Check out the full story from The Onion here.
Sunday, January 31, 2010
Saturday, January 30, 2010
FINALLY GOT AROUND TO...Stankonia
As the fourth highest scoring album all-time on the "Rotten-Tomatoes-but-for-everything" website Metacritic (dating back to 2000), and second only to Loretta Lynn's Van Lear Rose in terms of new material, Stankonia represents a quintessential listening experience for the new millenium.
As an introductory note, it's difficult to live up to such lofty expectations. I've listened to Brian Wilson's Smile, portions of Van Lear Rose, and Bob Dylan's Love and Theft, and cautiously hoped for brilliance. It never quite works out that way.
The four things that Stankonia has going for it are: 1) ambition (at 24 tracks, Outkast have crafted a hip hop opus of sorts, with every good idea they could muster stirred up into one giant pot); 2) talent (the pairing of Andre 3000's spacey horniness with Big Boi's earnest street credence still feels improbable and ordained); 3) a keen sense for the bizarre (this monster is straight up weird); 4) some amazing singles ("Ms. Jackson" kicks "Hey Ya" to the curb, "So Fresh, So Clean" and "Spaghetti Junction" impressively combine both style and substance, and "B.O.B." is manically epic).
This eclecticism is, however, both strength and weakness. Few learned from the greatest rap album of all time, Nas's Illmatic, a ten track-no skit gem. Stankonia's seven skits are mostly short and harmless, but generally unnecessary. Also, for every two winners ("We Love Deez Hoes" and "Humble Mumble," there's something skipable ("I'll Call B4 I Cum"). Then there's the incomprehensible, something like "Toilet Tisha," which is both refreshingly odd and decidedly inessential at the same time.
Thus, no verdict on my favorite Outkast album yet. Next up: Aquemini.
Friday, January 29, 2010
IN THE NEWS...Clubbin' with Grandma
If you're visiting Paris anytime soon, see if you can catch a glimpse of this rockin' old lady, Mamy Rock.
Thursday, January 28, 2010
WORTH A LISTEN: Arctic Monkeys - Secret Door
The best track from Humbug is also the closest they come to capturing their old sound.
Wednesday, January 27, 2010
THE BREAKDOWN: Monsters of Folk
If nothing else, Monsters of Folk has clarified, or at least temporally rearranged, my perceptions about three quite talented vocalists. In the same way that The Traveling Wilburys, Vol. 1 opened the door for direct comparisons between icons Tom Petty, Bob Dylan and George Harrison (Roy Orbison comes away as the undisputed champ), this indie folk conglomeration inevitably becomes as much about competition as collaboration. They seem to be having a good time, but it's impossible not to think about whose songs work the best.
First and foremost, Monsters of Folk further cements M.Ward's status as an integral part of the 21st century songwriting landscape. "Whole Lotta Losin'" and its bouncy keyboard-fuzzy guitar combo are easily the most first single-worthy endeavor, "Goodway" is a slightly-off-the-wall, mid-tempo joy, while a gorgeous acoustic melody backs the haunting "The Sandman, the Brakeman and Me" ("Guess I'll lay my head against my elbow in the window/Let my wheels go, let my wheels go").
Conor Oberst, the occasionally poignant, occasionally grating lyricist of Bright Eyes (here also collaborating with producer Mike Mogis), definitely makes his case for relevance throughout Monsters of Folk. The Oberst-heavy "Temezcal" is not only the best song on the album, it also has the best line: "Love we made at gunpoint wasn't love at all." "Ahead of the Curve" is another beautifully constructed sketch, which never treads into the sad sap territory that sometimes drags down his constructions.
Coming off the mediocre My Morning Jacket album Evil Urges, Jim James should have been set to impress. However, surrounded by so much talent, he appears relatively second-rate. Every eye-roller belongs to him, including: "How many licks does it take to get/Taste and see/How many licks does it take to get to the center where there's something sweet" and "If you like what you say/When you open your face/Then you got the right feeling/You're in the right place" Etc. Etc. I mean, c'mon buddy. Where's your A-game?So, if you're keeping score: M. Ward up, Conor Oberst up, Jim James down. What does this mean for the album as a whole? Quite simply, it works when James stays off center stage (with the exception of opener "Dear God"); I'm thinking a Ward-Oberst He & Him duo would be an endlessly compelling possibility. The entire album, which is light on intra-song interactions beyond backing vocals, ends up as merely a hit-and-miss affair. Too bad, because this could have been one for the ages.
Tuesday, January 26, 2010
IN THE NEWS...Ticketmaster(bation)
The merger creates a juggernaut in the music industry, combining under one roof a company able to manage artists, book them at venues that it owns and sell tickets to their concerts. The new company, called Live Nation Entertainment Inc., also will be able to sell merchandise and in some cases control the sale of recorded music.I don't know about you, but I'm not really comfortable with words like juggernaut in the business realm. Oh well, I guess I'll just have to discover every band I like before they're famous. Damn.
Monday, January 25, 2010
SONG OF THE MOMENT: Brother Ali - House Keys
A new direction for the big albino (storytellin') is an unmitigated success. Patient, minute, and ambigious = stellar.
Sunday, January 24, 2010
THE ITUNES TOP 100 & THE END OF THE WORLD: "Tik Tok"
Retrospectively, there's nothing immediately unnerving about Ke$ha--yes, that's a dollar sign--and her autotune-reliant "Tik Tok" (although, writing the song title down just now was a little bothersome). It's like a Black Eyed Peas song with a slightly less moronic Fergie as the centerpiece.
But, did anyone else first think this was the girl from Justice's "TTHHEE PPAARRTTYY" finally getting her due? Because it's not. That girl's name is Uffie and she has a string of mediocre tracks on iTunes and an album due in two and a half weeks.
Ke$ha swooped a style from a song she's likely never heard before, and made it palpable and populist and Peas-esque. But even that can't defeat the appeal of the original, even heavily watered down. Final judgment: tolerable, perhaps for nostalgia alone.
Saturday, January 23, 2010
QUICK RIFFS: Julian Casablancas
Julian Casablancas's Phrazes for the Young has a very solid sonic foundation, the suitably half-Strokes/half-not aesthetic one might expect from a successful side project. "11th Dimension" is utterly infectious, "Left Right in the Dark" is pleasant (especially the Fountains of Wayne-esque keyboards on the chorus and the line "Watching the urban decay all around us, oh boy"), and "Out of the Blue" is practically a cut from The Strokes' underrated First Impressions of Earth.
Friday, January 22, 2010
QUICK RIFFS: Mika
Mika represents a major dividing line in the indie community: how far into the glossy and synth-laden can an artist travel before becoming more enemy than friend (see also: Alphabeat, Kylie Minogue, and Junior Senior's Hey Hey My My Yo Yo). I found his debut enjoyable in small doses, although I was also simultaneously disgusted by Mika "fans." Given that I haven't heard a peep, really, about The Boy Who Knew Too Much, it makes the music that much more fun (radio pop that'll never get radio time!). Check out "Blame It on the Girls" and "One Foot Boy" for the upbeat hits, and "By the Time" for a guilty pleasure ballad.
Thursday, January 21, 2010
QUICK RIFFS: The Fiery Furnaces
The Fiery Furnaces brought almost as much energy to I'm Going Away as their career-best EP. "Lost at Sea" feels like a normal band's song, which somehow works to hone their oft-overburdening eccentricity into something enduring. "The End Is Near" is a more downtrodden, small-scale success in a similar vein.
Tuesday, January 19, 2010
IN THE NEWS: Coachella 2010 Lineup Announced
I tend to agree that this year's Coachella lineup is, well, bizarre. There's definitely a lot there, but there's a heaping of hodgepodge as well. Some thoughts: I don't think Jay-Z will be able to rock this show (I mean, hip hop doesn't normally translate in the festival atmosphere); it's badass LCD Soundsystem is getting such credit, a couple years ago they played in a second tent while the Chili Peppers had the main stage; Them Crooked Vulture's album was not that good. Muse, Faith No More, and Tiesto is a pretty weak triple headliner, and should appease nobody; Sunday is the best day at the top of the list, but Friday and Saturday have plenty of winners throughout the day; what the fuck is Sly & the Family Stone doing at Coachella; I think I'll sit this one out ($269 + Ticketmaster fees). Maybe next year, party people.
Monday, January 18, 2010
THE ANTI-HYPE: Maxwell - BLACKsummers'night
Despite making a lot of successful creative choices (the conceptually-unified three-album vision, the succinct nine tracks, the inclusion of narrative tools like symbolism and metaphor), BLACKsummers'night only serves to reveal the limitations of the traditional R n' B genre.
To put it more succinctly, for however luxuriously this album is constructed, it's largely dribble. Can the opening lines be any more cliche?: "Make me crazy, don't speak no sound/I want you to prove it to me in the nude/Addicted to the way you move." Got it, you're horny. And so you managed to sentimentalize those feelings into some heartwarming, babymaking music. You brought along a live band too, but told them to play it safe.
The one reasonable effort, "Pretty Wings," is sappy but effective. Erykah Badu, feel free to save the genre again whenever you find the time.
Sunday, January 17, 2010
Saturday, January 16, 2010
Friday, January 15, 2010
THE BREAKDOWN: Twillight: New Moon Official Soundtrack
There are some atrocious elements to the somehow-relevant Twilight: New Moon soundtrack, from bands I would normally give the benefit of a doubt. The Killers' "A White Demon Love Song," Muse's "I Belong to You (New Moon Remix)" and The Editors' "No Sound But the Wind" are all really, unnecessarily bad.
But there's a reason much of this indie tracklisting is worth a listen, besides as a conversation starter at your next tweener slumber party ("Oh my God, Tiffany, how much do you love that new Black Rebel Motorcycle Club song?"). Thom Yorke's "Hearing Damage" is easily the cream of the crop, somehow finagling some apocalyptic electronica into said tweener slumber party (look at how cool it makes the movie actually look below). "Meet Me At the Equinox" is one of the best Death Cab songs in years. Lykke Li's "Possibility" is fairly beautiful, Grizzly Bear's "Slow Life" is a worthy addition to their recent catalogue, and the should-be-awesome teaming of Bon Iver & St. Vincent at least sounds like a solid Bon Iver B-Side for awhile.
So, the most glowing review? Maybe not. But 20% likely to inspire me to see the actual film. Definitely.
Thursday, January 14, 2010
SONG OF THE MOMENT: Basement Jaxx - "My Turn (ft. Lightspeed Champion)"
Basement Jaxx are still capable of amazing things. Like this song. And this video.
Wednesday, January 13, 2010
My Three Fav Jay Reatard Singles
Not the hugest fan. But, prolific for awhile there, I must admit he dropped some quality, fuzzy singles. Here's my favorite three:
Monday, January 11, 2010
Top 40 Songs of 2009: #5-1
On “Goodbye,” P.O.S. is done being an afterthought behind the likes of Brother Ali, Atmosphere, and Subtle. He evolves right before our eyes, delivering his verse like an itch that needs scratched. Anthemic and purposeful, yet never angry, P.O.S. espouses nuanced, grime-hardened wisdom like a barstool preacher; never claiming to have all the right answers, he knows that his path can only offer a faint light for the path you must carve on your own.
I haven’t actively listened to mainstream rock radio in, I don’t know, seven years, but I hope they picked this one up and gave it some solid airtime. Hell, this year’s “Time to Pretend” should be blasting on every rap-hating suburban white kids’ apathetically-stocked iPod, each unbeknownst partaking—nay, reveling—in the best the French have to offer (and in turn, hopefully, abstaining from Nickelback and the worst the Canadians have to offer). For you, if it feels played out already, set it on the shelf for seven years and then fall back in love with it.
Sparse and quietly heartbreaking, “When the Night Comes” is the most beautiful song of the year. Auerbach’s vocals seek to appease the track’s own gentle and haunting vacancy, the emptiness of the night: “And you lay your [...] by the one you love/The one who knows things you do.” Wrapped in his dark and wistful landscape, he leaves us there, with but an unfinished thought. Such is the beauty of your dreams, at once as reassuring as a loving whisper, at once as foreboding as the drowning back vocals and the violin’s off-pitch finale.
It’s not often you hear a track so aesthetically unique and immediately special that it stops you dead in your tracks. Fatboy Slim’s “The Rockafeller Skank” comes to mind, as does Postal Service’s “Such Great Heights” and the The Strokes' "Last Nite." These songs change the way people listen to music. “Don’t Haunt This Place” is one of those songs. The drummer's resolution to make one song while the rest of the band makes another is one of the greatest decisions in recent music history. And don’t be surprised if music starts to feel a little bit more like this in 2010.
My couch. Zelda 64. A healthy bowl of cereal by my side. And “My Girls.” Such is how I spent March and April of 2009. Having finally clawed my way through all the ‘Best of 2008’ lists (ugh, right?), I finally got to spend a little time with Merriweather. It was mostly good, mostly great, in fact, but “My Girls” enraptured me. I listened to it enough times that I could carry it around in my head with me wherever I would go, walking about, pondering a simple life for my daughters to come: four walls, adobe slats, and one fine set of speakers to bump my old Animal Collective records.
Top 8 Albums of 2009: #1
St. Vincent - Actor
There's something miraculous about the way St. Vincent brings so many different elements to an album as aesthetically cohesive as Actor. "The Strangers" beckons you down into the rabbithole, a dark and surreal maze quasi-soothed by bouncy reminders like "paint the black hole blacker." Light flickers across the shadows ("Black Rainbow"), the air grows thick ("The Neighbors"), and the earth shakes ("Actor Out of Work"), but nothing ever crumbles. Slowly revealing itself over the first of many listens to follow, Actor's infinite array of nuanced detours and subtle surprises make for the perfect perpetual listening experience. As the song title alludes, every listen leaves you just the same but brand new.
Sunday, January 10, 2010
Top 40 Songs of 2009: #10-6
10) Fever Ray – “If I Had a Heart”
If I were a record company manager (assuming that position even exists anymore), I probably would have fought to remove “If I Had a Heart” from the opening slot of Fever Ray. Nothing happens, I’d say. One eerie guitar note loops over and over, as does a discreet seven-note keyboard progression, while a few blips of “drum” eventually find their way into the mix. Listeners are going to be turned off, I’d say. Nope, quite the contrary. The boldest is also perhaps the best opening track of 2009.
Give Mos Def 1:23 of your time and he won’t waste it. What most rappers take just to introduce their album (name, album title, the year “and forever”), Mos Def uses to prioritize what philosophers might call “ultimate ends.” That’s right: peace, God, love, realness, home, truth, and then everything else. The best part: if you get in the way, he’s also not afraid to call you a biatch.
The critiques of Mr. Lif’s I Heard It Today were that it was already dated upon its release: all the Bushisms were just a year and a half too late. “Head High” though, at first seemingly by luck but then clearly more purposefully with every listen, is forward-looking to the point of soothsaying. Compared to the heady Yes We Can days, Obama’s troublesome recession, couplet of wars, health care debacles, and swarms of vocal critics feel about as strange as this beat to this jam. But slow down, give the man some time. For Mr. Lif, sometimes it’s about smoking some pot and trying to keep your head up.
7) Phoenix – “Fences”
Just when you think there’s no way Phoenix can sustain any of the pummeling energy of 1-2 punch “Lisztomania” and “1901,” along bounces “Fences.” There is no level of volume that can satisfy my white boy desire to flail my limbs and thrash my head to the bass-iest portions of this serene electro-pop, thankfully(?) spaced out across several interludes of indie rock normalcy. Again and again. Louder and louder. C’est magnifique.
The greatest phone-call turned fantasy ballad of all time feels appropriately Where the Wild Things Are. There are so many things to love: imagining Karen O’s thought process between the “make this type of sound” requests and her actual attempts, trying to figure out what’s human and what’s machine, the laughter, the pauses, the way the song feels spontaneous and new on the twentieth listen, the collaborative snippet at the of the end of the track that reminds you that these are two professionals, the way Wayne sort of giggles when he sings “I can be a wolf,” and the way it somehow creates its own perfect humorous niche within the sprawling, frenzied Embryonic.
Top 8 Albums of 2009: #2
Animal Collective – Merriweather Post Pavillon
I’ve been slow to appreciate Animal Collective, or, rather, I feel they’ve only recently evolved to achieve the level of acclaim that they’ve always seemed to have had. Their debut Sung Tongs started out interestingly enough, but soon drifted into meandering territory hardly appropriate for anything more stimulating than a bubble bath. Feels was a stronger take on a similar sound, but while some second half experiments worked (“Bees,” “Loch Raven”), others were merely drawn out (“Daffy Duck,” “Turn Into Something”). Strawberry Jam was more sidestep than step forward, but it proved the band had a mountain of interesting ideas (fittingly, the album has aged quite wonderfully). Which brings me to Merriweather Post Pavillion, a miraculously dense extension of their faux-arthouse sound. “Bluish,” “Brother Sport,” and “My Girls” are so deep and textured it’s almost hard to go back to their earlier, understated work. Merriweather will be long held as proof of a brilliant band at the top of their game.
Saturday, January 9, 2010
Top 40 Songs of 2009: #15-11
15) Royksopp – “The Girl and the Robot (ft. Robyn)”
Perhaps my favorite element of this intolerably danceable highlight off Junior is that the robot aspect doesn’t really play. It’s a song about loneliness, about staying up late, waiting by the phone, and trying to be loved. It brings me joy to no end envisioning the robot’s debaucherous outting, at the bars, flirting, getting kicked out of strip clubs. A scumbag no better than the rest of us.
Be patient with this one (check the running time, 7:56), and definitely don’t skip ahead. Let this one build. Settled three-quarters deep into the mildly underrated Tonight: Franz Ferdinand, you’ve got to appreciate the gusto of heading full on into uncharted territory (remember, this is a band that could sell a lot of records by cranking out a dozen renditions of "Take Me Out"). But it’s more than that. It’s the brilliant execution that lasts beyond the novelty.
Apparently, this year’s “Young Folks” was tense, claustrophobic and whistle-free. In other words, “It Don’t Move Me” is an entirely new kind of success for PB & J. Hearing even a few cuts off Living Thing, it quickly becomes clear that these lads are, for the moment at least, eschewing the mainstream cross-over limelight (“Nothing to Worry About” sounds like indie Sesame Street on acid; “Living Thing” sounds like indie Paul Simon on acid; etc.). Here’s to staying relevant another way: finely-tuned madness.
Talk about a centerpiece. Throw a seven minute acoustic ballad, one which crescendoes into something profound, smack dab in the middle of an eclectic, highs-and-lows kind of album and it’s pretty much guaranteed to stick. Then, toss in the refrain “I don’t wanna cry-I-I-I-I-I-I,” the center of the centerpiece, and you are left with a song impossible to ignore and likely to be sang aloud in front of all your confused and ignorant friends. In a good way.
It was a fairly piddling year for quality radio pop. Lady Gaga tore up the charts with her ubiquitous shitshow, the Black Eyed Peas released maybe the worst #1 of the decade, and the two most interesting figures in pop, Kanye and Lil’ Wayne, were busy interrupting speeches and creating sub-par rock music, respectively. “Knock You Down” is therefore practically a godsend, featuring the rock-solid Hilson, a spot-on Mr. West, talented croonist Ne-Yo, and the best hi-hat usage of the year.
Top 8 Albums of 2009: #3
Phoenix – Wolfgang Amadeus Phoenix
I wonder if it was a cocksure band meeting, or rather an external suggestion by an adoring fan or significant other, which led to the fitting importation of Mozart into the title of an album as airtight as the legend himself's own creations. I’ll admit, the times have changed. People don’t want to listen to seventeen minute percussion-free symphonies anymore, or at least aren’t willing to make a star out of the composer (sorry to anyone aspiring to play piano behind the back for a gathering of astounded be-wigged nobles). Nowadays (and indeed since the dawn of the pop era) most music's ultimate endeavor is to craft a three to four minute pop gem that will stand the test of time. Phoenix have no less than five of them on Wolfgang that could rival most bands’ career best (“Liztsomania” “1901,” “Fences,” “Girlfriend,” “Armistice”). The other half’s pretty top-notch too, for a band that always seem to be sounding a little bit different and a little bit better.
Friday, January 8, 2010
Top 40 Songs of 2009: #20-16
Lily Allen has always made her progressive views apparent, both in her music and personal life, and this scathing satire is no different. It may be on the overt side, but there are two reasons why "The Fear" has lasting power: 1) her antagonist has the right hint of self-reflection (“I don’t know what’s right and what’s real anymore/I don’t know how I’m meant to feel anymore”); and 2) it’s so damn fun (she doesn't just want loads of diamonds, but fuckloads)
There’s a reason that thousands of radio stations dedicate themselves solely to the gems of the 50’s and 60’s, beyond the fact that grandma and grandpa refuse to listen to “hip hop.” Sunshine melodies, lavish strings, stomping back beats, and a taste for the joyous, it's the kind of stuff that gets you through a tough day. “French Navy” has these elements in spades. So, enjoy, grandparents the world over. We finally have something to share.
18) Dangermouse & Sparklehorse – “Everytime I’m With You (ft. Jason Lytle)”
The production chugs along listlessly, perfectly in stumble with the weary-eyed, world-weary protagonist: “Everytime I’m with you/I am drunk and you are too/Well, what the hell else are we supposed to do?” Capturing suburban boredom, romantic indifference, and Western binge culture about as succinctly as possible, it’s clear there’s not much to say when there’s nothing to do. But there’s still always the guilt and the shame.
After the first few uber-catchy, entry-level piano chords, it’s quite clear that “Two Weeks” is both the standout from this year’s seductive Veckatimest and a soon-to-be-staple from the year stalwart indie obscurists went pop. Since much of Grizzly Bear’s work feels otherworldly and mysterious (the ghostly “Hold Still, the ghastly “I Live With You”), this pop moment materializes a gleeful moment in some alternate universe. Perhaps as timeless in that world as in ours.
Top 8 Albums of 2009: #4
The Flaming Lips – Embryonic
Thursday, January 7, 2010
Top 40 Songs of 2009: #25-21
“Silver Trembling Hands” is really the first time we get a consistent drum beat, sixteen songs into the massive, two-part Embryonic. Hell, there are portions of the song that sound like a real song, like you might hear on an alt-rock radio station’s bi-monthly indie hour. Guitar! Repeated phrases! It’s all there. All in all though, it’s the beauty of how well “Silver Trembling Hands” fits seductively into the sane tail end of an insane journey that makes it memorable.
Pop on St. Vincent’s Actor and you’re not quite sure what you’re going to get. A few moments of graveyard whispers feed into something gentle, whimsical, dark, something that wouldn’t feel out of place in the Land of Oz. “I threw flowers in your face on my sister’s wedding day” has both celebratory and bitter elements, the sumptuous gray area of the real world made twisted and cartoonish. “The Stangers” therefore represents the perfect foreshadow for the kind of fancifully juxtaposed light and dark to come.
How Tobacco (think the thick, hazy synths of Black Moth Super Rainbow) teamed up with backpacker and nonsense-enthusiast Aesop Rock is beyond me. Yet, thankful I am. It takes a few listens to weed through the layers (Oh, he’s saying “squirrels in the chimney too stubborn for puffin out”) and another few to attempt translation (“squirrels in the chimney...” wait, wtf?). The necessary follow-up question: where is my thick, hazy synth-rap micro-genre?
It’s amazing what a little simplicity will do. The Dirty Projectors spend most of Bitte Orca compiling every instrument and mid-song structural change they can muster without segregating themselves from that precious label we call ‘pop.’ “Two Doves,” as just an acoustic guitar (played perfectly cattily), some strings (jutting in and out on their own terms) and Angel Deradoorian's lovely voice, is absolutely stunning.
21) JJ – “Are You Still in Vallda?”
Some moments last forever, and some things are impossible to let go. Perhaps best known for their Lil’ Wayne-sampling, power pop drug anthem “Ecstacy,” a great song in its own right, JJ hits its peak with this little slice of acoustic Euro nostalgia. There’s an unembellished vulnerability in lines like “Someday I know we’ll meet again/But I say that every summer” and the quiver at the end of “Are You Still in Vallda?” She’s still stuck on a summer ten years gone, and I'd imagine still will be ten summers on.
Top 8 Albums of 2009: #5
The Rural Alberta Advantage – Hometowns
This one might have been even higher on the list had I not caught wind of their 2008 self-release back in February, before they released this polished major labor version in mid-2009. Hometowns simply refuses to be overlooked, even amidst our era of mile-a-minute blog-topia music criticism, in which every hype machine wants to sell you the newest must-listen EP from this young New York quartet or that shit-hottest Danish DJ. RAA have all the same components as other bands, you know, instruments and voices and the like, but they sound like they’ve been holed up Bon Iver-style perfecting a style that’s immune to any recent overarching trends. It’s a decidedly straightforward endeavor, even on upbeat winners like “Don’t Haunt This Place” and “The Deadroads.” The lesson actually might be quite simple: keep singing, but never stop drumming.
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