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.
29 July 2007
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
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