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.
22 April 2007
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.
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