people new to the band, as previous albums do take a good few listens to start to appreciate.
I don't believe this is the bands greatest album as i am a big fan of the more passionately sang songs by Okkervil, HOWEVER it is still a great record and a good starting point for anyone new to these. Where the passion is missing in some parts it is made up by great catchy melodies.

Well, MY corners have been brightened..., 17 Aug 2007
This is a terrific album. I'd kind of forgotten how much I liked Pavement until seeing the "Slow Century" DVD recently. I'd continued following Stephen Malkus - I love his first solo album and I saw him with the Jicks twice, and those gigs were fantastic. I've heard the other two Malkmus and the Jicks albums, but I don't have them yet. They haven't immediately caught my imagination, except the song, "It Kills" which is fantastic.

Anyway, "Brighten The Corners" was the first Pavement record I ever got, having seen them live in 1997. I also think it's (probably) their best. "Crooked Rain Crooked Rain" is a little patchy in quality, and while "Terror Twilight" is wonderful for the most part, it is a little overproduced, and does possess one or two clunky tracks. So while "Brighten the Corners" is more polished than "Crooked Rain", it is its imperfections that raise it above the quality of "Twilight".

When I first heard it it was the first tracks that really stood out for me: "Stereo" - with the wonderful line, "what about the voice of Geddy Lee/ How did it get so high?/ I wonder if he speaks like an ordinary guy" which is answered with, "I know him, and he does!"- "Shady Lane" - with the brilliant, "you've been chosen as an extra in the movie adaptation of the sequel to your life..." - and "Transport Is Arranged" with it's wicked guitar duelling.

As the years have passed, and I've listened to the album more and more, it's the later tracks that continue to surprise and delight me. I still like "Stereo", but the way Malkmus sounds a little uncomfortable when he sings, "Pigs they tend to wiggle when they walk" disturbs me slightly. A small qualm, but it is at the forefront of my mind nevertheless.

I'm glad to have rediscovered Pavement. You should discover or rediscover them too. They still sound fresh, and their arrangements and musicianship is excellent. The way they combine dissonance and off-key singing with some excellent tunes while playing a beautiful mix of lead and rhythm guitar - almost progressive songs but kept generally within the 3 to 4 minute area - is unique. I really do miss them, now I've found them again. Still, at least we still have Malkmus... his Jicks may not be as much fun as Pavement, but they are equally as good in other ways.

theres no coast of nebraska, 18 Mar 2007
'whats your favourite pavement album?' is a rhetorical question for me, i mean if push came to shove, i guess ill listen to crooked rain crooked rain the most, but brighten the corners is a cryptic record, that really does seem to change everytime you listen to it. Lyrically its just fantastical-SM's bizzare phrasing is not only highly original but the unpredictability makes every listen seem different. and what a range of songs on offer here! so different, even though the album is bought together by a strange and slightly disturbing undercurrent. I always think of this album as the personality fight we all endure within ourselves, the conflicting emotions that at times make us feel literally insane.
anyways, highlights include- shady lane - transport is arranged-passat dream-starlings in the slipstream-blue hawiian and date with ikea is awsome too.
one of those special albums, that reminds you just how complicated it is to be human sometimes- the comedy, and the tragedy.

Edges papered, but tenderness remains, 26 May 2006
Coming nearer to the end of their career than the start, 'Brighten the Corners' does seem to encompass most of the facets Pavement have to offer

The opening track, 'Stereo' opens with a strolling bassline, soon overwhelmed with typically vicious guitar feedback. However, the feedback is all a little too consistant, and the production seems a lot more polished than previous albums. Whether this is good or bad is a matter of opinion, however personally I feel that the band have missed a trick here, with the song lacking the edge it should have if the production was left a little more free.

The second track, 'Shady Lane' is a move away from the attacking noise of the opening. It shows Pavement at perhaps their most tenderest, and with that, their most vulnerable.

These first two tracks were both singles, and are a great start to the album

Other highlights include 'We are underused'. The opening riff sounds like something straight out of tetris, but then moves on to Malkmus's lyrics dragging the rest of the band in classic apathetic unison.

'Starlings in the slipstream' Once again shows the softer endearing side to Pavement, but unlike 'Shady Lane' has a darker edge, both lyrically, and in the breakdown midway through.

Overall this album represents some of the best aspects of Pavement, and is perhaps the best of their later albums. However, if it is the Lo-fi edge you are looking for, you may find yourself slightly disappointed. While the shearing guitars, strolling lyrics and distressed structure is all present, it is underneath a sheen of uncharacteristically tidy production



Fantastic, 22 May 2006
One of my favourite albums, laid back and relaxing, yet with moments of indie noise and a more `rock' feel to it, in my opinion a pretty perfect balance between the two sides, and full of some of the most irrelevant lyrics I have heard.
A perfect example is the first track, `Stereo' opening with burbling synthy noise, and a back and forth simple guitar line, leading into a quick burst of noise and the bass line of the verses, the opening lyrics being `pigs they tend to wiggle when they walk, the infrastructure rocks, and the owners hate the jocks' three completely unrelated lines together in the song, yet somehow sounding great, happy and somehow fitting, this then leading into the chorus of loud fuzzy guitars, back through another short blast of noise into the next verse, the slightly more coherent `what about the voice of Geddy Lee, how did it get so high? I wander if he speaks like an ordinary guy (I know him and he does)' which almost makes sense as one, but completely irrelevant to the rest of the song. Odd, yet very enjoyable to listen and relax to, without feeling the need to listen to a big message about humanity or politics, just sitting back and listening to some very enjoyable music. This never really detracts from the songs though, as they still flow perfectly, with some excellent guitar playing and musicianship. Which is probably one of the things I like about this band, no need to try and force a view on you or make music that has a meaning to people, but purely music to enjoy playing and listening to, but with some inventive and excellent sounding playing too.
A stunning album from an excellent band.

Brightener, 19 Jan 2006
"Brighten the Corners" remains Pavement's most settled, accessable rock record, but the band doesn't eschew their musical sound or their indie roots. Rather, they just polish up the howly vocals and multilayered musical arrangements, and the result is pretty mellow and pleasant.

It starts off with the intermittently bombastic "Stereo," before shifting to the mellower "Shady Lane" and uplifted sound of "Transport is Arranged." A more raw sound enters with the fun rockers "Date with IKEA" and lighthearted "Embassy Road," while a plaintive confusion arrives with "Old to Begin." The remaining songs harken back to their indie roots, with the monotone jazziness of "Blue Hawaiian" and the weirdness of "We Are Underused" and "Passat Dream." It ends on a pretty strong note with the vaguely ominous "Fin," in which Malkmus requests, "I trust you will tell me/if I am making a fool of myself..."

"Brighten the Corners" serves to connect the lo-fi scratchiness of their early work to a more polished sound. Sure, there are some cries of "sell-out." But Pavement's sound transfers to the smooth studio sound without losing its complexity or raw magic.

The guitar riffs are as good as ever, starting and stopping one moment, and whirling around Malkmus's vocals the next; the percussion is a solid backdrop. There are also some coy beepy-bleepy snatches of mellotron, as well as what sounds like a wavery flute, giving a feeling of vague vulnerability to the lost-soul-type songs.

Malkmus will never sing in the opera, but his soulful monotone is wonderfully well-suited to the music. The songs themselves have a certain feeling of confusion, as if the world is bewildering and chaotic. "I heard what you said/the leaders are dead/now they're robbing the skies/you can hear the followers cry..."

Pavement was still in solid form in "Brighten the Corners." While it may not be the best, the mix of complex rock and thoughtful singing is enough to make it another budding classic by Pavement.

MMMMMM......Scrubsy, 18 Oct 2008
I'll be honest - this won't be an unbiased review. I'm guessing that most people who will purchase/consider purchasing this will be fans of Scrubs, so I am reviewing it from this perspective. I am a Scrubs fanatic, and, like the rest of my kind, I know how impressive the soundtrack has been over the years. This CD is a good collection of those songs.

Obviously, the more well-known artists wouldn't have wanted their songs on this, as they are high-profile in their own right (eg/ Boston, Toto). However, Scrubs has always been a source of exciting new music for me (I don't know if the music is popular in the USA, but its certainly always been new to me). They way the songs are involved in and complement the storyline is one of the things that sets Scrubs apart from other top-class sitcoms - for me, it is unique in this respect.

So, if you recall the Scrubs songs from moments in the show, this CD is unlikely to disappoint. It would have been nice to have the following featured:

The Fray - How to Save a Life
The Coral - Dreaming of You (my personal favourite)
Men At Work - Land Down Under

but, as I said, the high-profile artists don't really feature on this album. For me, the personal highlights are:

Lazlo Bane - Superman
and
Guided By Voices - Hold on Hope

but there are so many great songs, and I love 'Fighting for My Love' and 'Overkill'. Listening to all of the songs brings back memories from the show and can bring me hours of joy. My least favourite song is Track 11, but only because I can't really remember where that was in the show, and even that is growing on me. It would have been nice if the CD was a bit longer, as there are other great songs from Scrubs, but the ones on the album are all top notch.

So, all in all, if you like Scrubs and remember the songs, you're likely to love this album. If you don't watch the show, then... it might still be worth a punt. Personally, I think the Scrubs soundtrack is fresh and original, and good music in its own right, but, of course, I find it hard to be unbiased. I won't go into detail on any of the songs, as I don't want to rob anyone of what should be a lovely experience, but I will say this.....THIS CD IS A MUST FOR EVERY SCRUBS FAN.

Not my taste but still good., 30 Sep 2007
Although I'm more into rock and metal and this is more acoustic it was still an enjoyable listen. The best track on there is probably Superman and is the famous hilight. The others were quite good but this CD definetly isn't for everyone.

Scrubs soundtrack, 31 Jul 2007
Very pleased with my item all the songs are amazing, but I was somewhat disapointed that they chose to include John Cale's version of Hallelujah instead of Leonard Cohen's original.

But all that aside, a good album delivered on time by the lovely people at Amazon and it's worth buying.



Pretty good for a tv tie-in, 02 May 2007
I'm not normally a fan of american comedies, or their cd tie-ins. But Scrubs is the exception. The series itself makes considerable use of contemporary music, and whilst any disc like this is bound to be a little arbitrary in it's selection, this doesn't make a bad effort with it's choices. Many of the tracks have a similar feel, but the compilation doesn't overly suffer from the 'skip the track' factor that many of the type do. My personal favourite - 'Dracula from Houston', and the two Colin Hay numbers.

This disc only contains tracks from season 1, which is a shame as there is much good music in the next season also.

Scrubs, 24 Mar 2007
This is a great collection of tracks from the first few series of Scrubs. You get a version of the opening title track, as well as other music used in the show. The choice of music is always great on Scrubs and adds to each moment whether happy or sad perfectly and the songs chosen to represent those choice are pretty good. There is a good mix of both upbeat and ballady type tracks, but the overall feel is one of fun which the show embodies. A great soundtrack and good collection of tunes.

Okkervil River hit their 'Dylan Phase'., 09 Sep 2008
The 'Dylan Phase' refers to a statement a friend once made in regards to Bob Dylan's 1965-1967 phase, when everything he released, wheather on any of his albums or bootleg recordings, seemed to resonate with such greatness and importance as to reduce everything else to a mere substitute.

This is how I now feel Okkervil River are currently enjoying. With each release they seem to edge closer to a greatness that many aspire to but rarely claim. 'The Stage Names' was one of 2007's best records and this album just proves the vast amount of songwriting and playing talent that the band were creating around the time.

Songs such as 'Lost Coastline' and 'Bruce Wayne Campbell.......' would have perfectly slotted onto the parent album, but at the same time neither would have out-shone any of the 9 songs on 'The Stage Names', simply because all 20 songs over both records are of such a high standard that had they been released together we would have had a double album to rival 'Exile On Main Street' or 'Blonde On Blonde', surely the highest praise any band can gain.

Now I just hope the band can keep these standards for their next release, if so, the phrase 'The Dylan Phase' could well turn into 'The Okkervil River Phase'.

Another Great Album, 26 Aug 2008
The Stand Ins is pretty much a seconds disc to the previous Okkervil album 'The Stage Names' (if you put this album cover underneath the Stage Names cover they link up to form a bigger cover!! Woo!) Those familiar with the previous album will see similarities between these two, the more upbeat folk style with the beating of tamborines and drums is expressed throughout the album rather than the slower approach taken in 'Black Sheep Boy' and 'Down The River Of Goldendreams'. The Songs 'Lost Coastlines', 'Singer Songwriter', 'Starry Stairs' and 'Pop Lie' show this upbeat approach. This makes this, possibly, the most easily accessible Okkervil River album for people new to the band, as previous albums do take a good few listens to start to appreciate.
I don't believe this is the bands greatest album as i am a big fan of the more passionately sang songs by Okkervil, HOWEVER it is still a great record and a good starting point for anyone new to these. Where the passion is missing in some parts it is made up by great catchy melodies.

Well, MY corners have been brightened..., 17 Aug 2007
This is a terrific album. I'd kind of forgotten how much I liked Pavement until seeing the "Slow Century" DVD recently. I'd continued following Stephen Malkus - I love his first solo album and I saw him with the Jicks twice, and those gigs were fantastic. I've heard the other two Malkmus and the Jicks albums, but I don't have them yet. They haven't immediately caught my imagination, except the song, "It Kills" which is fantastic.

Anyway, "Brighten The Corners" was the first Pavement record I ever got, having seen them live in 1997. I also think it's (probably) their best. "Crooked Rain Crooked Rain" is a little patchy in quality, and while "Terror Twilight" is wonderful for the most part, it is a little overproduced, and does possess one or two clunky tracks. So while "Brighten the Corners" is more polished than "Crooked Rain", it is its imperfections that raise it above the quality of "Twilight".

When I first heard it it was the first tracks that really stood out for me: "Stereo" - with the wonderful line, "what about the voice of Geddy Lee/ How did it get so high?/ I wonder if he speaks like an ordinary guy" which is answered with, "I know him, and he does!"- "Shady Lane" - with the brilliant, "you've been chosen as an extra in the movie adaptation of the sequel to your life..." - and "Transport Is Arranged" with it's wicked guitar duelling.

As the years have passed, and I've listened to the album more and more, it's the later tracks that continue to surprise and delight me. I still like "Stereo", but the way Malkmus sounds a little uncomfortable when he sings, "Pigs they tend to wiggle when they walk" disturbs me slightly. A small qualm, but it is at the forefront of my mind nevertheless.

I'm glad to have rediscovered Pavement. You should discover or rediscover them too. They still sound fresh, and their arrangements and musicianship is excellent. The way they combine dissonance and off-key singing with some excellent tunes while playing a beautiful mix of lead and rhythm guitar - almost progressive songs but kept generally within the 3 to 4 minute area - is unique. I really do miss them, now I've found them again. Still, at least we still have Malkmus... his Jicks may not be as much fun as Pavement, but they are equally as good in other ways.

theres no coast of nebraska, 18 Mar 2007
'whats your favourite pavement album?' is a rhetorical question for me, i mean if push came to shove, i guess ill listen to crooked rain crooked rain the most, but brighten the corners is a cryptic record, that really does seem to change everytime you listen to it. Lyrically its just fantastical-SM's bizzare phrasing is not only highly original but the unpredictability makes every listen seem different. and what a range of songs on offer here! so different, even though the album is bought together by a strange and slightly disturbing undercurrent. I always think of this album as the personality fight we all endure within ourselves, the conflicting emotions that at times make us feel literally insane.
anyways, highlights include- shady lane - transport is arranged-passat dream-starlings in the slipstream-blue hawiian and date with ikea is awsome too.
one of those special albums, that reminds you just how complicated it is to be human sometimes- the comedy, and the tragedy.

Edges papered, but tenderness remains, 26 May 2006
Coming nearer to the end of their career than the start, 'Brighten the Corners' does seem to encompass most of the facets Pavement have to offer

The opening track, 'Stereo' opens with a strolling bassline, soon overwhelmed with typically vicious guitar feedback. However, the feedback is all a little too consistant, and the production seems a lot more polished than previous albums. Whether this is good or bad is a matter of opinion, however personally I feel that the band have missed a trick here, with the song lacking the edge it should have if the production was left a little more free.

The second track, 'Shady Lane' is a move away from the attacking noise of the opening. It shows Pavement at perhaps their most tenderest, and with that, their most vulnerable.

These first two tracks were both singles, and are a great start to the album

Other highlights include 'We are underused'. The opening riff sounds like something straight out of tetris, but then moves on to Malkmus's lyrics dragging the rest of the band in classic apathetic unison.

'Starlings in the slipstream' Once again shows the softer endearing side to Pavement, but unlike 'Shady Lane' has a darker edge, both lyrically, and in the breakdown midway through.

Overall this album represents some of the best aspects of Pavement, and is perhaps the best of their later albums. However, if it is the Lo-fi edge you are looking for, you may find yourself slightly disappointed. While the shearing guitars, strolling lyrics and distressed structure is all present, it is underneath a sheen of uncharacteristically tidy production



Fantastic, 22 May 2006
One of my favourite albums, laid back and relaxing, yet with moments of indie noise and a more `rock' feel to it, in my opinion a pretty perfect balance between the two sides, and full of some of the most irrelevant lyrics I have heard.
A perfect example is the first track, `Stereo' opening with burbling synthy noise, and a back and forth simple guitar line, leading into a quick burst of noise and the bass line of the verses, the opening lyrics being `pigs they tend to wiggle when they walk, the infrastructure rocks, and the owners hate the jocks' three completely unrelated lines together in the song, yet somehow sounding great, happy and somehow fitting, this then leading into the chorus of loud fuzzy guitars, back through another short blast of noise into the next verse, the slightly more coherent `what about the voice of Geddy Lee, how did it get so high? I wander if he speaks like an ordinary guy (I know him and he does)' which almost makes sense as one, but completely irrelevant to the rest of the song. Odd, yet very enjoyable to listen and relax to, without feeling the need to listen to a big message about humanity or politics, just sitting back and listening to some very enjoyable music. This never really detracts from the songs though, as they still flow perfectly, with some excellent guitar playing and musicianship. Which is probably one of the things I like about this band, no need to try and force a view on you or make music that has a meaning to people, but purely music to enjoy playing and listening to, but with some inventive and excellent sounding playing too.
A stunning album from an excellent band.

Brightener, 19 Jan 2006
"Brighten the Corners" remains Pavement's most settled, accessable rock record, but the band doesn't eschew their musical sound or their indie roots. Rather, they just polish up the howly vocals and multilayered musical arrangements, and the result is pretty mellow and pleasant.

It starts off with the intermittently bombastic "Stereo," before shifting to the mellower "Shady Lane" and uplifted sound of "Transport is Arranged." A more raw sound enters with the fun rockers "Date with IKEA" and lighthearted "Embassy Road," while a plaintive confusion arrives with "Old to Begin." The remaining songs harken back to their indie roots, with the monotone jazziness of "Blue Hawaiian" and the weirdness of "We Are Underused" and "Passat Dream." It ends on a pretty strong note with the vaguely ominous "Fin," in which Malkmus requests, "I trust you will tell me/if I am making a fool of myself..."

"Brighten the Corners" serves to connect the lo-fi scratchiness of their early work to a more polished sound. Sure, there are some cries of "sell-out." But Pavement's sound transfers to the smooth studio sound without losing its complexity or raw magic.

The guitar riffs are as good as ever, starting and stopping one moment, and whirling around Malkmus's vocals the next; the percussion is a solid backdrop. There are also some coy beepy-bleepy snatches of mellotron, as well as what sounds like a wavery flute, giving a feeling of vague vulnerability to the lost-soul-type songs.

Malkmus will never sing in the opera, but his soulful monotone is wonderfully well-suited to the music. The songs themselves have a certain feeling of confusion, as if the world is bewildering and chaotic. "I heard what you said/the leaders are dead/now they're robbing the skies/you can hear the followers cry..."

Pavement was still in solid form in "Brighten the Corners." While it may not be the best, the mix of complex rock and thoughtful singing is enough to make it another budding classic by Pavement.

MMMMMM......Scrubsy, 18 Oct 2008
I'll be honest - this won't be an unbiased review. I'm guessing that most people who will purchase/consider purchasing this will be fans of Scrubs, so I am reviewing it from this perspective. I am a Scrubs fanatic, and, like the rest of my kind, I know how impressive the soundtrack has been over the years. This CD is a good collection of those songs.

Obviously, the more well-known artists wouldn't have wanted their songs on this, as they are high-profile in their own right (eg/ Boston, Toto). However, Scrubs has always been a source of exciting new music for me (I don't know if the music is popular in the USA, but its certainly always been new to me). They way the songs are involved in and complement the storyline is one of the things that sets Scrubs apart from other top-class sitcoms - for me, it is unique in this respect.

So, if you recall the Scrubs songs from moments in the show, this CD is unlikely to disappoint. It would have been nice to have the following featured:

The Fray - How to Save a Life
The Coral - Dreaming of You (my personal favourite)
Men At Work - Land Down Under

but, as I said, the high-profile artists don't really feature on this album. For me, the personal highlights are:

Lazlo Bane - Superman
and
Guided By Voices - Hold on Hope

but there are so many great songs, and I love 'Fighting for My Love' and 'Overkill'. Listening to all of the songs brings back memories from the show and can bring me hours of joy. My least favourite song is Track 11, but only because I can't really remember where that was in the show, and even that is growing on me. It would have been nice if the CD was a bit longer, as there are other great songs from Scrubs, but the ones on the album are all top notch.

So, all in all, if you like Scrubs and remember the songs, you're likely to love this album. If you don't watch the show, then... it might still be worth a punt. Personally, I think the Scrubs soundtrack is fresh and original, and good music in its own right, but, of course, I find it hard to be unbiased. I won't go into detail on any of the songs, as I don't want to rob anyone of what should be a lovely experience, but I will say this.....THIS CD IS A MUST FOR EVERY SCRUBS FAN.

Not my taste but still good., 30 Sep 2007
Although I'm more into rock and metal and this is more acoustic it was still an enjoyable listen. The best track on there is probably Superman and is the famous hilight. The others were quite good but this CD definetly isn't for everyone.

Scrubs soundtrack, 31 Jul 2007
Very pleased with my item all the songs are amazing, but I was somewhat disapointed that they chose to include John Cale's version of Hallelujah instead of Leonard Cohen's original.

But all that aside, a good album delivered on time by the lovely people at Amazon and it's worth buying.



Pretty good for a tv tie-in, 02 May 2007
I'm not normally a fan of american comedies, or their cd tie-ins. But Scrubs is the exception. The series itself makes considerable use of contemporary music, and whilst any disc like this is bound to be a little arbitrary in it's selection, this doesn't make a bad effort with it's choices. Many of the tracks have a similar feel, but the compilation doesn't overly suffer from the 'skip the track' factor that many of the type do. My personal favourite - 'Dracula from Houston', and the two Colin Hay numbers.

This disc only contains tracks from season 1, which is a shame as there is much good music in the next season also.

Scrubs, 24 Mar 2007
This is a great collection of tracks from the first few series of Scrubs. You get a version of the opening title track, as well as other music used in the show. The choice of music is always great on Scrubs and adds to each moment whether happy or sad perfectly and the songs chosen to represent those choice are pretty good. There is a good mix of both upbeat and ballady type tracks, but the overall feel is one of fun which the show embodies. A great soundtrack and good collection of tunes.

Prepare to be seduced..., 25 Feb 2008
My first experience of Leslie Feist was the excellent 7/4 Shoreline with the Broken Social Scene collective - a storming avant-garde Canadian new wave classic. So this album was a surprise. Everyone has seen the classic Ipod commercial however that quality of all of the tracks here was astounding. It's obviously her beautiful voice which is most captivating - it is as pure and smooth as cream and it makes even the most mellow 'close-up' Brazilian samba crooner sound raw. It is soothing and serene and is truly beguiling. It is simply beautiful. The obvious hit is her reworking of Inside and Out - the minor hit for the Bee Gees - and she brings out the sheer quality of the songwriting. And she does the same for her own material which is always interesting, moving and lyrical.

She is not only the voice of the new music scene in Canada she is one of the most compelling vocalists in the world today. In a world of cod soul singers and R&B divas she is a true gem.



The Saddest Part Is That It Ends, 28 Apr 2006
Canada has churned out some great talent over the years Joni Mitchell,Alanis Morissette,Esthero,Nelly Furtado,Glenn Lewis & Deborah Cox to name a few. Feist is my lastest discovery after hearing the title track on a CD i found i loved the womans voice and it took me well over 2 months to track down who this she was. "Let It Die" is a very introvertive and delicate album that has an enchanting and alluring charm to it that makes you feel calm and at ease.


1.Gatekeeper - This like many other songs it's very short the song itself has a somewhat french feel to it and seen as it was recorded in Paris the vibe of it becomes apparent although a very minimal song it has a big impact and her voice is beautiful 10/10

2.Mushaboom - The lead single that promoted the album the title is from the name of the harbour in her home town of Halifax,Canada it reminds me of something Joni Mitchell would have written (think Morning Morningtown)i love the subtle drumline-like beat.This is also one of the only up-beat tracks here 10/10

3.Let It Die - Fantastic is an understatment to how much i love this song it has a very gloomy and melancholic feel a song about a relationship that Feist had to get over yet the other person keeps tryna start things up again and shes just saying 'let it die' theres no point stepping on old ground i personally think this is beautifully written and she sounds excellent 10/10

4.One Evening - The second single which a choice i wouldn't of picked not saying that i don't like it the chorus is wonderful the jazzy feel to it is excellent reminds me of Rhian Benson (remember her!) it's a cool song and is catchy as hell and will stick in your head for days 9/10

5.Leisure Suite - Another jazzy song the finger clicking and the broken baseline is cool this is almost like an acapella this is one of the longest songs on the album and is a good song 9/10

6.L'amour Ne Dure Pas Toujours - Simply translated as Love Does Not Always Last the song is entirely in french and the song sounds very french indeed i enjoyed this song alot the accordian is brilliant alot with the slight sonar sounds which just reminds me of an old TV show it's an interesting song worth listening to 10/10

7.Lonely Lonely - Now here is another sad song which to me is the worst song on the album i just seems to just stay where its put and just doesnt do anything worth shouting about it starts to pick up only to drag back down again 4/10

8.When I Was A Young Girl - It just reminds me of american indians sitting around a camp fire its a cool song and the distorted guitar solo is delicious! seems like a traditional folk song which could have been on the Kill Bill soundtrack it has that kinda feel 10/10

9.Secret Heart - Another song im not overly crazy about its a cheery happy-go-lucky song but sadly just does nothing for me i mean she does sound great but overall i feel this could have taken in a different direction 7/10

10.Inside & Out - This is a cover of the BeeGee's classic "Love You Inside Out" its an interesting choice to cover but i absolutely love it although Feist puts her own twist to it, it somewhat keeps it disco-esque quality to it one of the best songs 10/10

11.Now At Last - What a beautiful closing song it just reminds me of an old disney movie that had the classic songs (not these new ones...bleh!) This is a very cute song and a very good way to close the album 10/10

Top 5
1.Let It Die
2.Inside & Out
3.Now At Last
4.Mushaboom
5.L'amour Ne Dure Pas Toujours

Take a chance on some great artistry if you liked Sia's Colour The Small One or Rufus Wainwright's Poses then im sure this album will be to your liking.

magic!, 07 Feb 2006
I have rarely come across a voice that is so instantly appealing yet so enduring. I can't get enough of Leslie Feist.. such a breath of fresh air.

The gems include, Gatekeeper, One Evening, Secret Heart and Mushaboom. But, I can't really fault any of this album. It is so well put together and diverse. Her beautiful vocals are always the focus of the tracks, yet they never dominate the music. I find this quite rare and exciting.

I can't wait to see what she does next, a class act!

gorgeous and interesting, 25 Sep 2005
i love her voice. i heard it in an add and then searched to find the singer behind it. she does remind me of pj, but i find her a more tender, more soulful and less angry version of pj harvey. she isnt afraid of letting her music reach aesthic beauty, and she isnt afraid of simplicity, which i find in itself incredibly atractive and beautiful. i like every single song in the album, which is rare these days. each has its own personality, and a story, and i found myself caring, and wondering about some of the abstract characters in the songs: "secret heart, what are you made of, what are you afraid of, whats wrong, little man on the secret heart" .... :-). together, the collection brings together a cool mix of groovy folk, 70s dance, african, blues, gospel, rock, country, french classic sounds. the other thing i love about this record is that it isnt over produced. its her rich voice accompanyied by a series of gorgeous, quiet instrumental pieces which in the end create a delicious atmosphere and emotional connection. try it.

Let it live, 19 Jul 2005
If Lesie Feist sounds familiar, it's because of her musical resume -- it ranges from Canadian indie-popsters Broken Social Scene to female rapper Peaches to the Kings of Convenience. That sort of resume also makes one wonder -- what will her solo debut, "Let It Die," sound like?

The answer: Stripped down, sensual pop music, with a touch of jazz and trip-hop around the edges. It kicks off with only the strums of an acoustic guitar, before Feist jumps in like an orphaned torch singer. "Well it's time to begin/as the summer sets in/It's the scene you set for new lovers," she croons.

From there on, Feist doesn't even slow down. She ventures into cheery, catchy pop like "Mushaboom," sensual slow ballads, rippling trippy songs, and smooth torch songs. There's even -- surprisingly -- a cover of the Bee Gees' "Inside And Out," which she gives a funky spin, and a delicately catchy cover of Ron Sexsmith's underrated "Secret Heart."

The flavour of Feist's music isn't the sort that sets off fireworks and sets you raving about how much fun it is. "Let It Die" is the sort of album that is periodically hailed as being the real deal -- no studio tricks, little musical polish, and a reliance on good songwriting and tunes rather than hooks. In other words, pure music.

The star of the music is Feist herself; her vocals are front-and-center, and she proves herself a rare kind of singer. No "American Idol" vocal explosions, no hyperdramatics. Instead, Feist flexes her vocals in all sorts of different ways -- breathy, husky, ethereal and coy, and and moving along with the music in perfect sync.

Not that Feist's good voice doesn't mean that the music isn't also good. Most of the instrumentation is based on piano and acoustic guitar, with snapping fingers, cowbells, a hint of synth and handclaps thrown in. It's very simple, and very pretty, whether trying out catchy pop or traditional-sounding folk. Only a few songs, like the clunky "Lonely Lonely," fail to be captivating.

Leslie Feist moves out of the shadow of the other bands and artists she's worked with, and establishes herself with the beautiful "Let It Die." A rare and good type of pop.

Okkervil River hit their 'Dylan Phase'., 09 Sep 2008
The 'Dylan Phase' refers to a statement a friend once made in regards to Bob Dylan's 1965-1967 phase, when everything he released, wheather on any of his albums or bootleg recordings, seemed to resonate with such greatness and importance as to reduce everything else to a mere substitute.

This is how I now feel Okkervil River are currently enjoying. With each release they seem to edge closer to a greatness that many aspire to but rarely claim. 'The Stage Names' was one of 2007's best records and this album just proves the vast amount of songwriting and playing talent that the band were creating around the time.

Songs such as 'Lost Coastline' and 'Bruce Wayne Campbell.......' would have perfectly slotted onto the parent album, but at the same time neither would have out-shone any of the 9 songs on 'The Stage Names', simply because all 20 songs over both records are of such a high standard that had they been released together we would have had a double album to rival 'Exile On Main Street' or 'Blonde On Blonde', surely the highest praise any band can gain.

Now I just hope the band can keep these standards for their next release, if so, the phrase 'The Dylan Phase' could well turn into 'The Okkervil River Phase'.

Another Great Album, 26 Aug 2008
The Stand Ins is pretty much a seconds disc to the previous Okkervil album 'The Stage Names' (if you put this album cover underneath the Stage Names cover they link up to form a bigger cover!! Woo!) Those familiar with the previous album will see similarities between these two, the more upbeat folk style with the beating of tamborines and drums is expressed throughout the album rather than the slower approach taken in 'Black Sheep Boy' and 'Down The River Of Goldendreams'. The Songs 'Lost Coastlines', 'Singer Songwriter', 'Starry Stairs' and 'Pop Lie' show this upbeat approach. This makes this, possibly, the most easily accessible Okkervil River album for people new to the band, as previous albums do take a good few listens to start to appreciate.
I don't believe this is the bands greatest album as i am a big fan of the more passionately sang songs by Okkervil, HOWEVER it is still a great record and a good starting point for anyone new to these. Where the passion is missing in some parts it is made up by great catchy melodies.

Well, MY corners have been brightened..., 17 Aug 2007
This is a terrific album. I'd kind of forgotten how much I liked Pavement until seeing the "Slow Century" DVD recently. I'd continued following Stephen Malkus - I love his first solo album and I saw him with the Jicks twice, and those gigs were fantastic. I've heard the other two Malkmus and the Jicks albums, but I don't have them yet. They haven't immediately caught my imagination, except the song, "It Kills" which is fantastic.

Anyway, "Brighten The Corners" was the first Pavement record I ever got, having seen them live in 1997. I also think it's (probably) their best. "Crooked Rain Crooked Rain" is a little patchy in quality, and while "Terror Twilight" is wonderful for the most part, it is a little overproduced, and does possess one or two clunky tracks. So while "Brighten the Corners" is more polished than "Crooked Rain", it is its imperfections that raise it above the quality of "Twilight".

When I first heard it it was the first tracks that really stood out for me: "Stereo" - with the wonderful line, "what about the voice of Geddy Lee/ How did it get so high?/ I wonder if he speaks like an ordinary guy" which is answered with, "I know him, and he does!"- "Shady Lane" - with the brilliant, "you've been chosen as an extra in the movie adaptation of the sequel to your life..." - and "Transport Is Arranged" with it's wicked guitar duelling.

As the years have passed, and I've listened to the album more and more, it's the later tracks that continue to surprise and delight me. I still like "Stereo", but the way Malkmus sounds a little uncomfortable when he sings, "Pigs they tend to wiggle when they walk" disturbs me slightly. A small qualm, but it is at the forefront of my mind nevertheless.

I'm glad to have rediscovered Pavement. You should discover or rediscover them too. They still sound fresh, and their arrangements and musicianship is excellent. The way they combine dissonance and off-key singing with some excellent tunes while playing a beautiful mix of lead and rhythm guitar - almost progressive songs but kept generally within the 3 to 4 minute area - is unique. I really do miss them, now I've found them again. Still, at least we still have Malkmus... his Jicks may not be as much fun as Pavement, but they are equally as good in other ways.

theres no coast of nebraska, 18 Mar 2007
'whats your favourite pavement album?' is a rhetorical question for me, i mean if push came to shove, i guess ill listen to crooked rain crooked rain the most, but brighten the corners is a cryptic record, that really does seem to change everytime you listen to it. Lyrically its just fantastical-SM's bizzare phrasing is not only highly original but the unpredictability makes every listen seem different. and what a range of songs on offer here! so different, even though the album is bought together by a strange and slightly disturbing undercurrent. I always think of this album as the personality fight we all endure within ourselves, the conflicting emotions that at times make us feel literally insane.
anyways, highlights include- shady lane - transport is arranged-passat dream-starlings in the slipstream-blue hawiian and date with ikea is awsome too.
one of those special albums, that reminds you just how complicated it is to be human sometimes- the comedy, and the tragedy.

Edges papered, but tenderness remains, 26 May 2006
Coming nearer to the end of their career than the start, 'Brighten the Corners' does seem to encompass most of the facets Pavement have to offer

The opening track, 'Stereo' opens with a strolling bassline, soon overwhelmed with typically vicious guitar feedback. However, the feedback is all a little too consistant, and the production seems a lot more polished than previous albums. Whether this is good or bad is a matter of opinion, however personally I feel that the band have missed a trick here, with the song lacking the edge it should have if the production was left a little more free.

The second track, 'Shady Lane' is a move away from the attacking noise of the opening. It shows Pavement at perhaps their most tenderest, and with that, their most vulnerable.

These first two tracks were both singles, and are a great start to the album

Other highlights include 'We are underused'. The opening riff sounds like something straight out of tetris, but then moves on to Malkmus's lyrics dragging the rest of the band in classic apathetic unison.

'Starlings in the slipstream' Once again shows the softer endearing side to Pavement, but unlike 'Shady Lane' has a darker edge, both lyrically, and in the breakdown midway through.

Overall this album represents some of the best aspects of Pavement, and is perhaps the best of their later albums. However, if it is the Lo-fi edge you are looking for, you may find yourself slightly disappointed. While the shearing guitars, strolling lyrics and distressed structure is all present, it is underneath a sheen of uncharacteristically tidy production



Fantastic, 22 May 2006
One of my favourite albums, laid back and relaxing, yet with moments of indie noise and a more `rock' feel to it, in my opinion a pretty perfect balance between the two sides, and full of some of the most irrelevant lyrics I have heard.
A perfect example is the first track, `Stereo' opening with burbling synthy noise, and a back and forth simple guitar line, leading into a quick burst of noise and the bass line of the verses, the opening lyrics being `pigs they tend to wiggle when they walk, the infrastructure rocks, and the owners hate the jocks' three completely unrelated lines together in the song, yet somehow sounding great, happy and somehow fitting, this then leading into the chorus of loud fuzzy guitars, back through another short blast of noise into the next verse, the slightly more coherent `what about the voice of Geddy Lee, how did it get so high? I wander if he speaks like an ordinary guy (I know him and he does)' which almost makes sense as one, but completely irrelevant to the rest of the song. Odd, yet very enjoyable to listen and relax to, without feeling the need to listen to a big message about humanity or politics, just sitting back and listening to some very enjoyable music. This never really detracts from the songs though, as they still flow perfectly, with some excellent guitar playing and musicianship. Which is probably one of the things I like about this band, no need to try and force a view on you or make music that has a meaning to people, but purely music to enjoy playing and listening to, but with some inventive and excellent sounding playing too.
A stunning album from an excellent band.

Brightener, 19 Jan 2006
"Brighten the Corners" remains Pavement's most settled, accessable rock record, but the band doesn't eschew their musical sound or their indie roots. Rather, they just polish up the howly vocals and multilayered musical arrangements, and the result is pretty mellow and pleasant.

It starts off with the intermittently bombastic "Stereo," before shifting to the mellower "Shady Lane" and uplifted sound of "Transport is Arranged." A more raw sound enters with the fun rockers "Date with IKEA" and lighthearted "Embassy Road," while a plaintive confusion arrives with "Old to Begin." The remaining songs harken back to their indie roots, with the monotone jazziness of "Blue Hawaiian" and the weirdness of "We Are Underused" and "Passat Dream." It ends on a pretty strong note with the vaguely ominous "Fin," in which Malkmus requests, "I trust you will tell me/if I am making a fool of myself..."

"Brighten the Corners" serves to connect the lo-fi scratchiness of their early work to a more polished sound. Sure, there are some cries of "sell-out." But Pavement's sound transfers to the smooth studio sound without losing its complexity or raw magic.

The guitar riffs are as good as ever, starting and stopping one moment, and whirling around Malkmus's vocals the next; the percussion is a solid backdrop. There are also some coy beepy-bleepy snatches of mellotron, as well as what sounds like a wavery flute, giving a feeling of vague vulnerability to the lost-soul-type songs.

Malkmus will never sing in the opera, but his soulful monotone is wonderfully well-suited to the music. The songs themselves have a certain feeling of confusion, as if the world is bewildering and chaotic. "I heard what you said/the leaders are dead/now they're robbing the skies/you can hear the followers cry..."

Pavement was still in solid form in "Brighten the Corners." While it may not be the best, the mix of complex rock and thoughtful singing is enough to make it another budding classic by Pavement.

MMMMMM......Scrubsy, 18 Oct 2008
I'll be honest - this won't be an unbiased review. I'm guessing that most people who will purchase/consider purchasing this will be fans of Scrubs, so I am reviewing it from this perspective. I am a Scrubs fanatic, and, like the rest of my kind, I know how impressive the soundtrack has been over the years. This CD is a good collection of those songs.

Obviously, the more well-known artists wouldn't have wanted their songs on this, as they are high-profile in their own right (eg/ Boston, Toto). However, Scrubs has always been a source of exciting new music for me (I don't know if the music is popular in the USA, but its certainly always been new to me). They way the songs are involved in and complement the storyline is one of the things that sets Scrubs apart from other top-class sitcoms - for me, it is unique in this respect.

So, if you recall the Scrubs songs from moments in the show, this CD is unlikely to disappoint. It would have been nice to have the following featured:

The Fray - How to Save a Life
The Coral - Dreaming of You (my personal favourite)
Men At Work - Land Down Under

but, as I said, the high-profile artists don't really feature on this album. For me, the personal highlights are:

Lazlo Bane - Superman
and
Guided By Voices - Hold on Hope

but there are so many great songs, and I love 'Fighting for My Love' and 'Overkill'. Listening to all of the songs brings back memories from the show and can bring me hours of joy. My least favourite song is Track 11, but only because I can't really remember where that was in the show, and even that is growing on me. It would have been nice if the CD was a bit longer, as there are other great songs from Scrubs, but the ones on the album are all top notch.

So, all in all, if you like Scrubs and remember the songs, you're likely to love this album. If you don't watch the show, then... it might still be worth a punt. Personally, I think the Scrubs soundtrack is fresh and original, and good music in its own right, but, of course, I find it hard to be unbiased. I won't go into detail on any of the songs, as I don't want to rob anyone of what should be a lovely experience, but I will say this.....THIS CD IS A MUST FOR EVERY SCRUBS FAN.

Not my taste but still good., 30 Sep 2007
Although I'm more into rock and metal and this is more acoustic it was still an enjoyable listen. The best track on there is probably Superman and is the famous hilight. The others were quite good but this CD definetly isn't for everyone.

Scrubs soundtrack, 31 Jul 2007
Very pleased with my item all the songs are amazing, but I was somewhat disapointed that they chose to include John Cale's version of Hallelujah instead of Leonard Cohen's original.

But all that aside, a good album delivered on time by the lovely people at Amazon and it's worth buying.



Pretty good for a tv tie-in, 02 May 2007
I'm not normally a fan of american comedies, or their cd tie-ins. But Scrubs is the exception. The series itself makes considerable use of contemporary music, and whilst any disc like this is bound to be a little arbitrary in it's selection, this doesn't make a bad effort with it's choices. Many of the tracks have a similar feel, but the compilation doesn't overly suffer from the 'skip the track' factor that many of the type do. My personal favourite - 'Dracula from Houston', and the two Colin Hay numbers.

This disc only contains tracks from season 1, which is a shame as there is much good music in the next season also.

Scrubs, 24 Mar 2007
This is a great collection of tracks from the first few series of Scrubs. You get a version of the opening title track, as well as other music used in the show. The choice of music is always great on Scrubs and adds to each moment whether happy or sad perfectly and the songs chosen to represent those choice are pretty good. There is a good mix of both upbeat and ballady type tracks, but the overall feel is one of fun which the show embodies. A great soundtrack and good collection of tunes.

Prepare to be seduced..., 25 Feb 2008
My first experience of Leslie Feist was the excellent 7/4 Shoreline with the Broken Social Scene collective - a storming avant-garde Canadian new wave classic. So this album was a surprise. Everyone has seen the classic Ipod commercial however that quality of all of the tracks here was astounding. It's obviously her beautiful voice which is most captivating - it is as pure and smooth as cream and it makes even the most mellow 'close-up' Brazilian samba crooner sound raw. It is soothing and serene and is truly beguiling. It is simply beautiful. The obvious hit is her reworking of Inside and Out - the minor hit for the Bee Gees - and she brings out the sheer quality of the songwriting. And she does the same for her own material which is always interesting, moving and lyrical.

She is not only the voice of the new music scene in Canada she is one of the most compelling vocalists in the world today. In a world of cod soul singers and R&B divas she is a true gem.



The Saddest Part Is That It Ends, 28 Apr 2006
Canada has churned out some great talent over the years Joni Mitchell,Alanis Morissette,Esthero,Nelly Furtado,Glenn Lewis & Deborah Cox to name a few. Feist is my lastest discovery after hearing the title track on a CD i found i loved the womans voice and it took me well over 2 months to track down who this she was. "Let It Die" is a very introvertive and delicate album that has an enchanting and alluring charm to it that makes you feel calm and at ease.


1.Gatekeeper - This like many other songs it's very short the song itself has a somewhat french feel to it and seen as it was recorded in Paris the vibe of it becomes apparent although a very minimal song it has a big impact and her voice is beautiful 10/10

2.Mushaboom - The lead single that promoted the album the title is from the name of the harbour in her home town of Halifax,Canada it reminds me of something Joni Mitchell would have written (think Morning Morningtown)i love the subtle drumline-like beat.This is also one of the only up-beat tracks here 10/10

3.Let It Die - Fantastic is an understatment to how much i love this song it has a very gloomy and melancholic feel a song about a relationship that Feist had to get over yet the other person keeps tryna start things up again and shes just saying 'let it die' theres no point stepping on old ground i personally think this is beautifully written and she sounds excellent 10/10

4.One Evening - The second single which a choice i wouldn't of picked not saying that i don't like it the chorus is wonderful the jazzy feel to it is excellent reminds me of Rhian Benson (remember her!) it's a cool song and is catchy as hell and will stick in your head for days 9/10

5.Leisure Suite - Another jazzy song the finger clicking and the broken baseline is cool this is almost like an acapella this is one of the longest songs on the album and is a good song 9/10

6.L'amour Ne Dure Pas Toujours - Simply translated as Love Does Not Always Last the song is entirely in french and the song sounds very french indeed i enjoyed this song alot the accordian is brilliant alot with the slight sonar sounds which just reminds me of an old TV show it's an interesting song worth listening to 10/10

7.Lonely Lonely - Now here is another sad song which to me is the worst song on the album i just seems to just stay where its put and just doesnt do anything worth shouting about it starts to pick up only to drag back down again 4/10

8.When I Was A Young Girl - It just reminds me of american indians sitting around a camp fire its a cool song and the distorted guitar solo is delicious! seems like a traditional folk song which could have been on the Kill Bill soundtrack it has that kinda feel 10/10

9.Secret Heart - Another song im not overly crazy about its a cheery happy-go-lucky song but sadly just does nothing for me i mean she does sound great but overall i feel this could have taken in a different direction 7/10

10.Inside & Out - This is a cover of the BeeGee's classic "Love You Inside Out" its an interesting choice to cover but i absolutely love it although Feist puts her own twist to it, it somewhat keeps it disco-esque quality to it one of the best songs 10/10

11.Now At Last - What a beautiful closing song it just reminds me of an old disney movie that had the classic songs (not these new ones...bleh!) This is a very cute song and a very good way to close the album 10/10

Top 5
1.Let It Die
2.Inside & Out
3.Now At Last
4.Mushaboom
5.L'amour Ne Dure Pas Toujours

Take a chance on some great artistry if you liked Sia's Colour The Small One or Rufus Wainwright's Poses then im sure this album will be to your liking.

magic!, 07 Feb 2006
I have rarely come across a voice that is so instantly appealing yet so enduring. I can't get enough of Leslie Feist.. such a breath of fresh air.

The gems include, Gatekeeper, One Evening, Secret Heart and Mushaboom. But, I can't really fault any of this album. It is so well put together and diverse. Her beautiful vocals are always the focus of the tracks, yet they never dominate the music. I find this quite rare and exciting.

I can't wait to see what she does next, a class act!

gorgeous and interesting, 25 Sep 2005
i love her voice. i heard it in an add and then searched to find the singer behind it. she does remind me of pj, but i find her a more tender, more soulful and less angry version of pj harvey. she isnt afraid of letting her music reach aesthic beauty, and she isnt afraid of simplicity, which i find in itself incredibly atractive and beautiful. i like every single song in the album, which is rare these days. each has its own personality, and a story, and i found myself caring, and wondering about some of the abstract characters in the songs: "secret heart, what are you made of, what are you afraid of, whats wrong, little man on the secret heart" .... :-). together, the collection brings together a cool mix of groovy folk, 70s dance, african, blues, gospel, rock, country, french classic sounds. the other thing i love about this record is that it isnt over produced. its her rich voice accompanyied by a series of gorgeous, quiet instrumental pieces which in the end create a delicious atmosphere and emotional connection. try it.

Let it live, 19 Jul 2005
If Lesie Feist sounds familiar, it's because of her musical resume -- it ranges from Canadian indie-popsters Broken Social Scene to female rapper Peaches to the Kings of Convenience. That sort of resume also makes one wonder -- what will her solo debut, "Let It Die," sound like?

The answer: Stripped down, sensual pop music, with a touch of jazz and trip-hop around the edges. It kicks off with only the strums of an acoustic guitar, before Feist jumps in like an orphaned torch singer. "Well it's time to begin/as the summer sets in/It's the scene you set for new lovers," she croons.

From there on, Feist doesn't even slow down. She ventures into cheery, catchy pop like "Mushaboom," sensual slow ballads, rippling trippy songs, and smooth torch songs. There's even -- surprisingly -- a cover of the Bee Gees' "Inside And Out," which she gives a funky spin, and a delicately catchy cover of Ron Sexsmith's underrated "Secret Heart."

The flavour of Feist's music isn't the sort that sets off fireworks and sets you raving about how much fun it is. "Let It Die" is the sort of album that is periodically hailed as being the real deal -- no studio tricks, little musical polish, and a reliance on good songwriting and tunes rather than hooks. In other words, pure music.

The star of the music is Feist herself; her vocals are front-and-center, and she proves herself a rare kind of singer. No "American Idol" vocal explosions, no hyperdramatics. Instead, Feist flexes her vocals in all sorts of different ways -- breathy, husky, ethereal and coy, and and moving along with the music in perfect sync.

Not that Feist's good voice doesn't mean that the music isn't also good. Most of the instrumentation is based on piano and acoustic guitar, with snapping fingers, cowbells, a hint of synth and handclaps thrown in. It's very simple, and very pretty, whether trying out catchy pop or traditional-sounding folk. Only a few songs, like the clunky "Lonely Lonely," fail to be captivating.

Leslie Feist moves out of the shadow of the other bands and artists she's worked with, and establishes herself with the beautiful "Let It Die." A rare and good type of pop.

Best I have heard in ages, 08 May 2008
I had this album on my list of reccommendations for ages but was initially put off by the very strange name and weird album artwork - well dont be!

I thought it would be some strange avant garde self indulgent material by a crazy acid tripping hippie....

How wrong I could be! I have had this album under a week and i just cant get enough of it - it is almost flawless throughout! its early days yet but i think this is going to make it into my top 5 albums ever. a big call and its companions are albums which i have known and loved for ages, so this may a heat of the moment thing but it is the best thing i have heard in a long long time.

For those of you puzzled by the name and cover - this is actually Indie Rock - and quite accessible too. the band is centred around the 20 something singer songwriter Will Sheff - who looks like the stereotypical geek form corny american teen movies - so they will certainly not be gracing the covers of NME.

The music is lavish yet always centred around a tune - it builds up and changes in all the right places and just when you think a song might be getting a little tedious it goes and does something else wonderfull.

I prefer louder fast tempo tunes and can often have little patience for softer slower songs but on this album Savannah smiles, Plus Ones, John Allyn smith Sails and Girl in Port all have engaging lyrics and lovely instrumentation, they all equal or better to the louder songs on the albums.

'Until it kicks' and the opener are fantistic songs to grab your attention - if 'Until it kicks' was played on the radio it would have a massive response - this is radio friendly music and could fit happily alongside modern day so called 'indie' music and for some reason it really reminds me of the Killers - but without the vast production and synthethisers. The singers sound similar too - so if any teeny popsters are reading this - dont be scared of the unusual name and cover - give it a go. This could be the album that will turn your attentions away from mainstream rock music and open your eyes to the wide vast world of alternative musicians and band sout there that have so much more to offer than a few slick tunes and an image to market to the music press.

all in all i think this is a fantastic listen - it only has nine songs but it feels fuller and richer than any album i have listened to in a long long time.

lots of other reviews may go into all the deep meanings of his lyrics and yes the lyrics and singer are very intelligent and literate but that just makes the great melodic tunes all the better.

I would say that if you like Bright Eyes, the killers, Neutral Milk Hotel, Ed Harcourt, any other good singer songwriters and modern 'indie' (and i mean indie as in recording on independant labels - not 'the kooks') then you will find something here to interest you - if you are still cautious - go to your nearest Zavvi store and have a listen - thats what i did and bought it on the spot.

This has enough meoldy and is polished enough to appeal to a wider audience and is still intelligent enough and well crafted to appeal to the market that seek something more than just a glossy sound and image.

Highly recommended.

Takes itself a bit seriously, 21 Mar 2008
I read the other reviews, and I can tell that we just have different tastes. I found this album somewhat overblown, and sentimental. But my husband likes it, so it can't be all bad.

Superb stuff from Okkervil River, even if it isn't their finest moment, 17 Feb 2008
What makes 'The Stage Names', Okkervil River's fourth studio album such a fantastic listen is their approach - they have an organic, honest integrity, rather like Arcade Fire, and let the power of the music and strength of the lyrics speak for itself. The sound coming out of the speakers is almost like you're in the studio with them, listening to the instruments first hand and such a pure, unaltered, alive sound insprires, excites and connects. There is no indie miserablism here - even a song such as 'Savannah Smiles', which is a concerned father's narrative about his daughter, manages to be a delicate and sensitive song relaying feeling of self-doubt and guilt without being self-indulgent or over-sentimental.

This album contains some really fantastic music - lots of big tunes, upbeat melodies and also introspective, pensive moments of contemplation. It actually baffles me how a group such as U2 or Coldplay can command such attention when there are bands such as Okkervil River out there making music without pretention, without spin, without the thought of 'how will this sound in a football stadium'? In a world of music where marketing and production is king, The Stage Names, along with much alternative music which really deserves to be the mainstream, is a breath of fresh air. I love it.

As with Black Sheep Boy, their previous studio album, Okkervil River intend to release an appendix to The Stage Names which include songs recorded during the same sessions and which weren't deemed suitable for the album. Black Sheep Boy's appendix was absolutely superb, containing some songs which were perhaps even stronger than those on the original release, so that should be well worth looking out for.

Wonderful!, 11 Jan 2008
Yep - this band have matured perfectly, this time like a nurtured Pinot Noir.

If you are one of those people that always thought OR were a band of 'almost but not quite', then let me assure you 'quite' has most definitely arrived. In abundance.

This is a very accomplished album indeed. Cleverly crafted, musically layered & complex, and wonderfully written (as always) and performed. The result is a rich exciting, and thoroughly enjoyable experience from start to finish - no fillers to be found here. And let me not forget great beauty too (Girl in Port).

This is (and no doubt will be) considered OR's best album. And rightfully so.

Long long long may this highly underrated band continue in this vein. As this has left me hungry for more. Much more.

"Let fall your soft and swaying skirt /
let fall your shoes /
let fall your shirt /
I'm not the ladykilling sort /
enough to hurt a girl in port"

Wonderful stuff and highly, HIGHLY recommended for the music enthusiast.

It was your heart hurting, 11 Aug 2007
Some bands recycle their sound from album to album, until they implode into a creative vacuum.

And some bands refine, rework and polish their talent, turning out increasingly brilliant, full-blown music. Fortunately Okkervil River fits into the second category, amping up the sound of their previous opus "Black Sheep Boy" and giving it a rollicking, lovable rock sound... without losing the freakfolk/alt-country edge.

It opens with a tight little riff, and Will Sheff moaning, "It's just a bad movie, where there's no crying... It's just a life story, so there's no climax/No more new territory, so pull away the IMAX." It unfolds into a blazing, thumping, piano-riddled rock song that sweeps the listener in its wake, just before letting you drop into quiet interludes.

So what's it about? Basically, about a person who sees their life as a movie, but is being told that it isn't all about them: "No fade in: film begins on a kid in the big city/And no cut to a costly parade -- that's for him only!/No dissolve to a sliver of grey -- that's his new lady!".

It's a strong start, and it's a good springboard to what comes next: sizzling rockers, bouncy indiepop flavoured with horns, plinky piano and "doo-doo!" vocals, smooth twinkling ballads, and rollicking alt-country. It doesn't sound that cohesive, but the songs do mesh well -- they all have a wistful, expansive quality that seems to spill over their edges.

Lots of people encountered Okkervil River by their 2005 album "Black Sheep Boy," but "The Stage Names" just evolves and expands the same kind of music. It's a bit less angular, a little more introspective, and a lot catchier -- it hasn't gotten any less poignant, but the melodies are rollicking fun.

They embrace the rock'n'roll with lots of driving riffs and great drumming, but the few songs when they don't do much else -- like "Unless It's Kicks" -- are a bit ordinary. The songs really shine when the core instruments are mingled with others: sweeping violins, xylophone, maracas, horns, plinky piano and a ticking clock, all wound around the guitar and drums like coloured ribbons.

And Sheff's voice is one you either love or hate -- either you'll hate it for being so waily, or love it for its passion. And the man knows how to pen beautiful songs ("I am all out of love... and not above letting a love song disappear/before it's written"), full of jumbled symbolism, painful loneliness, and jagged imagery ("She rises up like a yawn/grips my heart like a claw/splits apart like a jaw, like an eye...")

"The Stage Names" is a new high for Okkervil River -- brilliantly expansive alt-freakcountry songs, with bittersweet songwriting and fun tunes. Brilliant.

Okkervil River hit their 'Dylan Phase'., 09 Sep 2008
The 'Dylan Phase' refers to a statement a friend once made in regards to Bob Dylan's 1965-1967 phase, when everything he released, wheather on any of his albums or bootleg recordings, seemed to resonate with such greatness and importance as to reduce everything else to a mere substitute.

This is how I now feel Okkervil River are currently enjoying. With each release they seem to edge closer to a greatness that many aspire to but rarely claim. 'The Stage Names' was one of 2007's best records and this album just proves the vast amount of songwriting and playing talent that the band were creating around the time.

Songs such as 'Lost Coastline' and 'Bruce Wayne Campbell.......' would have perfectly slotted onto the parent album, but at the same time neither would have out-shone any of the 9 songs on 'The Stage Names', simply because all 20 songs over both records are of such a high standard that had they been released together we would have had a double album to rival 'Exile On Main Street' or 'Blonde On Blonde', surely the highest praise any band can gain.

Now I just hope the band can keep these standards for their next release, if so, the phrase 'The Dylan Phase' could well turn into 'The Okkervil River Phase'.

Another Great Album, 26 Aug 2008
The Stand Ins is pretty much a seconds disc to the previous Okkervil album 'The Stage Names' (if you put this album cover underneath the Stage Names cover they link up to form a bigger cover!! Woo!) Those familiar with the previous album will see similarities between these two, the more upbeat folk style with the beating of tamborines and drums is expressed throughout the album rather than the slower approach taken in 'Black Sheep Boy' and 'Down The River Of Goldendreams'. The Songs 'Lost Coastlines', 'Singer Songwriter', 'Starry Stairs' and 'Pop Lie' show this upbeat approach. This makes this, possibly, the most easily accessible Okkervil River album for people new to the band, as previous albums do take a good few listens to start to appreciate.
I don't believe this is the bands greatest album as i am a big fan of the more passionately sang songs by Okkervil, HOWEVER it is still a great record and a good starting point for anyone new to these. Where the passion is missing in some parts it is made up by great catchy melodies.

Well, MY corners have been brightened..., 17 Aug 2007
This is a terrific album. I'd kind of forgotten how much I liked Pavement until seeing the "Slow Century" DVD recently. I'd continued following Stephen Malkus - I love his first solo album and I saw him with the Jicks twice, and those gigs were fantastic. I've heard the other two Malkmus and the Jicks albums, but I don't have them yet. They haven't immediately caught my imagination, except the song, "It Kills" which is fantastic.

Anyway, "Brighten The Corners" was the first Pavement record I ever got, having seen them live in 1997. I also think it's (probably) their best. "Crooked Rain Crooked Rain" is a little patchy in quality, and while "Terror Twilight" is wonderful for the most part, it is a little overproduced, and does possess one or two clunky tracks. So while "Brighten the Corners" is more polished than "Crooked Rain", it is its imperfections that raise it above the quality of "Twilight".

When I first heard it it was the first tracks that really stood out for me: "Stereo" - with the wonderful line, "what about the voice of Geddy Lee/ How did it get so high?/ I wonder if he speaks like an ordinary guy" which is answered with, "I know him, and he does!"- "Shady Lane" - with the brilliant, "you've been chosen as an extra in the movie adaptation of the sequel to your life..." - and "Transport Is Arranged" with it's wicked guitar duelling.

As the years have passed, and I've listened to the album more and more, it's the later tracks that continue to surprise and delight me. I still like "Stereo", but the way Malkmus sounds a little uncomfortable when he sings, "Pigs they tend to wiggle when they walk" disturbs me slightly. A small qualm, but it is at the forefront of my mind nevertheless.

I'm glad to have rediscovered Pavement. You should discover or rediscover them too. They still sound fresh, and their arrangements and musicianship is excellent. The way they combine dissonance and off-key singing with some excellent tunes while playing a beautiful mix of lead and rhythm guitar - almost progressive songs but kept generally within the 3 to 4 minute area - is unique. I really do miss them, now I've found them again. Still, at least we still have Malkmus... his Jicks may not be as much fun as Pavement, but they are equally as good in other ways.

theres no coast of nebraska, 18 Mar 2007
'whats your favourite pavement album?' is a rhetorical question for me, i mean if push came to shove, i guess ill listen to crooked rain crooked rain the most, but brighten the corners is a cryptic record, that really does seem to change everytime you listen to it. Lyrically its just fantastical-SM's bizzare phrasing is not only highly original but the unpredictability makes every listen seem different. and what a range of songs on offer here! so different, even though the album is bought together by a strange and slightly disturbing undercurrent. I always think of this album as the personality fight we all endure within ourselves, the conflicting emotions that at times make us feel literally insane.
anyways, highlights include- shady lane - transport is arranged-passat dream-starlings in the slipstream-blue hawiian and date with ikea is awsome too.
one of those special albums, that reminds you just how complicated it is to be human sometimes- the comedy, and the tragedy.

Edges papered, but tenderness remains, 26 May 2006
Coming nearer to the end of their career than the start, 'Brighten the Corners' does seem to encompass most of the facets Pavement have to offer

The opening track, 'Stereo' opens with a strolling bassline, soon overwhelmed with typically vicious guitar feedback. However, the feedback is all a little too consistant, and the production seems a lot more polished than previous albums. Whether this is good or bad is a matter of opinion, however personally I feel that the band have missed a trick here, with the song lacking the edge it should have if the production was left a little more free.

The second track, 'Shady Lane' is a move away from the attacking noise of the opening. It shows Pavement at perhaps their most tenderest, and with that, their most vulnerable.

These first two tracks were both singles, and are a great start to the album

Other highlights include 'We are underused'. The opening riff sounds like something straight out of tetris, but then moves on to Malkmus's lyrics dragging the rest of the band in classic apathetic unison.

'Starlings in the slipstream' Once again shows the softer endearing side to Pavement, but unlike 'Shady Lane' has a darker edge, both lyrically, and in the breakdown midway through.

Overall this album represents some of the best aspects of Pavement, and is perhaps the best of their later albums. However, if it is the Lo-fi edge you are looking for, you may find yourself slightly disappointed. While the shearing guitars, strolling lyrics and distressed structure is all present, it is underneath a sheen of uncharacteristically tidy production



Fantastic, 22 May 2006
One of my favourite albums, laid back and relaxing, yet with moments of indie noise and a more `rock' feel to it, in my opinion a pretty perfect balance between the two sides, and full of some of the most irrelevant lyrics I have heard.
A perfect example is the first track, `Stereo' opening with burbling synthy noise, and a back and forth simple guitar line, leading into a quick burst of noise and the bass line of the verses, the opening lyrics being `pigs they tend to wiggle when they walk, the infrastructure rocks, and the owners hate the jocks' three completely unrelated lines together in the song, yet somehow sounding great, happy and somehow fitting, this then leading into the chorus of loud fuzzy guitars, back through another short blast of noise into the next verse, the slightly more coherent `what about the voice of Geddy Lee, how did it get so high? I wander if he speaks like an ordinary guy (I know him and he does)' which almost makes sense as one, but completely irrelevant to the rest of the song. Odd, yet very enjoyable to listen and relax to, without feeling the need to listen to a big message about humanity or politics, just sitting back and listening to some very enjoyable music. This never really detracts from the songs though, as they still flow perfectly, with some excellent guitar playing and musicianship. Which is probably one of the things I like about this band, no need to try and force a view on you or make music that has a meaning to people, but purely music to enjoy playing and listening to, but with some inventive and excellent sounding playing too.
A stunning album from an excellent band.

Brightener, 19 Jan 2006
"Brighten the Corners" remains Pavement's most settled, accessable rock record, but the band doesn't eschew their musical sound or their indie roots. Rather, they just polish up the howly vocals and multilayered musical arrangements, and the result is pretty mellow and pleasant.

It starts off with the intermittently bombastic "Stereo," before shifting to the mellower "Shady Lane" and uplifted sound of "Transport is Arranged." A more raw sound enters with the fun rockers "Date with IKEA" and lighthearted "Embassy Road," while a plaintive confusion arrives with "Old to Begin." The remaining songs harken back to their indie roots, with the monotone jazziness of "Blue Hawaiian" and the weirdness of "We Are Underused" and "Passat Dream." It ends on a pretty strong note with the vaguely ominous "Fin," in which Malkmus requests, "I trust you will tell me/if I am making a fool of myself..."

"Brighten the Corners" serves to connect the lo-fi scratchiness of their early work to a more polished sound. Sure, there are some cries of "sell-out." But Pavement's sound transfers to the smooth studio sound without losing its complexity or raw magic.

The guitar riffs are as good as ever, starting and stopping one moment, and whirling around Malkmus's vocals the next; the percussion is a solid backdrop. There are also some coy beepy-bleepy snatches of mellotron, as well as what sounds like a wavery flute, giving a feeling of vague vulnerability to the lost-soul-type songs.

Malkmus will never sing in the opera, but his soulful monotone is wonderfully well-suited to the music. The songs themselves have a certain feeling of confusion, as if the world is bewildering and chaotic. "I heard what you said/the leaders are dead/now they're robbing the skies/you can hear the followers cry..."

Pavement was still in solid form in "Brighten the Corners." While it may not be the best, the mix of complex rock and thoughtful singing is enough to make it another budding classic by Pavement.

MMMMMM......Scrubsy, 18 Oct 2008
I'll be honest - this won't be an unbiased review. I'm guessing that most people who will purchase/consider purchasing this will be fans of Scrubs, so I am reviewing it from this perspective. I am a Scrubs fanatic, and, like the rest of my kind, I know how impressive the soundtrack has been over the years. This CD is a good collection of those songs.

Obviously, the more well-known artists wouldn't have wanted their songs on this, as they are high-profile in their own right (eg/ Boston, Toto). Ho