Welcome back faithful reader(s?). Indie rock wunderkind Conor Oberst took the stage at Washington DC's historic (well, mostly historic because the racist bastards that ran the place didn't let Marian Anderson play there in 1939) with his Bright Eyes band mates on a chilly, rainy fall evening. After the Felice Brothers (4 bros from New York, if you are scoring at home) opened the show with a interesting bluegrass infused set , Bright Eyes entered and immediately broke into a song I didn't know, so much for making an impression. They followed that up with a song I did know, "Another Travelin' Song" off of 2005's I'm Wide Awake, It's Morning. The live version of "Travelin'" provided to be a nice twist on a familiar tune, with the percussion accurately mimicking a clanking locomotive on the way to some far off town. "Arc of Time" showed the bands ability to transition from their classic acoustic, indie rock into a hazy electronica sound. Conor showed off his trademark emotion and intimacy on "Lua" and "Poison Oak".
The highlights of the show came after the intermission, adding the accordion playing Felice brother for fan favorite "Bowl of Oranges". After this, the other three Felices and Nik Freitas joined Bright Eyes on stage. At this point I was a little puzzled. What angst ridden, depressed, self deprecating song could all these guys get into? Well to my surprise Conor led the band into Tom Petty's "Walls" (off the 1996 soundtrack of Jen Aniston flick "She's the One"). The song came off marvelously, providing an emotional release and getting everybody on stage dancing and having a great time. Unfortunately the young crowd didn't resonate the energy on stage, since most were probably in elementary school when the song was released.
The show ended with Oberst finally giving in to his political side, telling the crowd that he is over Bush, but if he ever saw ever saw Dick Cheney he would "knock that motherfucker out". With that the band broke into an up tempo, hard rock protest song that really isn't comparable to anything in their catalog. The crowd was caught off guard as the normally passive Oberst spit venom laced lyrics over power chords. As the song ended, Oberst slammed his amp to the ground and used his guitar to create feedback before walking off.
The setlist could have benefited from the addition of songs like "Middleman" or "Easy/Lucky/Free" and the show end with a perplexing mix of joy and rage, but Oberst and his Bright Eyes mates played a solid and passionate set that was a nice complement to their diverse catalog.
15 November 2007
01 October 2007
How Much Should The New Radiohead Album Cost?
Welcome back students to the school of indie rock. I hope you all had a relaxing summer vacation and had a summer love affair with three Swedes named Peter, Bjorn and John.
Ok, the fun is over, so let's get back to business. The most influential, progressive and important band since 1990 has decided to release their seventh full length. With little media foreknowledge, Radiohead announced that "In Rainbows" would be released digitally (via MP3, f- you Steve Jobs!) on October 10th. While this is undeniably great, it comes with a twist of "cursed monkey paw" proportions. The band, in their infinite wisdom (note: this is NOT sarcasm), has decided that fans can pay whatever they want for the album. While die-hards will undoubtedly snap up the $80 box set due to release sometime in November, the rest of us are left with the question: "What exactly do I want to pay for the new Radiohead album?" Well, I'm here to answer exactly that question.
Now initially two answers come to mind: "Duh, I'm not paying anything for something that is being given away" and "Every red cent to my name". Unfortunately, it isn't that simple. To the small crowd that would sign over their first born, I would first say, "wise financial move, kids are expensive and you would be hard pressed to be a better parent than Jonny Greenwood". I would also say the box set, with two discs, a vinyl album, artwork, pictures, etc., costs $80, so the value of the digital version probably peaks around $20.
Now to you folks that tip 7%. This is Radiohead. They have made five generation defining records in a row. They put on live shows that can best be described as religious experiences. This is Radiohead. To put this in perspective, if someone walked up to me tomorrow and said "you can give me $1000 or never listen to Kid A again", well, there would be a For Sale sign on my car. To those of you that are a little more "rational", well, first you need to listen to Kid A again, but even if this is only a pass-able Radiohead album, it will probably get 20 listens. While I wish that I could have only paid $1 per listen for the most recent Sparta and Feist releases (for a grand total of $2.93), "In Rainbows" will provide at least 12-15 hours of premium entertainment for less than $20, that's value. Let's just say a minimum of ten listens at $0.50 a listen and our low limit is $5.
Of course now is probably the time to address the obvious, which is, if Radiohead wanted or expected people to pay for this album, they would charge a specific dollar (err, pound) amount for it. Maybe Radiohead is looking to return the favor to their fiercely loyal following, maybe they are making a statement to longtime label Capitol records or maybe they are just "being Radiohead". We don't really know why Radiohead isn't charging, but I could hardly blame someone for taking advantage of their generosity. So $0 is definitely legitimate, however, if you do feel the need to pay for what will certainly be one of the best albums of the year, the going rate should probably be somewhere between $8 and $12.
Ok, the fun is over, so let's get back to business. The most influential, progressive and important band since 1990 has decided to release their seventh full length. With little media foreknowledge, Radiohead announced that "In Rainbows" would be released digitally (via MP3, f- you Steve Jobs!) on October 10th. While this is undeniably great, it comes with a twist of "cursed monkey paw" proportions. The band, in their infinite wisdom (note: this is NOT sarcasm), has decided that fans can pay whatever they want for the album. While die-hards will undoubtedly snap up the $80 box set due to release sometime in November, the rest of us are left with the question: "What exactly do I want to pay for the new Radiohead album?" Well, I'm here to answer exactly that question.
Now initially two answers come to mind: "Duh, I'm not paying anything for something that is being given away" and "Every red cent to my name". Unfortunately, it isn't that simple. To the small crowd that would sign over their first born, I would first say, "wise financial move, kids are expensive and you would be hard pressed to be a better parent than Jonny Greenwood". I would also say the box set, with two discs, a vinyl album, artwork, pictures, etc., costs $80, so the value of the digital version probably peaks around $20.
Now to you folks that tip 7%. This is Radiohead. They have made five generation defining records in a row. They put on live shows that can best be described as religious experiences. This is Radiohead. To put this in perspective, if someone walked up to me tomorrow and said "you can give me $1000 or never listen to Kid A again", well, there would be a For Sale sign on my car. To those of you that are a little more "rational", well, first you need to listen to Kid A again, but even if this is only a pass-able Radiohead album, it will probably get 20 listens. While I wish that I could have only paid $1 per listen for the most recent Sparta and Feist releases (for a grand total of $2.93), "In Rainbows" will provide at least 12-15 hours of premium entertainment for less than $20, that's value. Let's just say a minimum of ten listens at $0.50 a listen and our low limit is $5.
Of course now is probably the time to address the obvious, which is, if Radiohead wanted or expected people to pay for this album, they would charge a specific dollar (err, pound) amount for it. Maybe Radiohead is looking to return the favor to their fiercely loyal following, maybe they are making a statement to longtime label Capitol records or maybe they are just "being Radiohead". We don't really know why Radiohead isn't charging, but I could hardly blame someone for taking advantage of their generosity. So $0 is definitely legitimate, however, if you do feel the need to pay for what will certainly be one of the best albums of the year, the going rate should probably be somewhere between $8 and $12.
07 August 2007
BRMC at House of Blues Cleveland
You've probably been seduced before. There's always promise. Promise, promise of something wonderful, or POWERFUL. Have you? because when you're seduced, it's no fun being let down. If you know what I mean then you may have fit in on Monday night seeing Black Rebel. Unquestionably a great band, BRMC came out with guns-a-blazin'. And they played for two hours. Heavy riffs and bleating vocals, they played hard and satisfied many. But they could have done so much more. The Club played a bunch of new songs to a supposed small town crowd, who theoretically should just be happy that a name band came to their burg. This is the cross that crowds that aren't located in NY, LA, DC, Chi, etc. have to bear. We are their practice field. But that's beside the point. The problem wasn't just the new stuff. The real flaw tonight was that BRMC cut the balls off every good song they've ever written.
There are not many common themes throughout BRMC's four albums. The first two are fairly straightforward garage rock, while the third wanders into territory belonging more to blues. Their latest attempts to straddle the line even more than Howl. But what is never absent is the feeling, the absolute proof, that this band has power to spare. Even when making a conscious effort to harness (some might say suppress) this power, it is always evident. This is a strength. So why oh why would Black Rebel Motorcyle Club ( that's a heavy name - they're not the Socially Conscious Dudes Who Care, they're the fucking BLACK REBEL MOTORCYCLE CLUB) choose to downplay their most rollicking tunes? I don't know and I suspect they don't either. It's the thing to do. Try to sound sophisticated by toning down your toughest tunes to ballads. Well, it didn't fly in this little town and I doubt anyone else would like it either. BRMC played a decent set but never let us revel in the tides of soul and power that they've fed us in the past.
This show was disappointing. But only in the sense that they could have given us so much more.
There are not many common themes throughout BRMC's four albums. The first two are fairly straightforward garage rock, while the third wanders into territory belonging more to blues. Their latest attempts to straddle the line even more than Howl. But what is never absent is the feeling, the absolute proof, that this band has power to spare. Even when making a conscious effort to harness (some might say suppress) this power, it is always evident. This is a strength. So why oh why would Black Rebel Motorcyle Club ( that's a heavy name - they're not the Socially Conscious Dudes Who Care, they're the fucking BLACK REBEL MOTORCYCLE CLUB) choose to downplay their most rollicking tunes? I don't know and I suspect they don't either. It's the thing to do. Try to sound sophisticated by toning down your toughest tunes to ballads. Well, it didn't fly in this little town and I doubt anyone else would like it either. BRMC played a decent set but never let us revel in the tides of soul and power that they've fed us in the past.
This show was disappointing. But only in the sense that they could have given us so much more.
29 July 2007
Addendum to "Who's Selling Out Now"
More indie rock in commercials:
M. Ward- "To Go Home" appears in a Mastercard commercial, kinda lame. But the Mastercard commercial is about baseball, priceless. (****EDIT**** apparently M. Ward is neither performing the song, nor is it his original)
Postal Service- Ok, the Postal Service got in a little dispute with the real postal service, the United States Postal Service that is. Due to similarities in their names the musical Postal Service agreed to let the USPS use some of their songs so they didn't get sued, seemed like a practical solution and "Such Great Heights" was used to sell stamps. Then marketing genius Ben Gibbard (and bandmate Jimmy Tamborello) sold "Such Great Heights" to the USPS natural, unsubsidized rival UPS. Apparently negotiations with Fed-Ex are on going.
M. Ward- "To Go Home" appears in a Mastercard commercial, kinda lame. But the Mastercard commercial is about baseball, priceless. (****EDIT**** apparently M. Ward is neither performing the song, nor is it his original)
Postal Service- Ok, the Postal Service got in a little dispute with the real postal service, the United States Postal Service that is. Due to similarities in their names the musical Postal Service agreed to let the USPS use some of their songs so they didn't get sued, seemed like a practical solution and "Such Great Heights" was used to sell stamps. Then marketing genius Ben Gibbard (and bandmate Jimmy Tamborello) sold "Such Great Heights" to the USPS natural, unsubsidized rival UPS. Apparently negotiations with Fed-Ex are on going.
28 July 2007
Who's Selling Out Now
I've been noticing alot of indie songs in commercials lately. Is it because super cool, good looking, intelligent people listen to indie rock and today's corporatations are trying to cash in on that image? I have to think so. Anyway, here is who is doing it for money:
Chromeo - "Needy Girl" in an advertisement for Reese's cups. Yep, nothing says buy some chocolate and peanut butter better than cheesy 80's synthesizer rock.
Feist - "My Man, My Moon" in a Verizon cell phone commercial. Miss Feist apparently turned down a million dollar offer to use "Mushaboom" in a McDonald's commercial. I guess she had a change of heart and joined the Verizon stable that includes super hip artists like Robin Thicke.
Wilco - Nobody knows how to go bigger than Wilco, as they sold most of their new album to Volkswagon. That's approaching territory only Moby has ever ventured into. Beware Wilco, the last time we heard from Moby he was being smacked down by Eminem, yeah, the Eminem that hasn't been relevant in five years.
Peter, Bjorn and John - The catchy whistling of "Young Folks" has appeared in both the edgy CBS comedy "How I Met Your Mother" (which has also played Islands "Don't Call Me Whitney, Bobby", damn they have a good music guy), a Cingular commercial and a Levi's commercial (***EDIT**** the song in the Levi's commercial is the equally awesome "Up Against The Wall"), which proves, if you're buying, PB&J are selling.
Chromeo - "Needy Girl" in an advertisement for Reese's cups. Yep, nothing says buy some chocolate and peanut butter better than cheesy 80's synthesizer rock.
Feist - "My Man, My Moon" in a Verizon cell phone commercial. Miss Feist apparently turned down a million dollar offer to use "Mushaboom" in a McDonald's commercial. I guess she had a change of heart and joined the Verizon stable that includes super hip artists like Robin Thicke.
Wilco - Nobody knows how to go bigger than Wilco, as they sold most of their new album to Volkswagon. That's approaching territory only Moby has ever ventured into. Beware Wilco, the last time we heard from Moby he was being smacked down by Eminem, yeah, the Eminem that hasn't been relevant in five years.
Peter, Bjorn and John - The catchy whistling of "Young Folks" has appeared in both the edgy CBS comedy "How I Met Your Mother" (which has also played Islands "Don't Call Me Whitney, Bobby", damn they have a good music guy), a Cingular commercial and a Levi's commercial (***EDIT**** the song in the Levi's commercial is the equally awesome "Up Against The Wall"), which proves, if you're buying, PB&J are selling.
24 July 2007
May '07 Releases
Ah, May, it wasn't super hot and the All-Star game was still two months away, yeah, May is all right by me. Aside from being the most pleasant month of the year, May also brought us these albums:
Black Rebel Motorcycle Club - Baby 81
BRMC followed up 2003's critically acclaimed "Take Them On, On Your Own", with a more laid back, more accoustic, and more reflective sound on 2005's "Howl". The natural question is where will "Baby 81" fit into BRMC's catalog? Will it be the hazy, straight ahead rock reminicent of Jesus and the Mary Chain or will it be the blues-y, Americana sound they most recently experimented with? The answer is, of course, somewhere in the middle with some deviations.
"Baby 81" gets a kick start with "Took Out a Loan" and "Berlin" two straight forward rock songs. However, where early BRMC had subtlety, these two songs add up to little more than what is heard on the first listen. Unfortunatly this is a problem that plagues "Baby 81". The more soulful and blues based songs like "666 Conducer" and "All You Do Is Talk" aren't so charming or insightful that they can stand on their own, while rock songs like "Lien On Your Dreams" and "Need Some Air" lack the sexiness and edge needed to make them interesting.
Now don't get me wrong, none of the songs on "Baby 81" are bad, in fact most sound like they require a good bit of technical expertise, but in the same respect they are songs trying to live in two worlds and getting stuck somewhere in the middle.
Wilco - Sky Blue Sky
Wilco's last two albums ("Yankee Hotel Foxtrot" and "A Ghost is Born") were undoubtable brilliant and cemented Wilco as one of America's greatest band, but they were also uneven and aloof. "Sky Blue Sky" appears to be a reflection of lead singer Jeff Tweedy's attempt to slow down and level out after a multi-year struggle with pain killers and depression. Whether it's the apathetic, life goes on attitude of opening track "Either Way" or Tweedy's unique way of looking on the bright side on the title track, "Sky Blue Sky" is fluid, genuine and unforced. Jams on "Side With the Seeds" and "Shake It Off" are pleasant but sound restrained, as if a conscious effort not to relapse into previous destructive behavior. Wilco does take a courageous step on "Hate It Here", a song about being left in middle age, but performed with all the angst and desperation of teenage heartbreak. "Leave Me (Like You Found Me)" tenderly outlines Tweedy's dependence and loneliness. "Walken" follows in the mold of "Heavy Metal Drummer" and "I'm a Wheel", relieving the tension Tweedy has slowly been building. The single "What Light" touches on Wilco's country roots, but is fairly indescript.
"Sky Blue Sky" closes with "On and On and On", frankly one of the most romantic alternative songs I think I have ever heard. "On and On and On" describes a couple going, well, on and on and on through life, staying together, working things out and trying to make things better. It's not the type of song one would play at their wedding reception, but rather a song that would be better suited for a few hours after the guests had gone home, genuine, unassuming and intimate. Unfortunately, it probably won't help Wilco sell any Volkswagons.
Feist - The Reminder
Until recently, Leslie Feist hadn't had alot of commercial success in here career. While she was lauded for her part as one of the brilliant Canadians that make up Broken Social Scene and her most recent album, 2005's jazzy "Let It Die", was very smooth and sexy, the records just weren't flying off the shelf. Then middle America came calling, Feist was selected to be one of the VH1's always edgy "You Oughta Know" artists, spiking "The Reminder" into the Billboard Top 20 albums along side the likes of Fall Out Boy and Fergie.
Feist's push to the attention of the VH1 crowd doesn't seem to be entirely coincidental. Her vocals have been pushed to the forefront of the "The Reminder", despite Feist saying less than she did on "Let It Die". Single "My Moon My Man" makes a conscious effort not to deviate into anything interesting. "The Park" drags on for nearly five minutes without any real focus. "The Water" unsuccessfully tries to stretch Miss Feist's vocal range without providing anything tangible for the listener to latch onto. "Sea Lion Woman" and "Past in Present" return to Feist's usually jazz infused style, but I have to be skeptical anytime hand claps are used on back to back songs.
Very few of the songs on "The Reminder" feel relaxed, spontaneous or personal. The lack of these characteristics makes Feist's current work little better than slightly interesting background music.
Black Rebel Motorcycle Club - Baby 81
BRMC followed up 2003's critically acclaimed "Take Them On, On Your Own", with a more laid back, more accoustic, and more reflective sound on 2005's "Howl". The natural question is where will "Baby 81" fit into BRMC's catalog? Will it be the hazy, straight ahead rock reminicent of Jesus and the Mary Chain or will it be the blues-y, Americana sound they most recently experimented with? The answer is, of course, somewhere in the middle with some deviations.
"Baby 81" gets a kick start with "Took Out a Loan" and "Berlin" two straight forward rock songs. However, where early BRMC had subtlety, these two songs add up to little more than what is heard on the first listen. Unfortunatly this is a problem that plagues "Baby 81". The more soulful and blues based songs like "666 Conducer" and "All You Do Is Talk" aren't so charming or insightful that they can stand on their own, while rock songs like "Lien On Your Dreams" and "Need Some Air" lack the sexiness and edge needed to make them interesting.
Now don't get me wrong, none of the songs on "Baby 81" are bad, in fact most sound like they require a good bit of technical expertise, but in the same respect they are songs trying to live in two worlds and getting stuck somewhere in the middle.
Wilco - Sky Blue Sky
Wilco's last two albums ("Yankee Hotel Foxtrot" and "A Ghost is Born") were undoubtable brilliant and cemented Wilco as one of America's greatest band, but they were also uneven and aloof. "Sky Blue Sky" appears to be a reflection of lead singer Jeff Tweedy's attempt to slow down and level out after a multi-year struggle with pain killers and depression. Whether it's the apathetic, life goes on attitude of opening track "Either Way" or Tweedy's unique way of looking on the bright side on the title track, "Sky Blue Sky" is fluid, genuine and unforced. Jams on "Side With the Seeds" and "Shake It Off" are pleasant but sound restrained, as if a conscious effort not to relapse into previous destructive behavior. Wilco does take a courageous step on "Hate It Here", a song about being left in middle age, but performed with all the angst and desperation of teenage heartbreak. "Leave Me (Like You Found Me)" tenderly outlines Tweedy's dependence and loneliness. "Walken" follows in the mold of "Heavy Metal Drummer" and "I'm a Wheel", relieving the tension Tweedy has slowly been building. The single "What Light" touches on Wilco's country roots, but is fairly indescript.
"Sky Blue Sky" closes with "On and On and On", frankly one of the most romantic alternative songs I think I have ever heard. "On and On and On" describes a couple going, well, on and on and on through life, staying together, working things out and trying to make things better. It's not the type of song one would play at their wedding reception, but rather a song that would be better suited for a few hours after the guests had gone home, genuine, unassuming and intimate. Unfortunately, it probably won't help Wilco sell any Volkswagons.
Feist - The Reminder
Until recently, Leslie Feist hadn't had alot of commercial success in here career. While she was lauded for her part as one of the brilliant Canadians that make up Broken Social Scene and her most recent album, 2005's jazzy "Let It Die", was very smooth and sexy, the records just weren't flying off the shelf. Then middle America came calling, Feist was selected to be one of the VH1's always edgy "You Oughta Know" artists, spiking "The Reminder" into the Billboard Top 20 albums along side the likes of Fall Out Boy and Fergie.
Feist's push to the attention of the VH1 crowd doesn't seem to be entirely coincidental. Her vocals have been pushed to the forefront of the "The Reminder", despite Feist saying less than she did on "Let It Die". Single "My Moon My Man" makes a conscious effort not to deviate into anything interesting. "The Park" drags on for nearly five minutes without any real focus. "The Water" unsuccessfully tries to stretch Miss Feist's vocal range without providing anything tangible for the listener to latch onto. "Sea Lion Woman" and "Past in Present" return to Feist's usually jazz infused style, but I have to be skeptical anytime hand claps are used on back to back songs.
Very few of the songs on "The Reminder" feel relaxed, spontaneous or personal. The lack of these characteristics makes Feist's current work little better than slightly interesting background music.
06 July 2007
Fiery Furnaces at the Black Cat, Washington DC 7-5-07
Dios Malos opened with a sound reminecent of My Morning Jacket, but noticably less boring. The So Cal natives played a sharp set filled with wide open jams and full sounds. Unfortunately the Malos killed it by ending with two songs out of their apparent punk rock days. I don't care how much fun they were to play, the sucked, do you hear me Dios, they sucked, don't play them anymore.
A two cigarette smoke break caused me to miss the beginning of the Furnaces set. Dammit all. Appropriately enough the Furnaces were in the middle of "Vietnamese Telephone Ministry" when I returned. Matt Friedberger was on the organ, sis Eleanor was singing front and center flanked by a guitar and in front of a drummer and multi-percussionalist. As is the Furnaces style, everything was played up tempo, really accentuating the organ and percussion. While songs like "Blueberry Boat" and "Quay Cur" benefited from the change, the intricacies of "Benton Harbor Blues" were swamped out. Fan favorite "Single Again" sounded rushed as Eleanor spat the vocals with some intense angst. "Tropical-Iceland" also suffered from the Furnaces live treatment, nearly becoming a completely new song from the one they had previously played live. Unfortunately Matt decided to spend the entire evening on his organ, leaving all the vocal duties to Eleanor and depriving the audience of another element of the Fiery Furnaces.
Despite the stylistic adaptations, the Furnances played amazingly crisp and together, routinely snapping songs into completely new directioins. While they may have abandoned some of their pop elements, it was very impressive to see a band fearlessly attack their songs in new ways.
A two cigarette smoke break caused me to miss the beginning of the Furnaces set. Dammit all. Appropriately enough the Furnaces were in the middle of "Vietnamese Telephone Ministry" when I returned. Matt Friedberger was on the organ, sis Eleanor was singing front and center flanked by a guitar and in front of a drummer and multi-percussionalist. As is the Furnaces style, everything was played up tempo, really accentuating the organ and percussion. While songs like "Blueberry Boat" and "Quay Cur" benefited from the change, the intricacies of "Benton Harbor Blues" were swamped out. Fan favorite "Single Again" sounded rushed as Eleanor spat the vocals with some intense angst. "Tropical-Iceland" also suffered from the Furnaces live treatment, nearly becoming a completely new song from the one they had previously played live. Unfortunately Matt decided to spend the entire evening on his organ, leaving all the vocal duties to Eleanor and depriving the audience of another element of the Fiery Furnaces.
Despite the stylistic adaptations, the Furnances played amazingly crisp and together, routinely snapping songs into completely new directioins. While they may have abandoned some of their pop elements, it was very impressive to see a band fearlessly attack their songs in new ways.
25 June 2007
Wilco at Merriweather Post Pavilion 6-21-07
A few rain drops were falling as I walked into Merriweather (just in time to see slo-core pioneers "Low" walking off stage). When Wilco took the stage approximately 45 minutes later, the setting sun was starting to poke through the rain clouds. This was an appropriate metaphor for the evening, since Wilco frontman Jeff Tweedy appeared comfortable and even a little playful. During the show Tweedy took time to discuss a macrame owl (telling the crowd he someday hoped to have an entire macrame stage), sing happy birthday, make a mocking reference to Wilco's label of "dad rock", and lightheartedly add a "Hello" after the crowd sung "Goodbye" near the end of "I Am Trying to Break Your Heart".
The first half of the Wilco set favored material from "Yankee Hotel Foxtrot", with "I Am Trying...", "Kamera", "War on War", "Jesus, etc." and "I'm the Man Who Loves You" sounding fresh. Tweedy seemed especially interested in "Hate It Here", a Beatles-esque song about a middle age divorcee keeping busy with menial tasks while hoping his lover will return. Wilco wrapped up their primary set with fan favorite "Hummingbird".
Wilco's first encore started with "California Stars" and transitioned to an impressive performance of "Poor Places". "Spiders (Kidsmoke)" followed as an extended jam session before the band walked off stage.
The residents of the Baltimore/DC area were treated with a five song second encore starting with the ever popular "Heavy Metal Drummer". Several older songs satisfied the long term fans, before Wilco wrapped up with the always fun "I'm a Wheel". As I picked up my blanket and started toward the exit, I was a bit surprised that the house lights weren't coming on. No longer had that thought gone through my mind as I saw Tweedy walking back on stage for a third encore. Tweedy thanked the crowd for a great night before starting into the band's current single "What Light" (http://www.myspace.com/wilco), an appropriately mellow nightcap to a night that started with raindrops and ended with a shining peformance.
The first half of the Wilco set favored material from "Yankee Hotel Foxtrot", with "I Am Trying...", "Kamera", "War on War", "Jesus, etc." and "I'm the Man Who Loves You" sounding fresh. Tweedy seemed especially interested in "Hate It Here", a Beatles-esque song about a middle age divorcee keeping busy with menial tasks while hoping his lover will return. Wilco wrapped up their primary set with fan favorite "Hummingbird".
Wilco's first encore started with "California Stars" and transitioned to an impressive performance of "Poor Places". "Spiders (Kidsmoke)" followed as an extended jam session before the band walked off stage.
The residents of the Baltimore/DC area were treated with a five song second encore starting with the ever popular "Heavy Metal Drummer". Several older songs satisfied the long term fans, before Wilco wrapped up with the always fun "I'm a Wheel". As I picked up my blanket and started toward the exit, I was a bit surprised that the house lights weren't coming on. No longer had that thought gone through my mind as I saw Tweedy walking back on stage for a third encore. Tweedy thanked the crowd for a great night before starting into the band's current single "What Light" (http://www.myspace.com/wilco), an appropriately mellow nightcap to a night that started with raindrops and ended with a shining peformance.
12 June 2007
Black Rebel Motorcycle Club at 9:30
The once heralded noise trio Black Rebel Motorcycle Club took the stage to a capacity crowd at Washington DC's premier rock club on a hazy Saturday night. The 9:30 club was filled with a strange mix of post-hipsters (Jesus and the Mary Chain influences are so 2003), neo-hippies and at least three generations of one family (who may well have been made up of both post-hipsters and neo-hippies).
Anyway, as best as I can remember (and with the show starting at 11:30, we were well past peak remembering time), BRMC began their set with the opening tracks from "Baby 81", starting with the bluesy "Took Out a Loan", the more straightforward "Berlin" and the apathetic "Weapon of Choice". BRMC had a very businesslike approach to their first 10 or so songs, until relaxing a bit with some older, more "worn in" songs like "Shuffle Your Feet", "666 Conducer" and "Stop".
The encore took a nice turn, as Peter stayed on stage and played a couple of acoustic/harmonica songs from "Howl" (I think "Devil's Waitin'" and "Fault Line"). These songs were very intimate and resonated with the crowd. The rest of the band returned confidently, adding a nice touch with a trombone on "Promise" and rocking through fan favorite "Ain't No Easy Way". As the show continued well past the 20 song mark, the band began taking requests and blistering through early material like "Six Barrel Shotgun". While by no means a historic performance, BRMC left the DC crowd buzzing from nearly two hours of quality Americana rock.
Anyway, as best as I can remember (and with the show starting at 11:30, we were well past peak remembering time), BRMC began their set with the opening tracks from "Baby 81", starting with the bluesy "Took Out a Loan", the more straightforward "Berlin" and the apathetic "Weapon of Choice". BRMC had a very businesslike approach to their first 10 or so songs, until relaxing a bit with some older, more "worn in" songs like "Shuffle Your Feet", "666 Conducer" and "Stop".
The encore took a nice turn, as Peter stayed on stage and played a couple of acoustic/harmonica songs from "Howl" (I think "Devil's Waitin'" and "Fault Line"). These songs were very intimate and resonated with the crowd. The rest of the band returned confidently, adding a nice touch with a trombone on "Promise" and rocking through fan favorite "Ain't No Easy Way". As the show continued well past the 20 song mark, the band began taking requests and blistering through early material like "Six Barrel Shotgun". While by no means a historic performance, BRMC left the DC crowd buzzing from nearly two hours of quality Americana rock.
21 May 2007
April '07 Releases
Keeping up my commitment to write something at least once a month, regardless of whether or not anybody ever reads it.
Arctic Monkeys - Favourite Worst Nightmare
Bright Eyes - Cassadaga
Conor Oberst is a polarizing figure. While an excellent storyteller and decent socal commentator, his previous works tended toward a lack of depth and were easily dismissed as music from an angry young man. No matter how thoughful his lyrics, they were often presented off key and over a single acoustic guitar, kinda boring. From the opening comments of a female fortune teller, we learn that "Cassadaga" represents a journey of the soul for Conor, one that has not only changed him, but richly enhanced his sound (and maybe hanging out with M. Ward hasn't hurt either). Opening tracks, "Four Winds" and "If The Brakeman Turns My Way" show a more relaxed, more confident Oberst sharing the stage with much fuller arrangements. As the album continues, it is evident that Oberst has made a conscious effort to improve his vocals, not only sonically, but also in the way they interact with his expanded sound. On the album's most complete song "Middleman", Oberst allows his string section to drive the song, while using his lyrics to complement, a far cry from his previous works. "Coat Check Dream Song" may be Oberst's best vocal performance and works very well with a hazy, wandering arrangment. The album concludes with the more typical Bright Eyes songs "Somewhere I Belong" and "Lime Tree", which, after some of the denser, more produced songs, prove to be a welcome return what Oberst has always done best. "Cassadaga" proves to be the best type of journey, some unexpected twists and turns, some personal growth and some enjoyable tunes.
Peter, Bjorn and John - Writer's Block
Arctic Monkeys - Favourite Worst Nightmare
The Monkeys kick off their highly anticipated sophomore effort with the driving "Brainstorm" (or "Brianstorm" depending where you look) which shows the Arctic Monkeys with a sharper edge and tongue than they displayed on their debut. "Teddy Picker" follows with several shots at today's fickle rock critics who "take an oath that says 'we are defenders of any poseur or professional pretender' ". Alex Turner best performance is on the narrative "Florescent Adolescent", describing the recollection of a bored married woman who traded "all her naughty nights for niceness" and is left with only the memory of "the best she ever had". Unfortunately, the stretch run of the album gets a little stale with several indescript songs that seem to ignore Turner's knack for storytelling. Despite some catchy tunes and a harder sound, "Favourite Worst Nightmare" fails to match the sincerity or intensity of its predecessor.
Bright Eyes - Cassadaga
Conor Oberst is a polarizing figure. While an excellent storyteller and decent socal commentator, his previous works tended toward a lack of depth and were easily dismissed as music from an angry young man. No matter how thoughful his lyrics, they were often presented off key and over a single acoustic guitar, kinda boring. From the opening comments of a female fortune teller, we learn that "Cassadaga" represents a journey of the soul for Conor, one that has not only changed him, but richly enhanced his sound (and maybe hanging out with M. Ward hasn't hurt either). Opening tracks, "Four Winds" and "If The Brakeman Turns My Way" show a more relaxed, more confident Oberst sharing the stage with much fuller arrangements. As the album continues, it is evident that Oberst has made a conscious effort to improve his vocals, not only sonically, but also in the way they interact with his expanded sound. On the album's most complete song "Middleman", Oberst allows his string section to drive the song, while using his lyrics to complement, a far cry from his previous works. "Coat Check Dream Song" may be Oberst's best vocal performance and works very well with a hazy, wandering arrangment. The album concludes with the more typical Bright Eyes songs "Somewhere I Belong" and "Lime Tree", which, after some of the denser, more produced songs, prove to be a welcome return what Oberst has always done best. "Cassadaga" proves to be the best type of journey, some unexpected twists and turns, some personal growth and some enjoyable tunes.
Peter, Bjorn and John - Writer's Block
I know what you are thinking, " 'Writer's Block' came out in February (and last August in the uppity UK), so what is it doing in the April reviews?" Well, your point is well taken, but I only bought two albums that were released in April, so I needed some filler. Enter three Swedes name Peter, Bjorn and John.
"Writer's Block" comes roaring out of the gate with "Object of My Affection", a passionate, focused effort about the author's personal growth set over aggressive guitar and steady march drums. Concretes' singer Victoria Bergsman adds a nice change of pace (and more than a little sexual tension) on the addictive "Young Folks" (which also includes the best use of whistling since Guns 'n Roses "Civil War"). The minimal "Amsterdam" has Peter, Bjorn and John doing their best Hot Chip impression and coming off pretty well. The album continues to flow along continually exposing the listener to new ideas and sounds, peaking at the 7:00 minute epic "Up Against the Wall" which comes across as neither pretentious or stale. "Let's Call It Off" lightens the mood, mostly through hand claps, despite its buyer's remorse attitude toward a failing relationship. "Writer's Block" concludes with the anti-consumerism "Poor Cow", an appropriate ending since it is the last the string of continually changing topics from Peter, Bjorn and John. From start to finish, "Writer's Block" feels like a long night of drinking and discussing life. It may not always have continuity and focus, but in a way it does.
Upcoming May album reviews: Black Rebel Motorcycle Club, Feist, Wilco
Live: Black Rebel Motorcycle Club
03 May 2007
March Releases '07
How the hell did we get to May without addressing the great albums that came out in March? Oh yeah, I'm lazy. Here's the rundown:
Low - Drums and Guns
Minnesota slo-core band Low returns with their follow up to 2004's "The Great Destroyer" and deliver another unique effort. Opening track "Pretty People" reminds us over hazy guitar and strict beats that we are "all going to die". While "Pretty People" may set the mood of the album, second track "Belarus" lays out the blueprint with it's sterile, industrial feel. Gone are the big, easily accessible sounds of favorites like "California", replaced with calculated drums and heavily distorted, yet understated guitar. This formula, combined with minor keys, provides excellent tension throughout the album, coming to a natural conclusion on "Murderer" and "Violent Past". A well thoughtout and crafted album that will reward listeners that can overcome its rough exterior.
Air - Pocket Symphony
The eclectic Frenchmen kick off "Pocket Symphony" with the instrumental "Space Maker" a dreamy guitar/piano combination, which once again proves that Air knows how to make music equally suited for waking up and "going to bed". Unfortunately, album-wise Air has the problem of having to live in their own shadow, which includes one of the best electronica albums of all time (1999's "Moon Safari") and the best film score of all time (2000's soundtrack to Sofia Coppola's "The Virgin Suicides"). "Pocket Symphony" is the group's most understated work to date, using tracks like "Mayfair Song" and "Lost Message" to create atmosphere, but it hardly seems like new ground. Air does provide a new wrinkle, relying on Pulp's Jarvis Cocker to carry the slow moving (i.e. hungover) "One Hell of a Party" and allowing Divine Comedy's Neil Hannon to shape the excellent "Somewhere Between Waking and Sleeping". Again, nothing new here, but a pleasant listen.
Arcade Fire - Neon Bible
The Arcade Fire follow up 2004's unexpected classic (and possibly Album of the Decade!!) "Funeral" with the most anticipated album of 2007. "Black Mirror" leads the album off in typical Arcade Fire style, heavy and ominous with Win's vocals teetering on the edge. After "Black Mirror", "Neon Bible" storms out of the gate with "Keep the Car Running" and "Intervention" proving the Arcade Fire are able to perfectly deliver their emotions through song. Unfortunately this is where things turn a little sour. "Black Wave/Bad Vibrations" is clumsy and heavy-handed, while "Ocean of Noise" suffers from a lack of drive, leaving the middle of the album feeling empty and underdeveloped. "The Well and the Lighthouse" gets things back on track in a completely adequate way, before "(Antichrist Television Blues)" delivers the passion, songwriting and tension only the Arcade Fire can provide. Fittingly the album ends with "My Body is a Cage", the song that best distinguishes "Neon Bible" from its predecesor. Where "Funeral" ended "In the Backseat" with the listener sharing Regine's devastation and helplessness, "Neon Bible" concludes with the awkward and vague "My Body is a Cage". This emotional disconnect that permeates the album is ultimately why "Neon Bible" fell short of (admittedly) unfair expectations.
Low - Drums and Guns
Minnesota slo-core band Low returns with their follow up to 2004's "The Great Destroyer" and deliver another unique effort. Opening track "Pretty People" reminds us over hazy guitar and strict beats that we are "all going to die". While "Pretty People" may set the mood of the album, second track "Belarus" lays out the blueprint with it's sterile, industrial feel. Gone are the big, easily accessible sounds of favorites like "California", replaced with calculated drums and heavily distorted, yet understated guitar. This formula, combined with minor keys, provides excellent tension throughout the album, coming to a natural conclusion on "Murderer" and "Violent Past". A well thoughtout and crafted album that will reward listeners that can overcome its rough exterior.
Air - Pocket Symphony
The eclectic Frenchmen kick off "Pocket Symphony" with the instrumental "Space Maker" a dreamy guitar/piano combination, which once again proves that Air knows how to make music equally suited for waking up and "going to bed". Unfortunately, album-wise Air has the problem of having to live in their own shadow, which includes one of the best electronica albums of all time (1999's "Moon Safari") and the best film score of all time (2000's soundtrack to Sofia Coppola's "The Virgin Suicides"). "Pocket Symphony" is the group's most understated work to date, using tracks like "Mayfair Song" and "Lost Message" to create atmosphere, but it hardly seems like new ground. Air does provide a new wrinkle, relying on Pulp's Jarvis Cocker to carry the slow moving (i.e. hungover) "One Hell of a Party" and allowing Divine Comedy's Neil Hannon to shape the excellent "Somewhere Between Waking and Sleeping". Again, nothing new here, but a pleasant listen.
Arcade Fire - Neon Bible
The Arcade Fire follow up 2004's unexpected classic (and possibly Album of the Decade!!) "Funeral" with the most anticipated album of 2007. "Black Mirror" leads the album off in typical Arcade Fire style, heavy and ominous with Win's vocals teetering on the edge. After "Black Mirror", "Neon Bible" storms out of the gate with "Keep the Car Running" and "Intervention" proving the Arcade Fire are able to perfectly deliver their emotions through song. Unfortunately this is where things turn a little sour. "Black Wave/Bad Vibrations" is clumsy and heavy-handed, while "Ocean of Noise" suffers from a lack of drive, leaving the middle of the album feeling empty and underdeveloped. "The Well and the Lighthouse" gets things back on track in a completely adequate way, before "(Antichrist Television Blues)" delivers the passion, songwriting and tension only the Arcade Fire can provide. Fittingly the album ends with "My Body is a Cage", the song that best distinguishes "Neon Bible" from its predecesor. Where "Funeral" ended "In the Backseat" with the listener sharing Regine's devastation and helplessness, "Neon Bible" concludes with the awkward and vague "My Body is a Cage". This emotional disconnect that permeates the album is ultimately why "Neon Bible" fell short of (admittedly) unfair expectations.
01 May 2007
Arctic Monkeys Live on Conan O'Brien 4-30-07
After an uninspired performance of "Brainstorm" last Thursday on Jimmy Kimmel Live, the Arctic Monkeys joined up with the king of late night TV for the first show in his week long stint in San Francisco. I fully realize that the Monkeys just released a new album, but I will be more than a little bit disappointed if they pass on this golden opportunity to play "Fake Tales of San Francisco".
Skipping over what was probably a very interesting and relevant interview with Dana Carvey, I stopped to watch some dude named Jasper Redd attempt social comedy, ouch. After fast forwarding past some more commercials, I finally got to Alex Turner and his mates. Conan introduces the Monkeys and says they are playing a song off their new album, so much for "Fake Tales". Instead it's "Brainstorm" again, but this time Turner looks slight more interested to be performing than he did on Kimmel. The song starts out in typical Monkeys style, fast and tight driven by heavy percussion. Turner adds in his biting lyrics as the song transitions naturally before a brief stop and crescendo. Everything we've come to expect from the Monkeys, but little else. Maybe "Fake Tales" wouldn't have been such a bad idea.
Skipping over what was probably a very interesting and relevant interview with Dana Carvey, I stopped to watch some dude named Jasper Redd attempt social comedy, ouch. After fast forwarding past some more commercials, I finally got to Alex Turner and his mates. Conan introduces the Monkeys and says they are playing a song off their new album, so much for "Fake Tales". Instead it's "Brainstorm" again, but this time Turner looks slight more interested to be performing than he did on Kimmel. The song starts out in typical Monkeys style, fast and tight driven by heavy percussion. Turner adds in his biting lyrics as the song transitions naturally before a brief stop and crescendo. Everything we've come to expect from the Monkeys, but little else. Maybe "Fake Tales" wouldn't have been such a bad idea.
22 April 2007
Spoon Live at Sonar 4-21-07 Baltimore, MD
The boys from Spoon kicked off their tour in support of the upcoming album ("Ga Ga Ga Ga Ga" or "It's Frightening" depending on who you believe) at Baltimore's Sonar. Maybe they really like the inner harbor, are big Orioles fans, or enjoy the Natty Bo, but odds are they are just tuning up for the big NYC show. If the Sonar show were any indiction, they don't need much work.
Since I haven't been able to find a set list, were going to have to do this from memory, which is always a bit hazy whenever Yuengling is involved. Britt Daniel and the boys announced their return to the road with AC/DC's "Back in Black" and despite some lighting issues rattled off two new songs. The first half of their set was centered around new songs (sorry, no names), with the band working really hard to successfully keep the songs tight. The new songs seemed to rely less on Britt's vocals and worked really well building up and relieving tension.
The second half of Spoon's set focused on "Gimme Fiction" and the high points of "Kill the Moonlight". An energetic Britt gave an inspired performance of "The Beast and Dragon, Adored" and "I Turn My Camera On", while the rest of the band carried the songs with little rust. Another possible technical problem killed some momentum at the beginning on "Paper Tiger", but crowd favorite "The Way We Get By" got things back on track.
After a brief break, Britt returned for the encore and played a solo guitar song, before the rest of the band joined him for "Small Stakes". Spoon ended their Sonar set with "My Mathematical Mind" and absolutely let loose, jamming and distorting to a crescendo and then walking off stage. All in all, an excellent and focused performance that was an introduction to some new songs and a passionate review of some old favorites. Well done Spoon.
Since I haven't been able to find a set list, were going to have to do this from memory, which is always a bit hazy whenever Yuengling is involved. Britt Daniel and the boys announced their return to the road with AC/DC's "Back in Black" and despite some lighting issues rattled off two new songs. The first half of their set was centered around new songs (sorry, no names), with the band working really hard to successfully keep the songs tight. The new songs seemed to rely less on Britt's vocals and worked really well building up and relieving tension.
The second half of Spoon's set focused on "Gimme Fiction" and the high points of "Kill the Moonlight". An energetic Britt gave an inspired performance of "The Beast and Dragon, Adored" and "I Turn My Camera On", while the rest of the band carried the songs with little rust. Another possible technical problem killed some momentum at the beginning on "Paper Tiger", but crowd favorite "The Way We Get By" got things back on track.
After a brief break, Britt returned for the encore and played a solo guitar song, before the rest of the band joined him for "Small Stakes". Spoon ended their Sonar set with "My Mathematical Mind" and absolutely let loose, jamming and distorting to a crescendo and then walking off stage. All in all, an excellent and focused performance that was an introduction to some new songs and a passionate review of some old favorites. Well done Spoon.
22 March 2007
February Releases
Since it's about 2/3 the way through March, it's probably a good time to take a look at your February releases:
Field Music - Tones of Town
Part Belle & Sebastian, part Spoon, part Futureheads (yeah, what the fuck?), these three Brits fail to match the quality of these indie stalwarts (and the Futureheads). While an enjoyable listen, Tones of Town has little depth or imagination. Relying too much upon vocals and harmonies, Field Music failed to fully develop and explore their sound.
Fall Out Boy - Infinity On High
The Chicago faux-punk band returns with another round of instantly likeable/danceable power pop songs. While not as strong as "From Under the Cork Tree", "Infinity On High" has some very strong efforts, highlighted by "Thnks Fr Th Mmrs", a not so subtile cut at their MySpace following and early contender for song of the year. Unfortunately, there are some uninspired portions of this record and the Kanye West remix of "This Ain't a Scene, It's an Arms Race" on their MySpace page is complete garbage (I know MySpace remixes shouldn't count against an album, but it's just that bad. Check it out: http://www.myspace.com/falloutboy ).
Bloc Party - A Weekend In the City
Bloc Party leads off their highly anticipated second album with "Song For Clay (Disappear Here)" a blistering song that adequately captures Kele's fear to "merge on the freeway". The songs immediately following "Song For Clay" match the high points of "Silent Alarm", describing the boredom of modern life in both music and lyrics. "Uniform" is a bit contrived and forced, but still interesting. Then somewhere around Track 6 ("On") the listener begins to realize the horrible truth; "A Weekend In the City" has been front loaded and is steadily declining in quality. On the six songs that conclude the album, Bloc Party sounds unsure of the message they want to send or how they want it to sound. The one thing they are sure of is that none of these songs can last less than an excrutiating 4:23. A fast start with an unfocused finish leave "A Weekend In the City" feeling like a major disappointment, but what should we have expected, it's modern life.
March Releases:
Arcade Fire, Low, Air and Albert Hammond Jr.
Field Music - Tones of Town
Part Belle & Sebastian, part Spoon, part Futureheads (yeah, what the fuck?), these three Brits fail to match the quality of these indie stalwarts (and the Futureheads). While an enjoyable listen, Tones of Town has little depth or imagination. Relying too much upon vocals and harmonies, Field Music failed to fully develop and explore their sound.
Fall Out Boy - Infinity On High
The Chicago faux-punk band returns with another round of instantly likeable/danceable power pop songs. While not as strong as "From Under the Cork Tree", "Infinity On High" has some very strong efforts, highlighted by "Thnks Fr Th Mmrs", a not so subtile cut at their MySpace following and early contender for song of the year. Unfortunately, there are some uninspired portions of this record and the Kanye West remix of "This Ain't a Scene, It's an Arms Race" on their MySpace page is complete garbage (I know MySpace remixes shouldn't count against an album, but it's just that bad. Check it out: http://www.myspace.com/falloutboy ).
Bloc Party - A Weekend In the City
Bloc Party leads off their highly anticipated second album with "Song For Clay (Disappear Here)" a blistering song that adequately captures Kele's fear to "merge on the freeway". The songs immediately following "Song For Clay" match the high points of "Silent Alarm", describing the boredom of modern life in both music and lyrics. "Uniform" is a bit contrived and forced, but still interesting. Then somewhere around Track 6 ("On") the listener begins to realize the horrible truth; "A Weekend In the City" has been front loaded and is steadily declining in quality. On the six songs that conclude the album, Bloc Party sounds unsure of the message they want to send or how they want it to sound. The one thing they are sure of is that none of these songs can last less than an excrutiating 4:23. A fast start with an unfocused finish leave "A Weekend In the City" feeling like a major disappointment, but what should we have expected, it's modern life.
March Releases:
Arcade Fire, Low, Air and Albert Hammond Jr.
13 March 2007
VH1 Top 10 Countdown
It was on my DVR, so here is a run down of the shit America is listening to...
10) Christina Aguilera - Candyman
X-tina is back and looking classier and sexier than ever (take that Britney!) and kinda rocking out on this big band, post-WWII era song. Christina is discrete with her vocals and sexual references and this song is pretty enjoyable (again, take that Britney!).
9) Nelly Furtado - Say It Right
Timbaland gets the beats right, but Furtado is underwhelming, especially on the chorus. Would somebody get J-Lo singing in English again so we can get this girl hip hop lite stuff right? Also, the video sucks.
8) Fall Out Boy - This Ain't A Scene, It's An Arms Race
Chi town's fav pop punkers return with a follow up as disappointing as the White Sox 2006 title defense. Sure it was over .500, but not championship caliber. The video is moderately something, but I'm not sure what.
7) Blue October - Into The Ocean
Whew, I was starting to think American's stopped listening to terrible metal-lite. Somebody get Aaron Lewis on the phone, he may still have a market. Blue October added some generic strings and female backing vocals in an attempt to get idiots to think their music has merit, nice job guys. I guarantee this song is huge at West Virginia sorority houses.
6) Nickelback - If Everyone Cared
The twenty seconds I spent fast forwarding through this song were excruciating.
5) Evanescence - Lithium
Hey, it's a bad American Idol audition combined with the Trans Siberian Orchestra. The music is mildly interesting, but this chick is bad. Why couldn't they just play the Nirvana classic? Wouldn't everyone like that?
4) The Killers - Read My Mind
One of my favorite Killers songs and a pretty decent video. Nothing trying to be too cerebrial here, just hanging out in Japan, well done guys. Also, Brandon Flower's new mustache needs a solo album, of this much I am certain.
3) Regina Spektor - Fidelity
Nice effort by Spektor and an excellent video tie in. Everything here works with everything else, maybe the folks that vote in the VH1 Top 10 Countdown know what they are doing.
2) Augustana - Boston
It just wouldn't be VH1 without a piano ballad and Augustana is happy to oblige. This song is completely paint by numbers:
piano, check
lyrics about being misunderstood and wanting to start over, check
rising strings as the song reaches a climax, check
video on the beach, check.
softly singing the sappy lyrics over just the piano as the song fades out, check
1) Daughtry - It's Not Over
WHOA, apparently Aaron Lewis's phone hasn't been turned off and apparently he had enough Staind money left over to buy a pair of leather pants. "Let's start over, I'll try to do the right thing this time around, It's not over, A part of me is standing in the crowd, this love is killing me, but you are the only one, It's not ovvvvvvvvvvvvvvvvvver". America you have really spoken.
10) Christina Aguilera - Candyman
X-tina is back and looking classier and sexier than ever (take that Britney!) and kinda rocking out on this big band, post-WWII era song. Christina is discrete with her vocals and sexual references and this song is pretty enjoyable (again, take that Britney!).
9) Nelly Furtado - Say It Right
Timbaland gets the beats right, but Furtado is underwhelming, especially on the chorus. Would somebody get J-Lo singing in English again so we can get this girl hip hop lite stuff right? Also, the video sucks.
8) Fall Out Boy - This Ain't A Scene, It's An Arms Race
Chi town's fav pop punkers return with a follow up as disappointing as the White Sox 2006 title defense. Sure it was over .500, but not championship caliber. The video is moderately something, but I'm not sure what.
7) Blue October - Into The Ocean
Whew, I was starting to think American's stopped listening to terrible metal-lite. Somebody get Aaron Lewis on the phone, he may still have a market. Blue October added some generic strings and female backing vocals in an attempt to get idiots to think their music has merit, nice job guys. I guarantee this song is huge at West Virginia sorority houses.
6) Nickelback - If Everyone Cared
The twenty seconds I spent fast forwarding through this song were excruciating.
5) Evanescence - Lithium
Hey, it's a bad American Idol audition combined with the Trans Siberian Orchestra. The music is mildly interesting, but this chick is bad. Why couldn't they just play the Nirvana classic? Wouldn't everyone like that?
4) The Killers - Read My Mind
One of my favorite Killers songs and a pretty decent video. Nothing trying to be too cerebrial here, just hanging out in Japan, well done guys. Also, Brandon Flower's new mustache needs a solo album, of this much I am certain.
3) Regina Spektor - Fidelity
Nice effort by Spektor and an excellent video tie in. Everything here works with everything else, maybe the folks that vote in the VH1 Top 10 Countdown know what they are doing.
2) Augustana - Boston
It just wouldn't be VH1 without a piano ballad and Augustana is happy to oblige. This song is completely paint by numbers:
piano, check
lyrics about being misunderstood and wanting to start over, check
rising strings as the song reaches a climax, check
video on the beach, check.
softly singing the sappy lyrics over just the piano as the song fades out, check
1) Daughtry - It's Not Over
WHOA, apparently Aaron Lewis's phone hasn't been turned off and apparently he had enough Staind money left over to buy a pair of leather pants. "Let's start over, I'll try to do the right thing this time around, It's not over, A part of me is standing in the crowd, this love is killing me, but you are the only one, It's not ovvvvvvvvvvvvvvvvvver". America you have really spoken.
25 February 2007
Arcade Fire on SNL
So you say the Arcade Fire isn't coming to your town or ticket scalpers were able to land hundreds of tickets while your hungover attempt to score seats for their DC show was futile. Worry not faithful Arcade Fire fan, Saturday Night Live has become relevant for the first time in years and invited the Canadian sensations to perform. Those willing to suffer through Rainn Wilson and a few terrible skits were rewarded with two songs: "Intervention" and "Keep the Car Running".
"Intervention" has the feeling of "Rebellion Lies" from Funeral. A big sound (heavy on the organ) and an undeniable tension. The song starts with organ, bells and guitar and transitions with ease, adding in strings, bass and a french horn. While the song was tight and well played, Win really stole the show with charism and intensity (a "Joshua Tree"-era Bono????). About half way through the song, Win breaks a string on his guitar which irritated him, since as the song closed he broke several other strings and smashed his guitar.
http://www.youtube.com/watch?v=_xia3WiqPUY
"Keep the Car Running" starts with the band playing drums, guitar, piano and a few other instruments that I'm pretty sure I have never seen before. Regine is playing something that kinda looks like a violin with a crank on it, yeah, beats the hell out of me. The song is fairly indescript and doesn't really go anywhere, but an indescript Arcade Fire song is still pretty great. It's a straight forward rock song with an airy, woodsy feel (I think due to Regine's crank instrument and a bass clarinet).
http://www.youtube.com/watch?v=Iyu_VvR0i1Y
"Intervention" has the feeling of "Rebellion Lies" from Funeral. A big sound (heavy on the organ) and an undeniable tension. The song starts with organ, bells and guitar and transitions with ease, adding in strings, bass and a french horn. While the song was tight and well played, Win really stole the show with charism and intensity (a "Joshua Tree"-era Bono????). About half way through the song, Win breaks a string on his guitar which irritated him, since as the song closed he broke several other strings and smashed his guitar.
http://www.youtube.com/watch?v=_xia3WiqPUY
"Keep the Car Running" starts with the band playing drums, guitar, piano and a few other instruments that I'm pretty sure I have never seen before. Regine is playing something that kinda looks like a violin with a crank on it, yeah, beats the hell out of me. The song is fairly indescript and doesn't really go anywhere, but an indescript Arcade Fire song is still pretty great. It's a straight forward rock song with an airy, woodsy feel (I think due to Regine's crank instrument and a bass clarinet).
http://www.youtube.com/watch?v=Iyu_VvR0i1Y
11 February 2007
Review of January '07 Releases
Why do several individual reviews when I can write one post with three mini reviews? Yeah, I couldn't think of a reason either. Anyway, here's what came out in January and how good they were.
The Shins - Wincing the Night Away
Rumor has it that James Mercer started the Shins in order to develop and evolve the three minute pop song. Well James, it might just be time to break up the band. While the Shins get off on the right foot with "Sleeping Lessons", a song that starts out with an airy "Oh, Inverted World" feel and effortlessly transitions into a rich, full sound that rivals the high points of "Chutes Too Narrow", the rest of the album lacks the distinct flavor of their previous works. No song sums up Wincing like the first single "Phantom Limb", an inoffensive track thats major characteristic is that it's inoffensive. "Phantom Limb" features standard drum beats, straightforward guitars, boring lyrics and little else. While I would have no problems putting this song (or album) on as background music, it's mostly devoid of anything that would interest Charles Darwin.
Clap Your Hands Say Yeah - Some Loud Thunder
Rock criticism works under one rule: The critic is smarter than the reader and assumes it his responsibility to tell the reader what is good for them. If the proletariat starts gravitating toward a band or album, the critic had better bash the living hell out of it before the readers start wondering why they need psuedo-journalists in the first place. Never has this been more apparent than with DIY legends and one-time indie critical darlings Clap Your Hands Say Yeah. With Some Loud Thunder, words like "incomplete" and "indifference" have replaced the "genius" and "revolutionary" labels given to CYHSY's debut.
The truth of the matter is that Some Loud Thunder is much more thought out and complete than its predecessor. While the CYHSY debut succeeded with the basic formula of teaming Alex Oundsworth's unique voice and lyrics with undeniable beats, Some Loud Thunder explores intricacies far more cerebral than "David Byrne over dance rock". By slowing down, distorting and reconstructing their sound, CYHSY have created something more lasting, creative and soulful than their impressive first effort. (oh, and if you still want to bop, CYHSY throw you a bone on the infectious "Satan Said Dance")
Deerhoof - Friend of Opportunity
I didn't hear this record, but I'm guessing it's as shitty as their first.
The Good, The Bad and The Queen - s/t
The Good, The Bad and The Queen seem to fit the part of Damon Albarn's personality that lives somewhere between the audacity of Gorillaz and the sincerity of Blur. Albarn teams up with former member of the Clash and the Verve to form his newest "supergroup" and gets fellow "Gorilla" Danger Mouse to produce.
While this album definitely is not bad, and has grown on me, it has a very sterile feel to it. Almost like four guys taking their lunch pails, going to work and punching out at 4:30. Sure they are good at their jobs and are making a quality product, but there doesn't seem to be alot of emotional investment (the only guy who appears to have been working overtime was Danger Mouse, whose production is top-notch as usual). The album does gain momentum, ending with the incredible "The Good, The Bad and The Queen", but ultimately makes me believe that Albarn doesn't quite know what he wants his post-Blur legacy to be .
Upcoming February Reviews: Fall Out Boy and Bloc Party
The Shins - Wincing the Night Away
Rumor has it that James Mercer started the Shins in order to develop and evolve the three minute pop song. Well James, it might just be time to break up the band. While the Shins get off on the right foot with "Sleeping Lessons", a song that starts out with an airy "Oh, Inverted World" feel and effortlessly transitions into a rich, full sound that rivals the high points of "Chutes Too Narrow", the rest of the album lacks the distinct flavor of their previous works. No song sums up Wincing like the first single "Phantom Limb", an inoffensive track thats major characteristic is that it's inoffensive. "Phantom Limb" features standard drum beats, straightforward guitars, boring lyrics and little else. While I would have no problems putting this song (or album) on as background music, it's mostly devoid of anything that would interest Charles Darwin.
Clap Your Hands Say Yeah - Some Loud Thunder
Rock criticism works under one rule: The critic is smarter than the reader and assumes it his responsibility to tell the reader what is good for them. If the proletariat starts gravitating toward a band or album, the critic had better bash the living hell out of it before the readers start wondering why they need psuedo-journalists in the first place. Never has this been more apparent than with DIY legends and one-time indie critical darlings Clap Your Hands Say Yeah. With Some Loud Thunder, words like "incomplete" and "indifference" have replaced the "genius" and "revolutionary" labels given to CYHSY's debut.
The truth of the matter is that Some Loud Thunder is much more thought out and complete than its predecessor. While the CYHSY debut succeeded with the basic formula of teaming Alex Oundsworth's unique voice and lyrics with undeniable beats, Some Loud Thunder explores intricacies far more cerebral than "David Byrne over dance rock". By slowing down, distorting and reconstructing their sound, CYHSY have created something more lasting, creative and soulful than their impressive first effort. (oh, and if you still want to bop, CYHSY throw you a bone on the infectious "Satan Said Dance")
Deerhoof - Friend of Opportunity
I didn't hear this record, but I'm guessing it's as shitty as their first.
The Good, The Bad and The Queen - s/t
The Good, The Bad and The Queen seem to fit the part of Damon Albarn's personality that lives somewhere between the audacity of Gorillaz and the sincerity of Blur. Albarn teams up with former member of the Clash and the Verve to form his newest "supergroup" and gets fellow "Gorilla" Danger Mouse to produce.
While this album definitely is not bad, and has grown on me, it has a very sterile feel to it. Almost like four guys taking their lunch pails, going to work and punching out at 4:30. Sure they are good at their jobs and are making a quality product, but there doesn't seem to be alot of emotional investment (the only guy who appears to have been working overtime was Danger Mouse, whose production is top-notch as usual). The album does gain momentum, ending with the incredible "The Good, The Bad and The Queen", but ultimately makes me believe that Albarn doesn't quite know what he wants his post-Blur legacy to be .
Upcoming February Reviews: Fall Out Boy and Bloc Party
01 February 2007
Tales of Interest!
Did you think it was safe to like M. Ward in public? Think again.
Calling the Clash "local punk legends" is like calling LeBron James "one of the Akron area's best basketball players."
Not sure which is more surprising/disturbing; the Shins debuting at #2 or the fact that they were beat out by a band called Pretty Ricky that we've never heard of.
Lamest rap beef ever?
MTV asks why so many band reunions? Or: an example of why magazines are better than the internet; magazines, in an effort to save ink, would answer the article's question in one word, or maybe even use a symbol: $. Bonus quote: "The Smashing Pumpkins audience won't pay Genesis prices, that's for sure."
Girl Talk: There's something for everyone here - artists, lawyers, biomedical engineers! Over/under on how many samples we hear on Friday night? 1000. Over/under on beers poured on his head? 1.5
Calling the Clash "local punk legends" is like calling LeBron James "one of the Akron area's best basketball players."
Not sure which is more surprising/disturbing; the Shins debuting at #2 or the fact that they were beat out by a band called Pretty Ricky that we've never heard of.
Lamest rap beef ever?
MTV asks why so many band reunions? Or: an example of why magazines are better than the internet; magazines, in an effort to save ink, would answer the article's question in one word, or maybe even use a symbol: $. Bonus quote: "The Smashing Pumpkins audience won't pay Genesis prices, that's for sure."
Girl Talk: There's something for everyone here - artists, lawyers, biomedical engineers! Over/under on how many samples we hear on Friday night? 1000. Over/under on beers poured on his head? 1.5
30 January 2007
Asobi Seksu Live at the Grog Shop, 1/29/07
Bears
After Sean the bass player was done fighting the Simpsons pinball machine at the Grog Shop - he was victorious after having lost a quarter and then tenaciously fishing it back out, Cleveland-based indie pop outfit Bears came out to an impressive crowd on a cold and snowy (in other words - "Cleveland in January") Monday night. The somewhat-hyped band played a fairly paint by numbers set. The band shined brightest when playing bigger sounding songs, the ones that featured more drums and louder bass. Sadly, the songs which sounded so sublime on their debut lost something in the translation to the live setting, as the drummer's weaker vocals were exposed and too much space in the songs left them somewhat muted. "How to Live", "Everywhere", and "Still Alright" were not done justice as the delicate but powerful songs that they can be. Luckily, two new songs as well as album-(and show-)closer "Stay" came off as mighty examples of what kind of live band Bears could be, and seem to be growing into.
JJ Magazine
I don't know anything about this band and their performance did not inspire me to learn any more about them. A five-piece with good musicians and a female vocalist with a nice voice, but the songs were lackluster. No new or interesting ground is being broken here. No more people showed up for this portion of the show than were there for Bears, giving the impression that no one else gave a dook about them either.
Asobi Seksu
Filling up an album with sound is a lot easier than filling up a room with sound. Going in, you know it will be difficult for Asobi Seksu's highly textural brand of new shoegaze to be satisfactorily reproduced onstage. The band was tight and clearly knew their strengths, Yuki's impeccable vocals and their branded soaring guitars and pulsating basslines. The only thing that sounded as good live as on wax was the aforementioned vocals, which were spot on and pure of tone throughout. Album standouts "Thursday" and "Strawberries" also shone through here, with the Pixies-esque loud/soft, start/stop dynamics being played up stunningly. However, other songs lacked power, and the set never really got rolling. By the time they closed with a cover of The Crystals' "Then He Kissed Me", the audience was left feeling like they'd already heard a variation on this sonic theme all through the show.
After Sean the bass player was done fighting the Simpsons pinball machine at the Grog Shop - he was victorious after having lost a quarter and then tenaciously fishing it back out, Cleveland-based indie pop outfit Bears came out to an impressive crowd on a cold and snowy (in other words - "Cleveland in January") Monday night. The somewhat-hyped band played a fairly paint by numbers set. The band shined brightest when playing bigger sounding songs, the ones that featured more drums and louder bass. Sadly, the songs which sounded so sublime on their debut lost something in the translation to the live setting, as the drummer's weaker vocals were exposed and too much space in the songs left them somewhat muted. "How to Live", "Everywhere", and "Still Alright" were not done justice as the delicate but powerful songs that they can be. Luckily, two new songs as well as album-(and show-)closer "Stay" came off as mighty examples of what kind of live band Bears could be, and seem to be growing into.
JJ Magazine
I don't know anything about this band and their performance did not inspire me to learn any more about them. A five-piece with good musicians and a female vocalist with a nice voice, but the songs were lackluster. No new or interesting ground is being broken here. No more people showed up for this portion of the show than were there for Bears, giving the impression that no one else gave a dook about them either.
Asobi Seksu
Filling up an album with sound is a lot easier than filling up a room with sound. Going in, you know it will be difficult for Asobi Seksu's highly textural brand of new shoegaze to be satisfactorily reproduced onstage. The band was tight and clearly knew their strengths, Yuki's impeccable vocals and their branded soaring guitars and pulsating basslines. The only thing that sounded as good live as on wax was the aforementioned vocals, which were spot on and pure of tone throughout. Album standouts "Thursday" and "Strawberries" also shone through here, with the Pixies-esque loud/soft, start/stop dynamics being played up stunningly. However, other songs lacked power, and the set never really got rolling. By the time they closed with a cover of The Crystals' "Then He Kissed Me", the audience was left feeling like they'd already heard a variation on this sonic theme all through the show.
26 January 2007
Review. Matmos - "The Rose Has Teeth in the Mouth of a Beast"
Life, at its core, is really a series of experiences. Rarely is there a unifying thread. This is not a sitcom where everything ties together and you are satisfied every thirty minutes. But our feeble human brains want some sort of resolution, and so it has a way of categorizing our experiences, so that you can say - "Oh, that was just like that one time..." so everything, even the shockingly new, seems comfortable. But every so often, you come across circumstances that make you question if it's all that easy, or if there's some higher power telling you - "This is not a coincidence!" Enter Matmos' The Rose Has Teeth in the Mouth of a Beast.
Trying to listen to The Rose Has Teeth in the Mouth... is precisely like slogging through an epic hangover. All the appropriate emotions will surface, and you'll just want it to be over. You'll even bargain - "I'll never buy off the used rack again" starts to sound an awful lot like "I will never drink 3 King Cobras and a bottle of generic NyQuil again". But all the promises in the world won't save you.
Waking up, your katzenjammer can't decide what form it will take. Massive headache, malfunctioning gastrointestinal system, vodka-scented "sweat", nausea, general spaciness? - they're all present, and they're all going to get worse. Meanwhile, Matmos refuses to commit to making music, "music", found sound (while we're here - note to bands everywhere: committing to wax the sounds of your spoons or toaster or other household items is clever...syke!), or even a coherent lyric. Either way, ten minutes in, you feel like you must be on a hidden camera show documenting how long you'll be able to last before giving up (either suicide or unplugging your headphones, depending).
Your parents/housemate/complete stranger offering to pick you up a Sausage McDisgusting is portrayed brilliantly by Matmos providing an unsolicited post-modern/feminist screed in the form of "Tract for Valerie Solanas" (sample lyric: Unable to relate with love, the man must work/ Females crave absorbing emotionally satisfying meaningul activity/but lacking the opportunity or ability for this they prefer to idle and waste away their time in ways of their own choosing - and this is from the track that actually delivers the most satisfying narrative). Believe me mom/housemate/Matmos - I don't want this and you should please leave me alone.
While TRHTITMOTB bombards you with non sequiturs, you are struggling to piece things together...last night, your life, the menial task that's currently got you flummoxed at work - you just can't make sense of the things going on around you. Sure, there are glimpses that you'll make it through. That first drink of the Gatorade you planted in the fridge (how you planned ahead for that one is beyond all of us) or that brief halfway-head-bob-able bassline. But your pleasant moment is snatched away so quickly by the feeling that your stomach isn't ready even for Gatorade or the random, not seemingly random, but legitimately random beats and bells and 5 o'clock whistles (seriously!) that you wish you never drank the Gatorade or picked up on the buried beat in the first place. This is a frustrating experience that you won't soon forget. Matmos so convincingly plays the part of an aural hangover that you might reconsider your stance on the whole coincidence or fate question.
At the end of this experience, you can sum up your feelings thusly: Dear alcohol/Matmos: I don't care how much Frank Sinatra/Bjork likes you - you and me are through. Except you, alcohol, we're still cool.
On the standard -500 to +1000 scale, Matmos' Rose Teeth Mouth Beast garners:
-225.
After all, the old indie maxim "It's better to be bad than boring" does ring true, and while they are certainly bad, Matmos manages to be boring only for half of the record.
Trying to listen to The Rose Has Teeth in the Mouth... is precisely like slogging through an epic hangover. All the appropriate emotions will surface, and you'll just want it to be over. You'll even bargain - "I'll never buy off the used rack again" starts to sound an awful lot like "I will never drink 3 King Cobras and a bottle of generic NyQuil again". But all the promises in the world won't save you.
Waking up, your katzenjammer can't decide what form it will take. Massive headache, malfunctioning gastrointestinal system, vodka-scented "sweat", nausea, general spaciness? - they're all present, and they're all going to get worse. Meanwhile, Matmos refuses to commit to making music, "music", found sound (while we're here - note to bands everywhere: committing to wax the sounds of your spoons or toaster or other household items is clever...syke!), or even a coherent lyric. Either way, ten minutes in, you feel like you must be on a hidden camera show documenting how long you'll be able to last before giving up (either suicide or unplugging your headphones, depending).
Your parents/housemate/complete stranger offering to pick you up a Sausage McDisgusting is portrayed brilliantly by Matmos providing an unsolicited post-modern/feminist screed in the form of "Tract for Valerie Solanas" (sample lyric: Unable to relate with love, the man must work/ Females crave absorbing emotionally satisfying meaningul activity/but lacking the opportunity or ability for this they prefer to idle and waste away their time in ways of their own choosing - and this is from the track that actually delivers the most satisfying narrative). Believe me mom/housemate/Matmos - I don't want this and you should please leave me alone.
While TRHTITMOTB bombards you with non sequiturs, you are struggling to piece things together...last night, your life, the menial task that's currently got you flummoxed at work - you just can't make sense of the things going on around you. Sure, there are glimpses that you'll make it through. That first drink of the Gatorade you planted in the fridge (how you planned ahead for that one is beyond all of us) or that brief halfway-head-bob-able bassline. But your pleasant moment is snatched away so quickly by the feeling that your stomach isn't ready even for Gatorade or the random, not seemingly random, but legitimately random beats and bells and 5 o'clock whistles (seriously!) that you wish you never drank the Gatorade or picked up on the buried beat in the first place. This is a frustrating experience that you won't soon forget. Matmos so convincingly plays the part of an aural hangover that you might reconsider your stance on the whole coincidence or fate question.
At the end of this experience, you can sum up your feelings thusly: Dear alcohol/Matmos: I don't care how much Frank Sinatra/Bjork likes you - you and me are through. Except you, alcohol, we're still cool.
On the standard -500 to +1000 scale, Matmos' Rose Teeth Mouth Beast garners:
-225.
After all, the old indie maxim "It's better to be bad than boring" does ring true, and while they are certainly bad, Matmos manages to be boring only for half of the record.
Comparison of Brother and Sister Bands of 2006
With the White Stripes disappointing effort on 2005s "Get Behind Me Satan" (along with the fact that they actually aren't related), the title of "Best Brother and Sistere Duo" is officially up for grabs. Lucky for us, two bro/sis combos were in the studio in 2006, working hard to be known as the best (of, well, basically only three). Anyway, The Knife's critically acclaimed "Silent Shout" and the Fiery Furnaces' always turbulent "Bitter Tea" are going head to head. Here's the scorecard:
Round 1:
The Knife open "Silent Shout" with the aptly named "Silent Shout", a fairly straight forward euro-electronica song with eerie vocals. My head is bobbing and I'm intrigued as to where these Swedes are going to take me over the rest of the album.
The Fiery Furnances waste little time on "My Little Thatched Hut" and, in typical Friedberger style, are throwing everything they have at the listener. Elanor's vocals are just about the only constant as this song changes tempos, styles and instruments every time I start to feel comfortable with it. Maybe the Furnaces are commenting upon how life is transient and always changing before you ever really get a handle on it. Then again, maybe they just have a bad case of ADD.
Scorecard: The Furnances threw some haymakers and were "busier". They get rewarded with a 10-9 round.
Early Rounds:
The Dreijer siblings continue with the so-so "Neverland" and spend some time getting the atmosphere just right on "The Captain" before getting into a thoughtful and complete arrangment. "We Share Our Mother's Health" proves the Knife are in full control of their beats, but leaves something to be desired vocally.
The Furnaces counter with the delightfully playful (but still disheveled) "I'm In No Mood" and the surprisingly focused (only two competing ideas!) and devious "Black Hearted Boy". The theme continues into the frazzled-at-first, but well laid out "Bitter Tea", which is easily the most enjoyable listen of record thus far. The tender "Teach Me Sweetheart" and the complete "I'm Waiting to Know You" show that the Furnaces are capable of settling down and letting their ideas come to fruition.
Scorecard: Usually the more sound an artist puts on a record, the greater their chances of failure, but the Furnaces have utilized every second so far. The Friedbergers are in complete control, winning two rounds 10-9. Tough to penalized the Knife for their unique style, so the other two rounds are 10-10.
Middle Rounds:
Both bands have established their style with their early tracks, so lets see who can execute down the stretch.
The Knife's "Na Na Na" is straight out of the Sigur Ros playbook. Is Sweden very far from Iceland? Thankfully, I'm American and it don't have to be bother by facts like that. Whoa, while I was busy pondering fjords, windmills and the homeland of Hamlet, the Dreijer's put together their most solid effort thus far. "Marble House" and "Like A Pen" are completely unique , yet easily accessible. Every detail of these two songs was carefully crafted and showcase the Knife's incredible talent.
Dammit all, the Friedbergers lost all of their momentum with the "Vietnamese Telephone Ministry" that was all build-up, but no follow through. Fortunately, my disappointment does not last long, since the first :25 seconds of "Oh Sweet Woods" is the most danceable thing I have heard in a long time. But of course with all things Friedberger, the song changes up before finally settling in funkytown. "Borneo" and "Police Sweater Blood Vow" are pleasant, but indistinct.
Scorecard: The Knife wins two rounds 10-9, the Furnances win the other 10-9.
Late Rounds:
The Knife continue their success with the intimate and fragile "From Off to On". "Forest Families" excels with its rising and falling tones and easily the best vocal performance thus far. Unfortunately, "One Hit" is forced and leaves me feeling indifferent.
The Furnaces respond with "Nevers" which seems to buckle under its own weight, but worry not, the soulful "Benton Harbor Blues" will carry the Friedbergers' home. Elenor's lyrics color (possibly blue?) a disappointing, empty time and the music matches it perfectly; interesting and fun, but ultimately shallow and frivolous. Well done Furnaces. "Whistle Rhapsody",which has the Furnaces playing with heavy piano and attempting to be guitar heroes, drags on and the "Nevers (Remix)" does as little for me now as the original did three tracks ago.
The Knife had two solid efforts and a dud, the Furnaces had three so-so songs and a huge effort. Sounds like 10-9, 10-9, 9-10 for the Knife.
Final Round:
It's not how you start, but how you leave me feeling as your record comes to a close. Who is better at concluding their ideas and wrapping up their album?
The Knife starts slowly on "Still Light" and start building, adding a death filled narrative, rising tones, the echo of a cymbal crash, before stealing away into the cold Scandinavian night. My mind wanders to all the places this song could have gone and how I could listen to this song for 10 more minutes and how it was nearly criminal that the Knife did not fully develop this idea. This, however, is the essence of the Knife, never letting the listener all the way into their world and restraining from overindulgence. A fitting end to their record.
For their last statement on "Bitter Tea" the Friedbergers' chose to reprise the ideas of "Benton Harbor Blues" in "Benton Harbor Blues (Again)". But as best as I can tell, the Furnaces simply hacked out the catchy part of Benton and played it again, so it's tough to call it a reprise. Part of me hates the idea of putting the same song on an album twice, but another part of me really liked hearing this song again and repetition does make for a good conclusion. Anyway, I'm not really sure how I feel about this, but that is pretty much par for the course with the Fiery Furnaces.
Final Round: 10-9 to the Knife
Final Talley:
The Knife 115, Fiery Furnaces 115
Shit, did not mean for that to happen. Anyway, since I'm the only judge, I'm giving this one to the Fiery Furnaces as Bitter Tea was one of their best performances to date. To the Knife, I say "stay hungry and next time you may catch the breaks".
Round 1:
The Knife open "Silent Shout" with the aptly named "Silent Shout", a fairly straight forward euro-electronica song with eerie vocals. My head is bobbing and I'm intrigued as to where these Swedes are going to take me over the rest of the album.
The Fiery Furnances waste little time on "My Little Thatched Hut" and, in typical Friedberger style, are throwing everything they have at the listener. Elanor's vocals are just about the only constant as this song changes tempos, styles and instruments every time I start to feel comfortable with it. Maybe the Furnaces are commenting upon how life is transient and always changing before you ever really get a handle on it. Then again, maybe they just have a bad case of ADD.
Scorecard: The Furnances threw some haymakers and were "busier". They get rewarded with a 10-9 round.
Early Rounds:
The Dreijer siblings continue with the so-so "Neverland" and spend some time getting the atmosphere just right on "The Captain" before getting into a thoughtful and complete arrangment. "We Share Our Mother's Health" proves the Knife are in full control of their beats, but leaves something to be desired vocally.
The Furnaces counter with the delightfully playful (but still disheveled) "I'm In No Mood" and the surprisingly focused (only two competing ideas!) and devious "Black Hearted Boy". The theme continues into the frazzled-at-first, but well laid out "Bitter Tea", which is easily the most enjoyable listen of record thus far. The tender "Teach Me Sweetheart" and the complete "I'm Waiting to Know You" show that the Furnaces are capable of settling down and letting their ideas come to fruition.
Scorecard: Usually the more sound an artist puts on a record, the greater their chances of failure, but the Furnaces have utilized every second so far. The Friedbergers are in complete control, winning two rounds 10-9. Tough to penalized the Knife for their unique style, so the other two rounds are 10-10.
Middle Rounds:
Both bands have established their style with their early tracks, so lets see who can execute down the stretch.
The Knife's "Na Na Na" is straight out of the Sigur Ros playbook. Is Sweden very far from Iceland? Thankfully, I'm American and it don't have to be bother by facts like that. Whoa, while I was busy pondering fjords, windmills and the homeland of Hamlet, the Dreijer's put together their most solid effort thus far. "Marble House" and "Like A Pen" are completely unique , yet easily accessible. Every detail of these two songs was carefully crafted and showcase the Knife's incredible talent.
Dammit all, the Friedbergers lost all of their momentum with the "Vietnamese Telephone Ministry" that was all build-up, but no follow through. Fortunately, my disappointment does not last long, since the first :25 seconds of "Oh Sweet Woods" is the most danceable thing I have heard in a long time. But of course with all things Friedberger, the song changes up before finally settling in funkytown. "Borneo" and "Police Sweater Blood Vow" are pleasant, but indistinct.
Scorecard: The Knife wins two rounds 10-9, the Furnances win the other 10-9.
Late Rounds:
The Knife continue their success with the intimate and fragile "From Off to On". "Forest Families" excels with its rising and falling tones and easily the best vocal performance thus far. Unfortunately, "One Hit" is forced and leaves me feeling indifferent.
The Furnaces respond with "Nevers" which seems to buckle under its own weight, but worry not, the soulful "Benton Harbor Blues" will carry the Friedbergers' home. Elenor's lyrics color (possibly blue?) a disappointing, empty time and the music matches it perfectly; interesting and fun, but ultimately shallow and frivolous. Well done Furnaces. "Whistle Rhapsody",which has the Furnaces playing with heavy piano and attempting to be guitar heroes, drags on and the "Nevers (Remix)" does as little for me now as the original did three tracks ago.
The Knife had two solid efforts and a dud, the Furnaces had three so-so songs and a huge effort. Sounds like 10-9, 10-9, 9-10 for the Knife.
Final Round:
It's not how you start, but how you leave me feeling as your record comes to a close. Who is better at concluding their ideas and wrapping up their album?
The Knife starts slowly on "Still Light" and start building, adding a death filled narrative, rising tones, the echo of a cymbal crash, before stealing away into the cold Scandinavian night. My mind wanders to all the places this song could have gone and how I could listen to this song for 10 more minutes and how it was nearly criminal that the Knife did not fully develop this idea. This, however, is the essence of the Knife, never letting the listener all the way into their world and restraining from overindulgence. A fitting end to their record.
For their last statement on "Bitter Tea" the Friedbergers' chose to reprise the ideas of "Benton Harbor Blues" in "Benton Harbor Blues (Again)". But as best as I can tell, the Furnaces simply hacked out the catchy part of Benton and played it again, so it's tough to call it a reprise. Part of me hates the idea of putting the same song on an album twice, but another part of me really liked hearing this song again and repetition does make for a good conclusion. Anyway, I'm not really sure how I feel about this, but that is pretty much par for the course with the Fiery Furnaces.
Final Round: 10-9 to the Knife
Final Talley:
The Knife 115, Fiery Furnaces 115
Shit, did not mean for that to happen. Anyway, since I'm the only judge, I'm giving this one to the Fiery Furnaces as Bitter Tea was one of their best performances to date. To the Knife, I say "stay hungry and next time you may catch the breaks".
18 January 2007
Songs that are in my head and bothering me... Volume 1
Bears - Everywhere
Please stream "Everywhere" - one of the best songs you're likely to hear anytime soon. The melody here rivals anything that Belle & Sebastian put out, and I guess that's the point. Pop perfection.
Also, this is a Cleveland band that you should check out before they become too cool for school. Buy the album...it's ten bucks well spent.
http://www.myspace.com/bearspop
Grizzly Bear - The Knife (Girl Talk remix)
This is an mp3 of Greg Gillis doing his thing with the Grizz and the results are pretty much incredible. Yes, Wamp Wamp sucks, and yes, Yellow House was overrated, but somehow he makes both Clipse and Grizzly Bear seem much better than what they actually are. Incredible party sounds here.
http://www.pitchforkmedia.com/article/news/40443/Exclusive_MP3_Grizzly_Bear_Knife_Girl_Talk_Rem
Andrew Bird - A Nervous Tic Motion of the Head to the Left
Andrew Bird is well-documented as being multi-talented, but in my opinion he rarely brings it all together. Here, he scratches the itch, and it is a near perfect song that makes you wish for 5 minutes more.
http://www.andrewbird.net/listen.htm
Please stream "Everywhere" - one of the best songs you're likely to hear anytime soon. The melody here rivals anything that Belle & Sebastian put out, and I guess that's the point. Pop perfection.
Also, this is a Cleveland band that you should check out before they become too cool for school. Buy the album...it's ten bucks well spent.
http://www.myspace.com/bearspop
Grizzly Bear - The Knife (Girl Talk remix)
This is an mp3 of Greg Gillis doing his thing with the Grizz and the results are pretty much incredible. Yes, Wamp Wamp sucks, and yes, Yellow House was overrated, but somehow he makes both Clipse and Grizzly Bear seem much better than what they actually are. Incredible party sounds here.
http://www.pitchforkmedia.com/article/news/40443/Exclusive_MP3_Grizzly_Bear_Knife_Girl_Talk_Rem
Andrew Bird - A Nervous Tic Motion of the Head to the Left
Andrew Bird is well-documented as being multi-talented, but in my opinion he rarely brings it all together. Here, he scratches the itch, and it is a near perfect song that makes you wish for 5 minutes more.
http://www.andrewbird.net/listen.htm
04 January 2007
Joe's Most Anticipated Albums of 2007
All names and dates provided by Metacritic.com:
13) Pixies - (untitled) - unknown release date
The Pixies came back and played all the old favs. Here's hoping that fifteen years apart was good for the band.
12) Gnarls Barkley - (untitled) - unknown release date
While "Crazy" was perfect, there was definite room for improvement on St. Elsewhere. Cee-lo Green is the soul machine and Dangermouse has the danceable beats, so expectations are high.
11) MF Doom & Ghostface - Swift & Changeable - Feb
Two heavyweights in modern hip-hop are teaming up, yeah I'm interested.
10) The Postal Service - (untitled) - unknown release date
Ahh 2003, when if you told someone you listened to Death Cab for Cutie they pretty much assumed you were talking metal. Well Ben Gibbard is no longer toiling in obscurity and I'm more than a bit embarrased that I will be waiting for this album with half of America's soccer moms.
9) The Shins - Wincing the Night Away - Jan 23
See above. Thanks alot Zach Braff and Natalie Portman.
8) New Pornographers - (untitled) - unknown release date
By this point you know what you are getting with the New Pornos; a bunch of rocking pop songs performed by an all-star cast. I'm looking forward to it, but I doubt it will be much of a deviation from their previous work.
7) Air - Pocket Symphony - Mar 6
Cerebral French electronica all-stars return with what is sure to be the sexiest album of the year.
6) Bloc Party - A Weekend in the City - Feb 6
If Silent Alarm was 2005's answer to Franz Ferdinand's debut, lets hope A Weekend in the City takes more chances than You Could Have Been So Much Better
5) Spoon/Brit Daniel - (2 albums, both untitled) - unknown release date
Can Spoon reproduce the mature sound of 2005's Gimme Fiction? Is Brit being held back by his Spoon bandmates? All questions will be answered (hopefully) in 2007.
4) Clap Your Hands Say Yeah - Some Loud Thunder - Jan 30
Clap Your Hands Say Yeah won't be catching anybody off guard like they did in 2005.
3) Wolf Parade - (untitled) - unknown release date
Spencer Krug's side projects Sunset Rubdowns and Swan Lake have received as much or more critical praise as Wolf Parade's debut. I guessing he has learned a few things and will improve upon Wolf Parade's impressive opening statement.
2) Radiohead - (untitled) - unknown release date
The only problem with releasing five generation defining albums in a row is that people, namely me, expect the sixth to be flawless as well.
1) Arcade Fire - Neon Bible - Early '07
Can the Arcade Fire possibly improve on their ambitious, near-perfect debut? Is there any way they can pour the same emotion into Neon Bible as they did on Funeral? Would a half-assed Arcade Fire album be better than 99% of 2007 releases?
13) Pixies - (untitled) - unknown release date
The Pixies came back and played all the old favs. Here's hoping that fifteen years apart was good for the band.
12) Gnarls Barkley - (untitled) - unknown release date
While "Crazy" was perfect, there was definite room for improvement on St. Elsewhere. Cee-lo Green is the soul machine and Dangermouse has the danceable beats, so expectations are high.
11) MF Doom & Ghostface - Swift & Changeable - Feb
Two heavyweights in modern hip-hop are teaming up, yeah I'm interested.
10) The Postal Service - (untitled) - unknown release date
Ahh 2003, when if you told someone you listened to Death Cab for Cutie they pretty much assumed you were talking metal. Well Ben Gibbard is no longer toiling in obscurity and I'm more than a bit embarrased that I will be waiting for this album with half of America's soccer moms.
9) The Shins - Wincing the Night Away - Jan 23
See above. Thanks alot Zach Braff and Natalie Portman.
8) New Pornographers - (untitled) - unknown release date
By this point you know what you are getting with the New Pornos; a bunch of rocking pop songs performed by an all-star cast. I'm looking forward to it, but I doubt it will be much of a deviation from their previous work.
7) Air - Pocket Symphony - Mar 6
Cerebral French electronica all-stars return with what is sure to be the sexiest album of the year.
6) Bloc Party - A Weekend in the City - Feb 6
If Silent Alarm was 2005's answer to Franz Ferdinand's debut, lets hope A Weekend in the City takes more chances than You Could Have Been So Much Better
5) Spoon/Brit Daniel - (2 albums, both untitled) - unknown release date
Can Spoon reproduce the mature sound of 2005's Gimme Fiction? Is Brit being held back by his Spoon bandmates? All questions will be answered (hopefully) in 2007.
4) Clap Your Hands Say Yeah - Some Loud Thunder - Jan 30
Clap Your Hands Say Yeah won't be catching anybody off guard like they did in 2005.
3) Wolf Parade - (untitled) - unknown release date
Spencer Krug's side projects Sunset Rubdowns and Swan Lake have received as much or more critical praise as Wolf Parade's debut. I guessing he has learned a few things and will improve upon Wolf Parade's impressive opening statement.
2) Radiohead - (untitled) - unknown release date
The only problem with releasing five generation defining albums in a row is that people, namely me, expect the sixth to be flawless as well.
1) Arcade Fire - Neon Bible - Early '07
Can the Arcade Fire possibly improve on their ambitious, near-perfect debut? Is there any way they can pour the same emotion into Neon Bible as they did on Funeral? Would a half-assed Arcade Fire album be better than 99% of 2007 releases?
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