snow days.
great thing, or greatest thing?
Wednesday, January 28, 2009
Saturday, January 17, 2009
what has science done?
As Mr. Wonka says, "What will they think of next?"
Stiiiiiiill workin on that year-end list. And by still I mean haven't started. But will start soon.
Oh, and Sophisticated Pills is on Facebook now, because MySpace just wasn't enough vanity. There's even a new song on it, to almost make it seem worth the effort. THE LINK.
Right, and the new Animal Collective is out. But do I even really need to? Not at this point, you probably already know what it's like. And if you don't, well go fucking listen to it.
(pardon the French Canadian)
Tuesday, December 9, 2008
we bringin' 88 back
Ahh, so. It's 1:30 in the morning and I should be writing a paper about boy bands. But did you know there's a new Sophisticated Pills track? No joke. Go listen, before I drop this whole noise/ambient schtick and start making 90s pop.
It's also almost the end of the year, which means I get to pull out my self-important opinions about music of the year. Which also means it won't get done until January. Maybe if I procrastinate long enough I can just declare the new Animal Collective album the record of the year for 2008 and 2009. Did I mention I'm super psyched for the new Animal Collective album? Well I'm super psyched for the new Animal Collective album. Now you know, faithful reader.
Until next time.
It's also almost the end of the year, which means I get to pull out my self-important opinions about music of the year. Which also means it won't get done until January. Maybe if I procrastinate long enough I can just declare the new Animal Collective album the record of the year for 2008 and 2009. Did I mention I'm super psyched for the new Animal Collective album? Well I'm super psyched for the new Animal Collective album. Now you know, faithful reader.
Until next time.
Friday, October 24, 2008
omg its new shiz
New Sophisticated Pills track is up on myspace, ya heard. Shit is off the hook. Really though, I'm rather proud of it. Check it out, Here's the fresh artwork I made for it:
Friday, September 12, 2008
Rainy Days
Looks like I really wasn't joking when I said I wouldn't be posting for a few months. Not intentionally, of course. I've was a working man over the summer, splitting time between two jobs from the end of June through mid-August, and now I'm back at college, where its currently pouring and I'm waiting for it to be a respectable enough time to begin boozing. But maybe my absense wasn't so much that I didn't have time, but more of a product of...having nothing to say? I haven't felt the need to yap about albums and bands, or at least not to do it on here. And if I'm not doing that, well what the heck else can I do?!
Well, I suppose I have been making music. Earlier in the summer, I finally went ahead and got the ball rolling on my solo work, which is now entitled Sophisticated Pills. Neat, huh? Anyways, you can find me on MySpace () and you can download my 5-track demo thanks to the nice folks at NB Rock () So please do check that out. I'm currently working on some new material, which will maybe give me an excuse to post more. I may also just start uploading albums or something. This place is so desolate these days, and at least one person seems to read (or, did read) this blog, so I must entertain. We'll see what the future holds.
I've also added a link to a friend's blog. Go read it.
Okay.
That's it.
Oh wait, BTdubs, I saw the Silver Jews last week. Shook Dave Berman's hand. He's a real tall guy you know.
There I go, yapping about bands again.
Well, I suppose I have been making music. Earlier in the summer, I finally went ahead and got the ball rolling on my solo work, which is now entitled Sophisticated Pills. Neat, huh? Anyways, you can find me on MySpace () and you can download my 5-track demo thanks to the nice folks at NB Rock () So please do check that out. I'm currently working on some new material, which will maybe give me an excuse to post more. I may also just start uploading albums or something. This place is so desolate these days, and at least one person seems to read (or, did read) this blog, so I must entertain. We'll see what the future holds.
I've also added a link to a friend's blog. Go read it.
Okay.
That's it.
Oh wait, BTdubs, I saw the Silver Jews last week. Shook Dave Berman's hand. He's a real tall guy you know.
There I go, yapping about bands again.
Wednesday, April 9, 2008
Hey Blog
Oh hey. Didn't see you there. How's it going. Haven't seen you in a while, so on so on. Just wanted to say what's up.
I don't have much to say or write about, but I can tell you a few things. New Man Man is great. New Beach House sounds like the 80's, and it's awesome. Animal Collective are still fucking incredible, but shh, you don't know that yet *nudge nudge wink wink* Uhhh...Saw Steve Malkmus at MassMoCa. He was smoking a cigarette outside when I was walking in. Then fucking Thurston Moore was at the merch table inside. I'd swear he follows me around. Malkmus played the rock and roll, lots of solos. Kind of an ass on stage, but in a loveable "Oh, you fronted Pavement" way.
Well, that's enough. For a few months anyways, right?
I don't have much to say or write about, but I can tell you a few things. New Man Man is great. New Beach House sounds like the 80's, and it's awesome. Animal Collective are still fucking incredible, but shh, you don't know that yet *nudge nudge wink wink* Uhhh...Saw Steve Malkmus at MassMoCa. He was smoking a cigarette outside when I was walking in. Then fucking Thurston Moore was at the merch table inside. I'd swear he follows me around. Malkmus played the rock and roll, lots of solos. Kind of an ass on stage, but in a loveable "Oh, you fronted Pavement" way.
Well, that's enough. For a few months anyways, right?
Wednesday, January 23, 2008
Bring the Noise
http://www.mediafire.com/?7jpqqbjqmyi
Fresh shit here, a semi-improv noise-ish track-somethingwithahyphen that I recorded and mixed this weekend. I'm posting it here because it's too long to go on my PureVolume - 11 minutes of pure, unadulterated JAMZ, son. Anyways, do have a listen and feel to comment or whatever.
Fresh shit here, a semi-improv noise-ish track-somethingwithahyphen that I recorded and mixed this weekend. I'm posting it here because it's too long to go on my PureVolume - 11 minutes of pure, unadulterated JAMZ, son. Anyways, do have a listen and feel to comment or whatever.
Saturday, January 12, 2008
Top 10 Albums of 2007
Better late than never, eh?
[1/21/08 Update - OK, since I'm completely inept at running this thing, here's how this will work: If you are reading this, and would like any of these albums uploaded, just shoot a comment and I will reply back with your request as soon as possible. It's too much of a pain to upload all of these, especially if no one is going to end up downloading. So, if you're reading, feel free to ask, and I will be happy to share! Thanks.]
1. Panda Bear - Person Pitch
I suppose picking this as #1 isn’t much of a surprise after my verbal-ejaculation over Person Pitch centerpiece “Bros,” but it is nonetheless exceptionally deserving. Even picking “Bros” as my #1 favorite song was difficult, as it could have easily also been either of its predecessors on the album, “Comfy In Nautica” and “Take Pills.” The former opens the album, utilizing little else besides echoed handclaps and a repeated sung syllable as a background for Panda Bear’s (Noah Lennox) emotional lyrics. “Take Pills” is also emotional lyrically, an autobiographical song of Lennox’s struggle with antidepressants, but its backing track shifts from a wavey-psychadelia to bouncy pop, echoing the hopefulness of his words. These two songs are prime examples of how strong the album actually is lyrically, even if sometimes you don’t catch every word. Of course, his vocals, and especially the music, are also excellent. Lennox compiled various samples, from songs by The Tornados and Cat Stevens to sound effects of varying types, and completely morphed them into something completely his. From stuttering piano beat of “Carrots,” and the abstract collage of “Searching for Delicious,” to the hypnotic chants of “Im Not” and the simplistic, feel-good pop of “Ponytail,” the album is quite simply flawless. And this flawless album certainly garnered my constant attention since its release, always there through various times of good and bad, making it well deserving of my Album of the Year.
2. Animal Collective - Strawberry Jam
I feel very fanboyish for putting these two albums back-to-back at the top of my list, but the fact of the matter is, it has certainly been one hell of a year for Noah Lennox and his Animal compatriots Avey Tare (David Portner), Geologist ( Brian Weitz), and Deacon (Josh Gibb). Hopes were certainly high for the album after the release of Person Pitch in March. Diehard fans knew of many of the songs that would appear on the album, as Animal Collective tend to play out new songs extensively on tour before they are released. However, they do often undergo change in the studio recording phase, so when Strawberry Jam began to leak online starting in July, many were surprised at what they heard. Vocals. Loud and clear. I myself was surprised. I remember listening to opener “Peacebone” for the first time, enjoying the opening groove of garbled electronics before suddenly Portner’s voice enters the mix, upfront, without the effects of previous album Feels, and alone, unlike the harmony happy Sung Tongs. It was an interesting turn for the Collective, but in the end a very welcome one. Revisiting the song, its hard to imagine the vocals with Feels-type processing. The vocals shine throughout the album, from the range-pushing “For Reverend Green” to Lennox’s trademark takes on “Chores” and “Derek.” Musically, the album begins to moves away from the very guitar oriented Feels to a more sample-incorporated approach (I say “begins to,” as this album is a sort of gateway to their very sample-based approach they currently use on their newest songs debuting on tour now). In “Fireworks,” a shuffling, choppy electronic beat collides with Lennox’s drum hits, while “#1” repeats a simple synth-arpeggio as its base. There are some down moments, such as the forgettable “Winter Wonder Land” and “Unsolved Mysteries” (which has a great chorus but lags during the verses), but overall the album is fantastic and only makes me more excited for their next effort.
3. Liars - Liars
Liars are known for their style shifts. On their first album, they got thrown into the NYC dance-punk scene. On their second, they got thrown into the dumpster by most critics for their noisier witch-themed second album. Then they became critical darlings again by releasing the experimental and tribal Drum’s Not Dead. So it only makes sense that they went full on rock and roll for their latest album, the self-titled Liars. Of course, many cried “pop album,” but that’s not to say its a bad thing. From the opening headbanger “Plaster Casts of Everything,” Liars are able to hone in different elements of their sound from all their previous albums and use this to explore songs that are extremely digestible and catchy. In fact, the song in which Liars most try to resemble the Liars of Drum’s Not Dead, “Leather Prowler,” is the worst song of the album. Its on the less overtly experimental tracks like the Beck-reminescent “Houseclouds” to the garage rock-meets-shoegaze of “Freak Out” that Liars sound most in tune with themselves. They do echo Drum’s Not Dead’s sentimental closer “The Other Side of Mt. Heart Attack,” with “Protection,” which combines “Sailing to Byzantium”’s trip-hop style beats with wheezing synthesizer to effectively sum up the album. I would say I’d love to see more of this from Liars, but I know they’ll pull another turn with their next album. I just hope its as good.
4. Radiohead - In Rainbows
Ah, the album even your mom has heard about. Unless you were in hibernation for the fall/winter (in which I suppose you won’t be reading this until March or April. In case you missed it, the Red Sox also won the World Series), you’ve heard about Radiohead’s decision to bypass the recording industry and release their latest album on 10 days notice, where you could pay whatever your heart desired for it (or buy a crazy $80 discbox, or wait a few months until they actually DO go through the recording industry and release it normally). Thom Yorke, Jonny Greenwood and company are certainly no slouches, as their plan got them media hype out the metaphorical wazoo. Of course, this was good and bad. Many were let down by the album when it came out, I however, realize that these people just want to hear “Paranoid Android Part Duex,” and that this is never going to happen. Instead, Radiohead continue past the great (in my opinion, although it was also slaughtered by many) Hail To The Thief with this stellar album. “15 Step” continues in the tradition of fantastic album-openers for Radiohead, its glitched beat matching with clear guitar and the usual fantastic vocals from Yorke, which are of course a given throughout the album (with the only possible exception of the over-reverbed “House of Cards”). Other highlights include the percussion heavy “Reckoner,” the sublime “All I Need,” and throwback rockers “Jigsaws Falling Into Place” and “Bodysnatchers.” Overall, this album is really just Radiohead being Radiohead - arguably the greatest band of their generation.
5. Dirty Projectors - Rise Above
To me, the Dirty Projectors are a challenging band. They took a bit of getting used to for me as, for a while, I personally just didn’t “get it.” I even passed up two opportunities to see them live, one on my own campus for free. Then, I heard the concept for their new album - a reimagining of sorts of Black Flag’s classic album Damaged. Now they had me interested. I finally started to “get it” when I saw their episode on video podcast La Blogotheque. Seeing them walk around New York City, a really weird dude with a guitar and a voice like glissando on crack and two pretty girls who sing like angels, playing songs that were written by a hardcore punk rock band in the 80s, it seemed to make way too much sense to pass up. I finally got the album and was not disappointed. I don’t mean to stress the novelty of it, as the record is quite good. Novelty does play some parts, as the rubber-band vocals of “Police Story” give the lyrics such a strangely twisted edge, but songs like “Depression” and “Spray Paint the Walls” have a different sense of innocent honesty in them under Dave Longstreth’s control. Rollins and Ginn would at least have to give these guys credit, as such a transformation is almost unthinkable by anyone else.
6. VietNam - VietNam
Why these guys aren’t über rock stars yet is beyond me. In fact, I’m even ashamed of how little press this album got, as its easily one of the best classic rock/southern rock-tinged throwback albums released in the past few years, certainly as an album miles away from Kings of Leon’s Because of the Times, also from this year. I first encountered these guys in October of 2006, when I saw them open for Jenny Lewis and The Watson Twins. Now, if you’re unfamiliar with Lewis, her solo album consisted of mostly light country and folk songs. Appropriately, there seemed to be a lot of women, and older women, in the crowd for the show. That was, of course, until four guys with long hair and beards came on stage and proceeded to rip it up, blasting through a short set with cold efficiency. I saw an entire row of people get up and leave their seats during their set, which I thought was amazing. I went to their merch table to buy their album immediately after the show, but it turned out it wasn’t even released yet, and all they had were t-shirts (I still regret not buying one...). After the album finally came out, my first impression of them still holds fairly true - “They sound like Bob Dylan fronting Kings of Leon playing CCR covers.” Certainly at least, lead singer/guitarist Michael Gerner (and even sometimes singer/lead guitarist Joshua Grubb) has a bit of the Dylan nasally voice, and some of his lyrical imagery echoes Dylan’s. The amazing one-two punch of “Priest, Poet, and the Pig” and “The Apocalypse” is the pinnacle of the album, as well as the emotional slow-ride of “Toby.” There are missteps along the way, mainly “Mr. Goldfinger” and “Gabe,” but the album goes out strongly, its last four songs excellent, closing with my previously gushed-over “Too Tired.” At the least, this album shows incredible promise for this band, and in itself is a wonderful listen.
7. Devendra Banhart - Smokey Rolls Down Thunder Canyon
Freak-folk guru/generally freaky guy Devendra Banhart’s latest album seemed to be met very lukewarmly. Most of the arguments are valid, but I believe only to a degree. Many said the album was too long, or that the songwriting wasn’t up to par. Well, while I agree the album is a bit too long with some filler that could be dropped, its actually shorter with fewer songs than his previous album, Cripple Crow. Banhart’s songwriting continues in the vein of that album as well. While Crow does have some better individual tracks, Smokey is, from brittle Spanish-language opener “Cristobal” through heartfelt closer “My Dearest Friend,” for the most part consistently decent-and-above. Many have also chided Banhart for so called “genre exercises,” crying for the return of the simple folk of his earlier albums. Again, I agree that the folkier songs on the album tend to be the better sounding, like “Freely,” which evokes Pink Floyd’s soaring acoustic number “Fearless.” However, I believe many of these “genre exercises” are extremely rewarding, including the hilarious Hebrew doo-wop of “Shabop Shalom” and the gospel of “Saved.” The former clearly shows Banhart is having some fun making his music, and it makes it all the more enjoyable. There is no reason why fans should be divided between haunting ballads like “Remember” and rockers like “Tonada Yanomaninista,” as Banhart continues to show his versatility as a musician, something that should only improve with each new album.
8. Bullion - Pet Sounds: In the Key of Dee
Do you call it a mash-up or a remix? Are these really Jay Dilla samples or not? Whatever the answers to these questions and others that have been asked about Bullion’s free download* via MySpace, it certainly is a great listen. For the unfamiliar, Key of Dee remixes samples from The Beach Boy’s seminal album Pet Sounds together with Dilla-style (at least) drum breaks and the like. The result is smoother, funkier, and overall more enjoyable than that mash-up that everyone freaked for and started this craze, DJ Danger Mouse’s Grey Album, which famously pitted Jay-Z and The Beatles. The album may not be as technically proficient as the Grey Album, but it is more consistent and digestible. Key of Dee also does not simply lift a cappella tracks from Pet Sounds and throw them over breaks, instead everything is cut up, snippets of control room dialog mixing with Brian Wilson’s vocals here and there. If you have a passing interest in The Beach Boys, Jay Dilla, or mash-ups, I definitely recommend you download this, as after all, it’s free. Heck, I’m not even really a Beach Boys fan and I’ve enjoyed the hell out of this.
* I just checked his page and the download is down. I'll be upping it soon.
9. Clap Your Hands Say Yeah - Some Loud Thunder
Much like Banhart’s Smokey, indie-darlings Clap Your Hands Say Yeah’s sophomore effort, well, slightly took them off the indie-darlings list. Admittedly, after their self-titled debut, which for clarification happens to probably be one of my Top 3 albums of all time, almost anything would be considered a disappointment. Which is why I think Some Loud Thunder is a great album. CYHSY probably could’ve cut another record exactly like their first album, and it would’ve likely also fallen flat. Instead, they chose to move forward and explore new territory. The first big difference between the two, and one that they have been called out on several times, is the production. Thunder is far less polished then their debut, with the possible exception of live favorite “Satan Said Dance.” The grittier sound suits the selection of songs well however, the drum crashes of “Emily Jean Stock” to the overdriven piano waltz of “Love Song No. 7” showing off how the band have matured. Selections like “Underwater (You and Me)” and “Yankee Go Home” show that the band still have their pop chops, and all signs point to their debut not being a fluke.
10. The Budos Band - The Budos Band II
This record probably would’ve gone completely unnoticed by me had a friend of mine not asked me one day, “Hey, you wanna hear an awesome record?” That record turned out to be a fresh vinyl pressing of DapTone band The Budos Band, who share members with both Sharon Jones & The Dap-Kings and yes, Amy Winehouse’s backing band. Emerging from the turntable was a blast of heavy funk, afro-beat, and soul. 12 members strong, including horns, organ, and congas, the most startling aspect of the Budos Band is their efficiency. Normally, you’d probably expect an afro-funk band to launch into endless jams with no direction, but The Budos Band keep things concise, with not a single track on that album over 5 minutes. This keeps their jams fresh, allowing just enough time to settle into grooves, hit the solos (even a yazz-flute one in “Adeniji”!), groove some more, and finish. The only let down is a reworking of the classic “My Girl,” entitled “His Girl.” Beyond that, pretty much every track is a jam. Perhaps even more impressive is the album’s production, which is as close to flawless as it gets. It’s got some of the best drums sounds I’ve ever heard (check the drum breakdown at the end of “Ride or Die,” GODDAMN), the horns are dripping in echo, the bass nice and full, and the organ and guitar are always exactly placed in the mix. This album is a definite party in a box for those at all into the funkier stuff, and though I don’t drive, I imagine this would make a great record to blast with the windows down on the open road.
[1/21/08 Update - OK, since I'm completely inept at running this thing, here's how this will work: If you are reading this, and would like any of these albums uploaded, just shoot a comment and I will reply back with your request as soon as possible. It's too much of a pain to upload all of these, especially if no one is going to end up downloading. So, if you're reading, feel free to ask, and I will be happy to share! Thanks.]
1. Panda Bear - Person Pitch
I suppose picking this as #1 isn’t much of a surprise after my verbal-ejaculation over Person Pitch centerpiece “Bros,” but it is nonetheless exceptionally deserving. Even picking “Bros” as my #1 favorite song was difficult, as it could have easily also been either of its predecessors on the album, “Comfy In Nautica” and “Take Pills.” The former opens the album, utilizing little else besides echoed handclaps and a repeated sung syllable as a background for Panda Bear’s (Noah Lennox) emotional lyrics. “Take Pills” is also emotional lyrically, an autobiographical song of Lennox’s struggle with antidepressants, but its backing track shifts from a wavey-psychadelia to bouncy pop, echoing the hopefulness of his words. These two songs are prime examples of how strong the album actually is lyrically, even if sometimes you don’t catch every word. Of course, his vocals, and especially the music, are also excellent. Lennox compiled various samples, from songs by The Tornados and Cat Stevens to sound effects of varying types, and completely morphed them into something completely his. From stuttering piano beat of “Carrots,” and the abstract collage of “Searching for Delicious,” to the hypnotic chants of “Im Not” and the simplistic, feel-good pop of “Ponytail,” the album is quite simply flawless. And this flawless album certainly garnered my constant attention since its release, always there through various times of good and bad, making it well deserving of my Album of the Year.
2. Animal Collective - Strawberry Jam
I feel very fanboyish for putting these two albums back-to-back at the top of my list, but the fact of the matter is, it has certainly been one hell of a year for Noah Lennox and his Animal compatriots Avey Tare (David Portner), Geologist ( Brian Weitz), and Deacon (Josh Gibb). Hopes were certainly high for the album after the release of Person Pitch in March. Diehard fans knew of many of the songs that would appear on the album, as Animal Collective tend to play out new songs extensively on tour before they are released. However, they do often undergo change in the studio recording phase, so when Strawberry Jam began to leak online starting in July, many were surprised at what they heard. Vocals. Loud and clear. I myself was surprised. I remember listening to opener “Peacebone” for the first time, enjoying the opening groove of garbled electronics before suddenly Portner’s voice enters the mix, upfront, without the effects of previous album Feels, and alone, unlike the harmony happy Sung Tongs. It was an interesting turn for the Collective, but in the end a very welcome one. Revisiting the song, its hard to imagine the vocals with Feels-type processing. The vocals shine throughout the album, from the range-pushing “For Reverend Green” to Lennox’s trademark takes on “Chores” and “Derek.” Musically, the album begins to moves away from the very guitar oriented Feels to a more sample-incorporated approach (I say “begins to,” as this album is a sort of gateway to their very sample-based approach they currently use on their newest songs debuting on tour now). In “Fireworks,” a shuffling, choppy electronic beat collides with Lennox’s drum hits, while “#1” repeats a simple synth-arpeggio as its base. There are some down moments, such as the forgettable “Winter Wonder Land” and “Unsolved Mysteries” (which has a great chorus but lags during the verses), but overall the album is fantastic and only makes me more excited for their next effort.
3. Liars - Liars
Liars are known for their style shifts. On their first album, they got thrown into the NYC dance-punk scene. On their second, they got thrown into the dumpster by most critics for their noisier witch-themed second album. Then they became critical darlings again by releasing the experimental and tribal Drum’s Not Dead. So it only makes sense that they went full on rock and roll for their latest album, the self-titled Liars. Of course, many cried “pop album,” but that’s not to say its a bad thing. From the opening headbanger “Plaster Casts of Everything,” Liars are able to hone in different elements of their sound from all their previous albums and use this to explore songs that are extremely digestible and catchy. In fact, the song in which Liars most try to resemble the Liars of Drum’s Not Dead, “Leather Prowler,” is the worst song of the album. Its on the less overtly experimental tracks like the Beck-reminescent “Houseclouds” to the garage rock-meets-shoegaze of “Freak Out” that Liars sound most in tune with themselves. They do echo Drum’s Not Dead’s sentimental closer “The Other Side of Mt. Heart Attack,” with “Protection,” which combines “Sailing to Byzantium”’s trip-hop style beats with wheezing synthesizer to effectively sum up the album. I would say I’d love to see more of this from Liars, but I know they’ll pull another turn with their next album. I just hope its as good.
4. Radiohead - In Rainbows
Ah, the album even your mom has heard about. Unless you were in hibernation for the fall/winter (in which I suppose you won’t be reading this until March or April. In case you missed it, the Red Sox also won the World Series), you’ve heard about Radiohead’s decision to bypass the recording industry and release their latest album on 10 days notice, where you could pay whatever your heart desired for it (or buy a crazy $80 discbox, or wait a few months until they actually DO go through the recording industry and release it normally). Thom Yorke, Jonny Greenwood and company are certainly no slouches, as their plan got them media hype out the metaphorical wazoo. Of course, this was good and bad. Many were let down by the album when it came out, I however, realize that these people just want to hear “Paranoid Android Part Duex,” and that this is never going to happen. Instead, Radiohead continue past the great (in my opinion, although it was also slaughtered by many) Hail To The Thief with this stellar album. “15 Step” continues in the tradition of fantastic album-openers for Radiohead, its glitched beat matching with clear guitar and the usual fantastic vocals from Yorke, which are of course a given throughout the album (with the only possible exception of the over-reverbed “House of Cards”). Other highlights include the percussion heavy “Reckoner,” the sublime “All I Need,” and throwback rockers “Jigsaws Falling Into Place” and “Bodysnatchers.” Overall, this album is really just Radiohead being Radiohead - arguably the greatest band of their generation.
5. Dirty Projectors - Rise Above
To me, the Dirty Projectors are a challenging band. They took a bit of getting used to for me as, for a while, I personally just didn’t “get it.” I even passed up two opportunities to see them live, one on my own campus for free. Then, I heard the concept for their new album - a reimagining of sorts of Black Flag’s classic album Damaged. Now they had me interested. I finally started to “get it” when I saw their episode on video podcast La Blogotheque. Seeing them walk around New York City, a really weird dude with a guitar and a voice like glissando on crack and two pretty girls who sing like angels, playing songs that were written by a hardcore punk rock band in the 80s, it seemed to make way too much sense to pass up. I finally got the album and was not disappointed. I don’t mean to stress the novelty of it, as the record is quite good. Novelty does play some parts, as the rubber-band vocals of “Police Story” give the lyrics such a strangely twisted edge, but songs like “Depression” and “Spray Paint the Walls” have a different sense of innocent honesty in them under Dave Longstreth’s control. Rollins and Ginn would at least have to give these guys credit, as such a transformation is almost unthinkable by anyone else.
6. VietNam - VietNam
Why these guys aren’t über rock stars yet is beyond me. In fact, I’m even ashamed of how little press this album got, as its easily one of the best classic rock/southern rock-tinged throwback albums released in the past few years, certainly as an album miles away from Kings of Leon’s Because of the Times, also from this year. I first encountered these guys in October of 2006, when I saw them open for Jenny Lewis and The Watson Twins. Now, if you’re unfamiliar with Lewis, her solo album consisted of mostly light country and folk songs. Appropriately, there seemed to be a lot of women, and older women, in the crowd for the show. That was, of course, until four guys with long hair and beards came on stage and proceeded to rip it up, blasting through a short set with cold efficiency. I saw an entire row of people get up and leave their seats during their set, which I thought was amazing. I went to their merch table to buy their album immediately after the show, but it turned out it wasn’t even released yet, and all they had were t-shirts (I still regret not buying one...). After the album finally came out, my first impression of them still holds fairly true - “They sound like Bob Dylan fronting Kings of Leon playing CCR covers.” Certainly at least, lead singer/guitarist Michael Gerner (and even sometimes singer/lead guitarist Joshua Grubb) has a bit of the Dylan nasally voice, and some of his lyrical imagery echoes Dylan’s. The amazing one-two punch of “Priest, Poet, and the Pig” and “The Apocalypse” is the pinnacle of the album, as well as the emotional slow-ride of “Toby.” There are missteps along the way, mainly “Mr. Goldfinger” and “Gabe,” but the album goes out strongly, its last four songs excellent, closing with my previously gushed-over “Too Tired.” At the least, this album shows incredible promise for this band, and in itself is a wonderful listen.
7. Devendra Banhart - Smokey Rolls Down Thunder Canyon
Freak-folk guru/generally freaky guy Devendra Banhart’s latest album seemed to be met very lukewarmly. Most of the arguments are valid, but I believe only to a degree. Many said the album was too long, or that the songwriting wasn’t up to par. Well, while I agree the album is a bit too long with some filler that could be dropped, its actually shorter with fewer songs than his previous album, Cripple Crow. Banhart’s songwriting continues in the vein of that album as well. While Crow does have some better individual tracks, Smokey is, from brittle Spanish-language opener “Cristobal” through heartfelt closer “My Dearest Friend,” for the most part consistently decent-and-above. Many have also chided Banhart for so called “genre exercises,” crying for the return of the simple folk of his earlier albums. Again, I agree that the folkier songs on the album tend to be the better sounding, like “Freely,” which evokes Pink Floyd’s soaring acoustic number “Fearless.” However, I believe many of these “genre exercises” are extremely rewarding, including the hilarious Hebrew doo-wop of “Shabop Shalom” and the gospel of “Saved.” The former clearly shows Banhart is having some fun making his music, and it makes it all the more enjoyable. There is no reason why fans should be divided between haunting ballads like “Remember” and rockers like “Tonada Yanomaninista,” as Banhart continues to show his versatility as a musician, something that should only improve with each new album.
8. Bullion - Pet Sounds: In the Key of Dee
Do you call it a mash-up or a remix? Are these really Jay Dilla samples or not? Whatever the answers to these questions and others that have been asked about Bullion’s free download* via MySpace, it certainly is a great listen. For the unfamiliar, Key of Dee remixes samples from The Beach Boy’s seminal album Pet Sounds together with Dilla-style (at least) drum breaks and the like. The result is smoother, funkier, and overall more enjoyable than that mash-up that everyone freaked for and started this craze, DJ Danger Mouse’s Grey Album, which famously pitted Jay-Z and The Beatles. The album may not be as technically proficient as the Grey Album, but it is more consistent and digestible. Key of Dee also does not simply lift a cappella tracks from Pet Sounds and throw them over breaks, instead everything is cut up, snippets of control room dialog mixing with Brian Wilson’s vocals here and there. If you have a passing interest in The Beach Boys, Jay Dilla, or mash-ups, I definitely recommend you download this, as after all, it’s free. Heck, I’m not even really a Beach Boys fan and I’ve enjoyed the hell out of this.
* I just checked his page and the download is down. I'll be upping it soon.
9. Clap Your Hands Say Yeah - Some Loud Thunder
Much like Banhart’s Smokey, indie-darlings Clap Your Hands Say Yeah’s sophomore effort, well, slightly took them off the indie-darlings list. Admittedly, after their self-titled debut, which for clarification happens to probably be one of my Top 3 albums of all time, almost anything would be considered a disappointment. Which is why I think Some Loud Thunder is a great album. CYHSY probably could’ve cut another record exactly like their first album, and it would’ve likely also fallen flat. Instead, they chose to move forward and explore new territory. The first big difference between the two, and one that they have been called out on several times, is the production. Thunder is far less polished then their debut, with the possible exception of live favorite “Satan Said Dance.” The grittier sound suits the selection of songs well however, the drum crashes of “Emily Jean Stock” to the overdriven piano waltz of “Love Song No. 7” showing off how the band have matured. Selections like “Underwater (You and Me)” and “Yankee Go Home” show that the band still have their pop chops, and all signs point to their debut not being a fluke.
10. The Budos Band - The Budos Band II
This record probably would’ve gone completely unnoticed by me had a friend of mine not asked me one day, “Hey, you wanna hear an awesome record?” That record turned out to be a fresh vinyl pressing of DapTone band The Budos Band, who share members with both Sharon Jones & The Dap-Kings and yes, Amy Winehouse’s backing band. Emerging from the turntable was a blast of heavy funk, afro-beat, and soul. 12 members strong, including horns, organ, and congas, the most startling aspect of the Budos Band is their efficiency. Normally, you’d probably expect an afro-funk band to launch into endless jams with no direction, but The Budos Band keep things concise, with not a single track on that album over 5 minutes. This keeps their jams fresh, allowing just enough time to settle into grooves, hit the solos (even a yazz-flute one in “Adeniji”!), groove some more, and finish. The only let down is a reworking of the classic “My Girl,” entitled “His Girl.” Beyond that, pretty much every track is a jam. Perhaps even more impressive is the album’s production, which is as close to flawless as it gets. It’s got some of the best drums sounds I’ve ever heard (check the drum breakdown at the end of “Ride or Die,” GODDAMN), the horns are dripping in echo, the bass nice and full, and the organ and guitar are always exactly placed in the mix. This album is a definite party in a box for those at all into the funkier stuff, and though I don’t drive, I imagine this would make a great record to blast with the windows down on the open road.
Saturday, December 22, 2007
Top 20 Songs of 2007, Part 4
The final installment, my Top 5 Songs of 2007. Enjoy. My Top 10 Albums list will be coming...eventually.
5. Dirty Projectors - Rise Above
After the schizophrenia of the previous 9 tracks, the final song from the Dirty Projectors album Rise Above is the most startling for its straightforwardness. On top of your basic “Rock Beat 1,” they lay down little else than frontman Dave Longstreth’s vocal acrobatics, cooing harmonies, and light guitar and bass. The result is extremely effecting and sweet. Most of all, Greg Ginn’s words shine through in the treatment. In the hand’s of Longsteth, they are pleading but hopeful, enticing you “Rise Above” as well.
Download
4. Animal Collective - Safer
A staple of post-Feels live sets, recorded for but left off Strawberry Jam, Safer was destined to be the B-Side to the Peacebone single. Not that it really matters much. Safer’s 9 minutes are heavy. It’d be hard to put a song like this on your album, as it commands so much attention. The first two minutes spin on the heels of a piano a sample as Avey Tare sings about feeling deranged over eerie growling and ghostly voices before insisting with screams that he’s “alright if you’re alright.” Then the song picks up, ditching the the creepy in favor of sending you into a psychedelic swirling shuffle, before slowly taking it out from under you. Animal Collective crafted something very serious here, something that can give you shivers if you pay close enough attention. I’ll take it, on the album or not.
Download
3. No Age - Everybody’s Down
L.A. guitar/drums art-punk duo No Age make a hell of a lot of noise out of a little. Case in point - the majority of Weirdo Rippers jam “Everybody’s Down” is two chords after a brief intro of feedback and backwards cymbals. Just two distorted chords churned out over and over like clockwork. And on top of those two chords is little else, some more strange cymbal noise and the great shout-along vocals. It’s not until after the great “ooh-wah-ooh” breakdown, with less than 45 seconds left in the song, that the drums crash in over the chords and send the song flying. For everybody apparently being down, this song sure makes you feel pretty up. Oh, and I guess they do throw two more chords in near the end for like, a second.
Download
2. UGK - International Players Anthem (ft. Outkast)
It’s highly regretful to be talking about this song after the passing of UGK member Pimp C, but you can’t help but think about what kind of legacy he left with this jam. Right from the get go, Andre 3000 steps up, makes you forget that Idlewild ever existed, and shows you that he is still in high contention for Best Rapper Alive. But in fact, each verse in this song is delivered so well it’s hard to pick one over the other. The pairing of these two acts, as well as the delivery, is perfect. Outkast provide that hip counterpart to UGK’s swagger. Andre makes with the cool, UGK throw down like they know how to throw down, and Big Boi steps in at the end to funk things up vintage “So Fresh, So Clean” style. However, for how good the song is vocally, its the beat that truly shines. The triumphant horns and soulful singing of Willie Hutch are paired with crisp, modern hip-hop drums to create the perfect palate for these guys to work with. And the moment when the beat drops and Pimp C unleashes at the end of Andre’s verse is purely incredible, going way beyond great rap to just great music.
Download
Video
1. Panda Bear - Bros
I can only begin by saying a song as expansive as this is difficult to describe. And expansive is a bit of an understatement. Over its 12 minutes, “Bros,” the centerpiece to Panda Bear’s brilliant album Person Pitch, takes you on a journey - mentally, physically, even spiritually. Simply put, this song is an experience. The first lonely owl hoot makes the onslaught of sound a few seconds later so unexpected and powerful, and from there the song devours you. Everything, especially the vocals, have been dunked in a tub of industrial strength reverb, and the effect is ethereal. Sparkling guitars mix with plodding bass as Panda’s childlike vocals float over it all. Each and every sound in the mix seems perfectly placed, from each touch of shaker to the various sound effects dispersed throughout. The sound effects in particular are fascinating. From children laughing and yelling, to a man and woman crying, to wordless sounds of a baby, to all the other unplaceable sounds, each plays a specific role in the song. Listening, you begin to identify with these sounds like they were characters in a book or movie. Who are these people? Why are they crying? The questions linger as the song crossfades from one brilliant set of samples to another halfway, the second half anchored by insistent guitar strumming. Panda’s vocals continue to shine, and function just as well as any sample in setting the mood of the song. By the time the whistling and fireworks come over the top of the mix, the song is lifting you high into the air, over the clouds and far away from anything else you’ve ever heard, and perhaps will ever hear.
Download
5. Dirty Projectors - Rise Above
After the schizophrenia of the previous 9 tracks, the final song from the Dirty Projectors album Rise Above is the most startling for its straightforwardness. On top of your basic “Rock Beat 1,” they lay down little else than frontman Dave Longstreth’s vocal acrobatics, cooing harmonies, and light guitar and bass. The result is extremely effecting and sweet. Most of all, Greg Ginn’s words shine through in the treatment. In the hand’s of Longsteth, they are pleading but hopeful, enticing you “Rise Above” as well.
Download
4. Animal Collective - Safer
A staple of post-Feels live sets, recorded for but left off Strawberry Jam, Safer was destined to be the B-Side to the Peacebone single. Not that it really matters much. Safer’s 9 minutes are heavy. It’d be hard to put a song like this on your album, as it commands so much attention. The first two minutes spin on the heels of a piano a sample as Avey Tare sings about feeling deranged over eerie growling and ghostly voices before insisting with screams that he’s “alright if you’re alright.” Then the song picks up, ditching the the creepy in favor of sending you into a psychedelic swirling shuffle, before slowly taking it out from under you. Animal Collective crafted something very serious here, something that can give you shivers if you pay close enough attention. I’ll take it, on the album or not.
Download
3. No Age - Everybody’s Down
L.A. guitar/drums art-punk duo No Age make a hell of a lot of noise out of a little. Case in point - the majority of Weirdo Rippers jam “Everybody’s Down” is two chords after a brief intro of feedback and backwards cymbals. Just two distorted chords churned out over and over like clockwork. And on top of those two chords is little else, some more strange cymbal noise and the great shout-along vocals. It’s not until after the great “ooh-wah-ooh” breakdown, with less than 45 seconds left in the song, that the drums crash in over the chords and send the song flying. For everybody apparently being down, this song sure makes you feel pretty up. Oh, and I guess they do throw two more chords in near the end for like, a second.
Download
2. UGK - International Players Anthem (ft. Outkast)
It’s highly regretful to be talking about this song after the passing of UGK member Pimp C, but you can’t help but think about what kind of legacy he left with this jam. Right from the get go, Andre 3000 steps up, makes you forget that Idlewild ever existed, and shows you that he is still in high contention for Best Rapper Alive. But in fact, each verse in this song is delivered so well it’s hard to pick one over the other. The pairing of these two acts, as well as the delivery, is perfect. Outkast provide that hip counterpart to UGK’s swagger. Andre makes with the cool, UGK throw down like they know how to throw down, and Big Boi steps in at the end to funk things up vintage “So Fresh, So Clean” style. However, for how good the song is vocally, its the beat that truly shines. The triumphant horns and soulful singing of Willie Hutch are paired with crisp, modern hip-hop drums to create the perfect palate for these guys to work with. And the moment when the beat drops and Pimp C unleashes at the end of Andre’s verse is purely incredible, going way beyond great rap to just great music.
Download
Video
1. Panda Bear - Bros
I can only begin by saying a song as expansive as this is difficult to describe. And expansive is a bit of an understatement. Over its 12 minutes, “Bros,” the centerpiece to Panda Bear’s brilliant album Person Pitch, takes you on a journey - mentally, physically, even spiritually. Simply put, this song is an experience. The first lonely owl hoot makes the onslaught of sound a few seconds later so unexpected and powerful, and from there the song devours you. Everything, especially the vocals, have been dunked in a tub of industrial strength reverb, and the effect is ethereal. Sparkling guitars mix with plodding bass as Panda’s childlike vocals float over it all. Each and every sound in the mix seems perfectly placed, from each touch of shaker to the various sound effects dispersed throughout. The sound effects in particular are fascinating. From children laughing and yelling, to a man and woman crying, to wordless sounds of a baby, to all the other unplaceable sounds, each plays a specific role in the song. Listening, you begin to identify with these sounds like they were characters in a book or movie. Who are these people? Why are they crying? The questions linger as the song crossfades from one brilliant set of samples to another halfway, the second half anchored by insistent guitar strumming. Panda’s vocals continue to shine, and function just as well as any sample in setting the mood of the song. By the time the whistling and fireworks come over the top of the mix, the song is lifting you high into the air, over the clouds and far away from anything else you’ve ever heard, and perhaps will ever hear.
Download
Friday, December 21, 2007
Top 20 Songs of 2007, Part 3
As promised (though perhaps technically late), Part 3, #10-6. Big finish tommorow! Snap!
10. Kings of Leon - Black Thumbnail
I found Kings of Leon’s album “Because of the Times” to be fairly disappointing overall, but it's hard to shy away from “Black Thumbnail.” Here, Kings put their larger production budget to good use, as the band sounds bigger than ever. There’s reverb on just about everything except that persistent two-chord chugging rhythm guitar. The chorus is also as powerful as KoL have ever been, playing like veteran stadium rock heroes. The crowning moment of the song is the guitar solo, and it’s lead-up: “NOW GITAR, GO GITAR.”
Download
9. M.I.A. - Paper Planes
I’d like to think that this is the first time Joe Strummer is NOT rolling in his grave. It’s at least the first time people are saying he isn’t. M.I.A. takes The Clash’s criminally underrated “Straight To Hell” and turns it into one hell of a banger. Instead of singing about war in the East, she’d rather talk about sticking you. She makes the message pretty clear on the chorus, “All I want to do is *gun shots* and uh*gun cock* *cash register ring* and take your money.” It’s incredibly effective though, as the words, sound effects, and beat make you really think that if you ever saw M.I.A. on the street, she’s going to hustle you for everything you’ve got. Check the Diplo remix in the download, where he adds some crazy sound effects over verses by UGK’s Bun B and everyone’s favorite D-thrower Rich Boy. It’s not much of an improvement on the original, but it don’t hurt either.
Download
8. Grizzly Bear - Little Brother (Electric)
I’ll admit, I slept on Grizzly Bear. I didn’t really find them incredibly appealing aside from “Knife” for a long while. That was about up until I saw them live. Live, they are an incredibly tight and competent band, churning out consistently interesting takes on their record work. The records are far too layered to be played note for note, but these trimmed versions are just as good, and sometimes benefit from this. Grizzly Bear must’ve noticed, as they give space to the “Electric” cut of Yellow House song “Little Brother” on their new Friend EP. The song’s new straight ahead attitude does wonders. Grizzly Bear are terribly fine singers, and the added space highlights just how well they put their talents to use on dreamy harmonies. The conclusion of the song is simply epic, a whirling mix of crashing drums and sky-high guitars - and those vocals. Seriously.
Download
7. Battles - Atlas
As menacing as this song is, it holds a strange place for me. When I’m really bored, I sometimes like to play Sudoku, and this song is my Sudoku JAM. The pulsing drums and tweaked vocals were clearly made for placing numbers into a 9x9 square. The breakdown and buildup in the middle is the clear highlight of the song. The drums drag you forward as effects-laden guitars and basses slowly topple over you until they lock in sync into a driving rhythm. That is, until the chopped and screwed outro leaves you hanging on begging for more.
Download
6. Vietnam - Too Tired
Since I started thinking about this list and writing down some orders, this song has moved up and up and up, and even now I almost regret not putting it higher. I think it’s one of the most moving songs I’ve ever heard. The whole thing is just drenched in raw emotion, each pensive strum of the guitar and drum hit like a wrench in your heart. The lyrics are fantastic, with line of the year: “And honey, I don’t give a flying fuck if you wanna try to save me / ‘Cause I’ll be doing fine here on my own.” Even the wordless choruses drop like heavy weights, and the revved up outro just puts it over the top. It’s short, but it’s anything but sweet, which is a wonderful thing. The album version is great, but I’m upping the cut from their Daytrotter session, which is even fucking better.
Download
10. Kings of Leon - Black Thumbnail
I found Kings of Leon’s album “Because of the Times” to be fairly disappointing overall, but it's hard to shy away from “Black Thumbnail.” Here, Kings put their larger production budget to good use, as the band sounds bigger than ever. There’s reverb on just about everything except that persistent two-chord chugging rhythm guitar. The chorus is also as powerful as KoL have ever been, playing like veteran stadium rock heroes. The crowning moment of the song is the guitar solo, and it’s lead-up: “NOW GITAR, GO GITAR.”
Download
9. M.I.A. - Paper Planes
I’d like to think that this is the first time Joe Strummer is NOT rolling in his grave. It’s at least the first time people are saying he isn’t. M.I.A. takes The Clash’s criminally underrated “Straight To Hell” and turns it into one hell of a banger. Instead of singing about war in the East, she’d rather talk about sticking you. She makes the message pretty clear on the chorus, “All I want to do is *gun shots* and uh*gun cock* *cash register ring* and take your money.” It’s incredibly effective though, as the words, sound effects, and beat make you really think that if you ever saw M.I.A. on the street, she’s going to hustle you for everything you’ve got. Check the Diplo remix in the download, where he adds some crazy sound effects over verses by UGK’s Bun B and everyone’s favorite D-thrower Rich Boy. It’s not much of an improvement on the original, but it don’t hurt either.
Download
8. Grizzly Bear - Little Brother (Electric)
I’ll admit, I slept on Grizzly Bear. I didn’t really find them incredibly appealing aside from “Knife” for a long while. That was about up until I saw them live. Live, they are an incredibly tight and competent band, churning out consistently interesting takes on their record work. The records are far too layered to be played note for note, but these trimmed versions are just as good, and sometimes benefit from this. Grizzly Bear must’ve noticed, as they give space to the “Electric” cut of Yellow House song “Little Brother” on their new Friend EP. The song’s new straight ahead attitude does wonders. Grizzly Bear are terribly fine singers, and the added space highlights just how well they put their talents to use on dreamy harmonies. The conclusion of the song is simply epic, a whirling mix of crashing drums and sky-high guitars - and those vocals. Seriously.
Download
7. Battles - Atlas
As menacing as this song is, it holds a strange place for me. When I’m really bored, I sometimes like to play Sudoku, and this song is my Sudoku JAM. The pulsing drums and tweaked vocals were clearly made for placing numbers into a 9x9 square. The breakdown and buildup in the middle is the clear highlight of the song. The drums drag you forward as effects-laden guitars and basses slowly topple over you until they lock in sync into a driving rhythm. That is, until the chopped and screwed outro leaves you hanging on begging for more.
Download
6. Vietnam - Too Tired
Since I started thinking about this list and writing down some orders, this song has moved up and up and up, and even now I almost regret not putting it higher. I think it’s one of the most moving songs I’ve ever heard. The whole thing is just drenched in raw emotion, each pensive strum of the guitar and drum hit like a wrench in your heart. The lyrics are fantastic, with line of the year: “And honey, I don’t give a flying fuck if you wanna try to save me / ‘Cause I’ll be doing fine here on my own.” Even the wordless choruses drop like heavy weights, and the revved up outro just puts it over the top. It’s short, but it’s anything but sweet, which is a wonderful thing. The album version is great, but I’m upping the cut from their Daytrotter session, which is even fucking better.
Download
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