Head Dress Tattoo

SpartanEdge

2007-01-30T23:48:00.000-06:00

In case you haven't heard, I started my masters of journalism program at MSU in January. In an effort to choose an extracurricular activity that is enjoyable, and educational, I've gotten involved with SpartanEdge.com, a student-run publication that is hoping to end "pussy journalism." Sadly enough, most of my free time and energy will be put into my new blog over there, even though I've come to love posting here at Blogger.com. Chances are, when the semester is over, I'll be posting here again. But for now, please bookmark my new blog and check it out regularly...if that sort of thing interests you.

I'll also be the editor of the new MusicEdge section. There's a link on the front page of SpartanEdge, where you can read our first article - a review and video of the Sights playing at Mac's Bar on 1/20.

I hope the new year is treating you well. Until next time...

Favorite Movies of 2006

2007-01-06T22:38:00.001-06:00

There were three movies that really grabbed my attention this year, and since I usually only talk about music, I thought I would stir things up a bit. The first one I'll discuss is Children of Men. Keep an eye out for the other two.

How do I cover this one without spoiling the movie? The very idea of this film was more thought provoking than most movies I've seen or heard of in recent years. In a vision of our world twenty years ahead, humans have lost the ability to reproduce. When Theo (Clive Owen's character) is introduced to Kee, the first pregnant woman in 18 years, he volunteers to deliver her to the Human Project, a group dedicated to solving the infertility problem. Let me say first that this movie did not meet most of my expectations. I was hoping for much more philosophical content on the nature of human life and our role on this planet. The first act is a tale of modern civilization turned into a dystopia, where England appears to be the only country still operational (although they have taken to imprisoning and exporting "Fugees," or anyone not of native blood). The second act resembles many zombie movies, where a main protagonist battles against all odds for his life (and those of friends and family) as everything around him falls to madness. The third and final act is basically a war story, but it's some of the most gripping and disturbing war footage I've ever seen.

There are three things that ring in my mind after seeing Children of Men. First, Jasper (Michael Caine's character) says something about life being a combination of FAITH and CHANCE. He's not referring necessarily to religion, but more so what people are passionate about. Our passions and goals bring us into a situation with many possible outcomes, and then chance determines the rest. He was speaking specifically about Julian (Julianne Moore's character) and Theo, who had met decades ago through common activist endeavors. I thought this was a really interesting statement, because it stands apart from many similar statements that involve divine intervention. The second thing that I came to love about the movie was Theo's character. Our world is dominated by greed and violence. In the movie, those two things have completely overruled any other aspects of society. However, he selflessly devotes himself to ensuring the safety of Kee, while constantly avoiding both greed and violence (except self protection). He doesn't know if the Human Project really exists, he doesn't know if Kee's baby will save the world, and he certainly doesn't know if he will survive to see any of it. But he makes a choice and becomes a savior. The final thing, the one that had me fighting off tears, was the idea of a single baby having the power to end human war. I don't know how much more I can say about that without spoiling the story.

Ultimately, I am left with an idea I had in mind before ever seeing the film. A few years ago in a senior seminar at MSU, my professor asked the class, "What is the meaning of life?" I had just taken a class on Darwin and natural selection, so I said, "From a Darwinist's perspective, the meaning of life is to reproduce." So tell me, am I wrong? If we lost the ability to reproduce, would a single person feel any hope? Would there be any point to live any more (euthanasia is another prominent topic in the movie)? Take those thoughts with you in your every day life, and I'm sure you'll have a brighter day knowing that our world hasn't come to the terrible state proposed in Children of Men.
Website

Year End Special, Vol 7: Favorite Locals

2006-12-20T10:01:00.000-06:00

Here are the bands I liked from Michigan or Illinois (mainly Chicago or suburbs). Check them out. Do it. Do it.

Best out of Michigan

Anathallo – Floating World : This almost made my real top ten list, but I felt that it fit better here. Much of the inspiration came from a Japanese folk tale - like the Decemberists new album - but for some reason these guys got picked on for being pretentious, while Colin Meloy and Co. were praised. Anathallo's beautiful, complicated pop music rests in a world of its own, and I'm very excited to see where this group goes.
NOMO – New Tones : NOMO is supposedly an Afro-jazz group comprised mostly of U of M masters of music students. Ironic humor aside, their music is sometimes stunning in the same way as many classic jazz artists. Now they just need to made some memorable hooks, and emphasize individual musicianship.
Thunderbirds Are Now! – Make History : I think Justamustache might have hit the nail more squarely on the head, but I'm proud of this group. No one has ever catapulted out of Ferndale, MI and made a sizeable dent in the indie rock community before. Rock on, and bring that exclamation point.
Those Transatlantics – Knocked Out : This seems to be a summer project of five Central Michigan University students, which is surprising, given how good the music actually is. I saw them at Abbey Pub over the summer and was impressed off record as well. Hopefully they'll put a full-time push into their music sometime soon.

Best Out of Chicago

Bound Stems – Appreciation Night : These guys just might be onto something new. It's not quite the disjointed indie rock of Modest Mouse, and it's not quite the buzzing-with-life collective rock of Broken Social Scene. It's something very....Chicago. But it's also something very intriguing.
Kyle Mann Combo – Goodbye Kites : I'm a huge Ben Folds Five fan, so the idea of a piano/bass/drum trio immediately grabbed me. Luckily, I wasn't let down. They produce some memorable music with intelligent lyrics and a whole lot of class.
Chin Up Chin Up – This Harness Can’t Ride Anything : CUCU is a tricky band. Just when you're about to write them off as a Cure copy (or any other kind of copy) they impress your pants off. They are becoming a special band to Chicago, not only because of their intimate connection with venues like Empty Bottle, but just because they make music that belongs in the Windy City.
The Diminisher – Imaginary Volcano : This is a hidden treasure that rests somewhere between the eclectic late-'60s work of Pink Floyd and the Beatles, with a dash of medieval flavor. Their MySpace page only has like 300 views, but hopefully I can help in that department.
Wax on Radio – Exposition : I had the pleasure of seeing this band recently at Beat Kitchen. Mikey Russel has a voice like I've never heard before. They play rock music of different varieties, but they are progressive in that they have the ability to finally eliminate many annoying mainstream trends of the past 15 years. Are they headed for radio? Maybe. Do I care? Hell no. I hope they take over the world.

Year End Special, Vol 6: Live Performances

2006-12-20T09:43:00.000-06:00

I don't have much time anymore since I have to move tomorrow, so the rest are gonna come quickly. Maybe I'll return to them later to add more info. These were the bands that wowed me the most this year on stage:

Broken Social Scene @ Lollapalooza 2006 - 8/6 : Hands down the best set of the festival, and the moment I finally made peace with Chicago.
Disco Biscuits @ Lollapalooza 2006 – 8/5 : I'd rather see them play in an open field or a beautiful theatre, but damn were they fun.
Of Montreal @ Metro – 3/10 : Kevin Barnes is insane, but it makes for good stage presence.
Bloc Party @ Intonation Festival – 6/25 : Overall, the Intonation Festival was a joke. But this band brought every ounce of power from their album to the live setting.
Mice Parade @ Empty Bottle – 2/13 : My first experience with the Empty Bottle's free Mondays turned out to be an extremely pleasant surprise. This band is under-rated.
Aloha @ Schubas – 8/20 : Yay for xylophones. I'll never tire of them. Their intricate instrumentation and various moods come across the best on stage
The Little Ones @ Schubas – 11/16 : These guys bring southern California with them in the tour van. Bring your board shorts and sunscreen if you ever get a chance to see them!
Anathallo @ Lollapalooza 2006 – 8/4 : The Michiganian mini-marching band played at 1 pm on Friday (one of the first sets of the festival), but set the bar high for the rest of the weekend.
Evangelicals @ Schubas – 10/1 : What a wild trio. Schubas music room almost couldn't handle it. They have the potential to become a special band with a dedicated cult following.
Yo La Tengo @ The Vic – 10/5 : Their set at Pitchfork was unsettling, but this controlled environment allowed them to cultivate all their quiet and loud noises with perfection.

Year End Special, Vol 5: Bands I Hate the Most

2006-12-18T14:40:00.000-06:00

Once again I don't want to dwell on these overhyped, undeserving, wastes of space. I just need to vent quickly, and then we'll return to more pleasant issues. These are the bands I hated the most in 2006:

The Walkmen – A Hundred Miles Off : I hold them at least indirectly responsible for delaying the recognition that French Kicks (former label mates) have deserved for years now. And then, when the Kicks get the push they need, their music lacks the same sparkle that drew me to them. The Walkmen are copycats and overall terrible musicians. Avoid them at all costs.
Joanna Newsom – Ys : Newsom sings like an epileptic, demented elf. I don't care about Van Dyke Parks' arrangements, I don't give a crap about Jim O'Rourke's production, and Newsom's harp skillz don't do shit for me. If only one guitarist existed in the world of independent music, he would not deserve praise for being the best guitarist. I think my next Anti-Hipster feature will cover this one, so I'll stop for now.
TV on the Radio – Return to Cookie Mountain : I've already written an extensive feature about this filthy rubbish (see the July section of this blog). They'll fade away...just wait.
Bonnie “Prince” Billie – The Letting Go : He claims that music writers spend too much time categorizing and not enough time sharing. Well, Mr. Billie, if it makes you feel better, I'll share your music with my trash can. That's where it belongs.
Clap Your Hands Say Yeah – Clap Your Hands Say Yeah : It's the voice on this one. I can't stand the voice. I'd rather listen to CDs chock full of nail-down-the-chalkboard recordings. Does that idea alone make you cringe? That's what this band does to me.
Arctic Monkeys – Whatever People Say I Am, That’s What I’m Not : It doesn't matter what records they set or how much they got yapped about on the internet. This is lousy, derivative rock music with no future.
The Raconteurs – Broken Boy Soldiers : Damn you, Jack White. Damn you to hell. Whatever artistic credibility you held with the White Stripes (a band I never even enjoyed) is now gone. Go rot in your world of classic rock radio giants.

Year End Special, Vol 4: Biggest Disappointments

2006-12-18T14:38:00.000-06:00

This is a tough one for me. I don't like to center on the negative of anything, let alone bands that I was once obsessed with. But I've recently learned an important lesson. Artists and bands have to work for my devotion (just as they should have to for everyone else, although that's not always the case). Every single release from a band needs to be considered without bias. Each time a band records, they have the opportunity to create art. I have a feeling that the most artistically creative bands will see a power boost in the near future, thanks to resources like MySpace that send their music to a wider audience without the help of a major label.

Just because a band is on this list doesn't mean I hate their new album, or even that I wouldn't recommend them to a friend. It just means that they have had better moments. I know their potential on record, and this year they didn't reach it. With that said, these were the biggest disappointments of 2006.

Yeah Yeah Yeahs – Show Your Bones : While their earlier work was comprised mostly of gritty, exciting art-rock, this album is nothing more than alternative pop/rock. Whether it's the boring time signatures, lack of guitar and drum explosions, or the absence of violent, sexual tension in Karen O's voice - this recording was a sonic kick to my groin. Maybe Karen O will one day join the ranks of lead-singers-gone-solo like Gwen Stefani (can you sense the bitter sarcasm?).
French Kicks – Two Thousand : 2003's Trial of the Century was one of my favorite records of this decade (if not of all time). Their '60s rock asthetic, subtle yet complex guitars and keys, and swooning vocals reached a pinnacle there. But this album doesn't feel as special. Maybe I shouldn't pick on them. Everyone has creative slumps, and I have a feeling they will make more memorable music in the years to come, and should reap the benefits of their newfound boost in promotion.
The Decemberists – The Crane Wife : I don't care what any critic says about this album. The group's main concern here was to create a record that would suit a major label (Capitol), regardless of whether or not the label pressured them to sound a certain way (the band says they were not pressured). They used to record every song as if it were a piece of art being handed down to the successor of some great empire. They've lost the intimacy and diversity that I used to love.
The Flaming Lips – At War With The Mystics : I can't bash the Lips. They are some of the greatest entertainers of our time (which I've been so fortunate as to witness twice). Maybe this is just the band's post-heroin album (well, Wayne Coyne claims to have never used drugs). But whereas 1999's Soft Bulletin was terrifying yet beautiful and 2002's Yoshimi Battles the Pink Robots was unique, introspective space rock, this time around sounds a bit contrived. As long as Coyne's vocal chords don't give out on him, we should expect them to hold the festival performer trophy, regardless of what they do on record.
Incubus – Light Grenades : I've often said that Incubus is the one mainstream band that I will always defend. But really, there were two albums that I loved: 1999's Make Yourself and 2004's A Crow Left of the Murder. Plus, their live show has gotten consistenly better, as they explore new versions of old songs and try out different instruments. This is the same kind of let down as 2001's Morning View, where they rearrange tried styles instead of developing new ones. I won't give up on them though...not yet anyways.
Pretty Girls Make Graves – Elan Vital : 2003's The New Romance was also one of my favorite albums of the decade. The intricacies unfolded only after many listens, until eventually each second on the album feels completely necessary - a true work of art. Now, three years and a small line-up change (exit guitarist J Clark, enter keyboardist/vocalist Leona Marrs) later, they sound like they're trying way to hard. I have a feeling Clark had a lot to do with their ability to build delicate indie rock songs that bubbled until they erupted in a beautiful firestorm. Don't get me wrong. Elan isn't bad, but the romance is over.
...And You Will Know Us By the Trail of Dead – So Divided : What can I say about ToD? I'm happy that they're finally starting to see the success they've deserved for a while (they were recently featured on MySpace). I just can't let go of 2002's Source Tags and Codes. To me, it was a Dark Side of the Moon for a new generation - and proof that the album is still an important medium (despite the general public emphasizing the rise of the "playlist"). Their mastery of the balance between order and chaos showed itself in truest form that time around. I have a feeling they're not lost for good, but this album failed to hold my attention.

Year End Special, Vol 3: Favorite Songs

2006-12-18T10:06:00.000-06:00

This is a list of my favorite songs of 2006. The number was arbitrary - this is just how many popped into my head when I sat down to compile the list - but the order goes from 1 (most favorite) to the end (barely included). The way to get on the list is simple. All of these songs were stuck in my head at some point this year (and many were featured on my MySpace page...if you've ever visited). You'll notice a correlation with my most favorite songs and the albums that made my Top Ten list. You'll also notice some inclusions from the Biggest Disappointments and Bands I Hate the Most (which should arrive within the next day or two). The point is, a song is separate from an album, but it's also separate from the band itself. I might not like the direction one of my favorite bands is moving, but that doesn't mean a song or two doesn't still give me a thrill. Also, I sometimes think a band is extremely overrated, but I can admit when they have a powerful song or two.

Some will include short bits of info or stories. Some will have links and/or pictures. But some you'll just have to look up yourself. So here are my favorite songs to come out this year. I know you're excited. Remember to breathe!

Destroyer – European Oils : No song pulled on my heart strings the way this one did.
Mew – Why Are You Looking Grave?
Feist – Mushaboom (Postal Service Mix) : The original Mushaboom had more plays on my stereo this year (but that was released on Let It Die way back in 2004). Listen for Ben Gibbard vocals mixed with Feist's, and hope that she is added to the roster if Postal Service ever records again.
The Long Winters – Honest
Neko Case – Star Witness
Aloha – Ice Storming
M. Ward – Chinese Translation : The best road trip song of the year.
Evangelicals – Diving
Phoenix – Long Distance Calls
Serena-Maneesh – Selina’s Melodie Fountain
Girl Talk – Summer Smoke
The Little Ones – Oh, MJ! : These guys probably would have made my top ten list, but they didn't release a full length album yet.
Annuals – Dry Clothes
Camera Obscura – Let’s Get Out Of This Country
Belle & Sebastian – We Are the Sleepyheads : B&S took some leaps on their new album, and not all to good places. But this song blew me away.
Hot Chip – Boy From School
DeVotchKa – Curse Your Little Heart : I'm sad that I missed them live. These Little Miss Sunshine soundtrack-ers make me want to drive to Mexico immediately.
Thom Yorke – The Eraser
The Essex Green – Rue de Lis
Voxtrot - Mothers, Sisters, Daughters & Wives
Wax on Radio - The General of Medicine City
The Decemberists – The Island : The album was lackluster, but this three-part song left my jaw dropped.
Ellen Allien/Apparat – Way Out
Anathallo – Hanasakajijii Four: A Great Wind, More Ash
The Roots – Atonement
My Brightest Diamond – Dragonfly : Her fluttering voice reminds me of Fiona Apple.
Basement Jaxx – Take Me Back to Your House
CSS – Let’s Make Love and Listen to Death From Above : Silly Brazilians (one with a handlebar mustache) knew how to rock Chicago's Pitchfork Festival like no other band.
Band of Horses – The Great Salt Lake : Three words - pedal steel guitar.
Jim Noir – My Patch
The Elected – Would You Come With Me
The Rapture – Whoo! Alright-Yeah…Uh Huh
Tapes ‘n Tapes – Jakov’s Suite : This band was super-hyped, but they do know how to serve up a raw, urgent type of indie rock (like a northern Kings of Leon)
Ratatat - Wildcat
Lily Allen – Knock ‘Em Out : Do not approach Lily Allen at a club, unless you desire to be humiliated
Sonic Youth – James Run Free
The Ebb and Flow - Here Are Caught
The Diminisher - Snail Song
MSTRKRFT – Works On You
Asobi Seksu – Thursday
Those Transatlantics - Boys and Children, Sing for Summer
Yo La Tengo – Pass The Hatchet, I Think I’m Goodkind
Bound Stems – Wake Up, Ma and Pa Are Gone
…And You Will Know Us By The Trail of Dead – Sunken Dreams : This song makes me think that ToD still has it in them to make music with the same cathartic release as is found on 2002's Source Tags and Codes. Here's hoping...
Beach House – Saltwater : This east coast duo creates eerie pop best listened to with your eyes closed
Junior Boys – In The Morning
NOMO – Nu Tones
Sufjan Stevens – Put The Lights On The Tree : Stevens does Christmas (and Michigan) proud with this, one of many originals from the Songs for Christmas box set
Peter Bjorn & John - Young Folks
Subtle – Midas Gutz
The Big Sleep – You Can’t Touch The Untouchable
Black Moth Super Rainbow + The Octopus Project – Spiracle : This was a collaboration between two groups I had never heard of before. They created some amazing indie electronica.
Thunderbirds Are Now! – We Win (Ha Ha)
Amy Millan – Blue In Yr Eye
Aesop Rock – Daylight
The Boy Least Likely To – Be Gentle With Me
Say Hi To Your Mom – Blah Blah Blah
Jeff’s Holiday – College : Yes, he is my brother, and yes, I get this song stuck in my head for days at a time
French Kicks – So Far We Are
The Flaming Lips – Pompeii Am Gotterdammerung : The best copy of Meddle-era Pink Floyd I've ever heard.
Islands – Rough Gem
Disco Biscuits – World Is Spinning (live)
Spank Rock – Bump
Clap Your Hands Say Yeah – In This Home of Ice
TV on the Radio – Hours : I hate this band, but I whistled this song for a week straight while I was busy hating them

Year End Special, Vol 2: Honorable Mentions

2006-12-16T14:07:00.000-06:00

Not everyone made the cut on the high school hockey team, but that didn't mean they sucked (or maybe that's just my opinion - having never made any school team...ever). Anyways, I found these albums highly enjoyable, but they didn't quite make my top ten list. They were lacking in things like originality, consistent greatness or repetitive listening ability. These are in no particular order, and definitely should be checked out.

The Long Winters – Putting the Days to Bed : I'm hoping that John Roderick will carry the torch of incredible Northwestern indie rock now abandoned by Colin Meloy (of the Decemberists) and Ben Gibbard (of Death Cab for Cutie). Look here for breezy, autumnal acoustic (mostly) rock.
Sonic Youth – Rather Ripped : This album was a pleasant surprise for me, since I had been exposed to Daydream Nation only about a year ago and haven't yet gotten into it. Their playing here is organized and melodic, as they stay true to their old style (they practically defined the term "wall of sound") while turning down the distortion.
Serena-Maneesh – S/T : Don't compare this Norwegian group to My Bloody Valentine or Slowdive, despite the fact that they are riding the crest of a shoegaze resurgence. Instead, allow them to demonstrate that shoegaze (that is, dreamy or ambient indie rock) with a hint of psychedelia and a dash of worldly flair can exist separately from those bookmark references.
Thom Yorke – The Eraser : All things considered, the leader of Radiohead did not let us down on his first solo effort. The music is technically similar to Kid A and Amnesiac, but it sounds fresh. The songs work like indie electronic ballads showcasing Yorke's haunting voice.
Subtle – For Hero: For Fool : This group just can't be described with common adjectives. Personally, I feel like they are way more successful than TV on the Radio at creating a new sound cominbing hip hop, rock, and electro. One thing is for sure - they demand attention.
Jim Noir – Tower of Love : If you threw Badly Drawn Boy, Beck, the Beatles, and the Beach Boys in a blender, this is what you'd get (minus all the blood and guts, of course). This bedroom recording project from the British bloke is quite impressive, and is sure to inspire many budding solo musicians to do the same.
Yo La Tengo – I Am Not Afraid Of You And I Will Beat Your Ass : From one point of view, this is a wonderful slideshow of every strengh the group has ever displayed. From another, it's yesterday's news. Also, the albums where they stick to one mood or theme may be more memorable (see And Then Nothing Turned Itself Inside Out and Summer Sun). You decide.
The Essex Green – Cannibal Sea : Sasha Bell has a casual, yet completely addictive voice that seems transported straight from the 1960s. This group (along with Camera Obscura and others) helped to make 2006 the year of indie pop.
Junior Boys – So This is Goodbye : Add another point for our neighbors to the north. These Canadians owe much to 80s groups like Tears for Fears and Depeche Mode, but also to newer electronic pop bands like the Postal Service.
Ratatat - Classics : The next in a growing line of bands to put a tiger in their album art (including The Go! Team and The Big Sleep). This is instrumental indie rock with dual guitars and a drum machine, and it makes surprisingly good Christmas music (go figure).

Year End Special, Vol 1: Top Ten

2006-12-16T10:10:00.000-06:00

Now that I've terminated both my day job and my internship, I have a couple days to spare before packing up and moving back to Michigan to begin my masters of journalism program. In the meantime, I'll try and crank out the biggest and best musical summary of 2006 that I can. This is the first year that I've had such extensive exposure to new music, and I've realized how absurd the idea of a top ten list really is. However, I've been keeping a running one all year, and now I'm going to share it with you. But it won't stop there! I'll also include Honorable Mentions, Best of Chicago, Best of Michigan, Biggest Disappointments, Hipster Bands I Hate the Most, Best Songs of 2006, and Best Live Performances of 2006 (also with honorable mentions). This is also a sort of one year anniversary of this blog. So keep tuned 'cuz this is gonna get exciting!

HEAD DRESS TATTOO 2006 TOP TEN:

10. Camera Obscura - Let's Get Out Of This Country : Sweet, summery, nostalgic indie pop from Scotland. This is the stuff that Saturday Looks Good to Me has been trying to create for years, but without the same payoff.
9. Hot Chip - The Warning : This is the electronica band comprised of four keyboards and a drum machine (they claim to have no computers or pre-recorded material for live shows). The result is catchy, stimulating electronic pop.
8. Neko Case - Fox Confessor Brings the Flood : I thought I didn't like country, but oh that strumming! That slide guitar! Her painful, haunting voice! Case makes me want to cuddle up in front of a fireplace with my sweetheart in a small Colorado cabin, as it snows and snows outside. Sounds nice? So does this album.
7. The Roots - Game Theory : ?uestlove and the gang give a realistic and gritty account of the modern world, while still creating something beautiful. The MC work is impressive, the productions are diverse, and there's not a wasted moment on the album.
6. Mew - And The Glass Handed Kites : These Danish fellows got picked on a lot for having long hair and writing songs of childhood fantasy and fear, but this blend of dream pop and progressive rock is nothing if it's not powerful. Anyone who calls them "uncool" can eat a heaping pile of hipster shit and die.
5. Girl Talk - Night Ripper : Gregg Gillis is winning over the masses with his mash-ups that combine various genres, decades, and styles to produce the best pre-drinking album of all time. He claims it's original music - not a DJ mix - and I'm starting to believe him. Do you?
4. Evangelicals - So Gone : This is not Flaming Lips progeny, even if they do share the same love for vivid, bombastic sounds. This is not a religious album, even if you will worship them after one listen. This is amazing indie rock, full of synth washes, time changes, and flailing vocals. Get ready for a new kind of freak out.
3. Aloha - Some Echoes : Pretty much the only band that fulfilled my expectations this year, Aloha creates intricate indie rock with an integrity level unheard of in modern music. I hope, hope, HOPE that they get their due sometime soon. They should own the world by now.
2. Phoenix - It's Never Been Like That : Finally captalizing on the melancholic yet celebratory fervor inherent in "If I Ever Feel Better" (from their debut United) and "Everything is Everything" (from their sophomore Alphabetical), every song on this album is a special entity. Somehow these Frenchies manage to tap into the very essence of life on these short, simple little bits of heaven.
1. Destroyer - Destroyer's Rubies : This album has been firmly planted in my #1 spot since I discovered it around June. Destroyer sounds like a classic rock band playing in some Western saloon in the abyss of your mind. The mix is so fragile that it really only works on record (they're good live, but not quite as good), as Dan Bejar's voice barely hits notes and the instruments hang onto each other by a thread. Call it a resurgence of my boyhood devotion to Cat Stevens (perhaps due to the assocation with my father, who would sing the songs to me when not playing them repeatedly on our Chrysler mini-van stereo). This record has the ability to make me miss a time during which I was miserable. Not because I want to be miserable again, but because it felt so incredible to discover this treasure even though I hated the state of my life earlier this year. That, my friends, is the power of music.

New Incubus Album "LIGHT GRENADES" Out Today

2006-11-28T22:21:00.000-06:00

Just a quick news flash from my world of music. Incubus' new album Light Grenades was released today by Immortal/Epic. Thus far, I have only heard the track (and seen the video for) "Anna Molly," so I really don't know what to expect. But this band will always have my heart. Each of their albums has had enough ups for me to forgive the downs. Plus, their live show has consistently gotten more impressive (I saw them pretty much every time they came to Michigan from 1999 to 2005). This tour will be scaled back a little from the Crow Left of the Murder tour. The shows are booked at mid-sized theatres instead of stadiums (including a Feb 6 date at Detroit's State Theatre and a Feb 6 date at Chicago's Riviera Theatre), which is awesome for long-time fans. With any luck, the once-teenage girls obsessed with "Drive" are now oblivious to the band's existence, allowing those who appreciate all of the band's styles and strentgths to flock in numbers. Visit the links below for the entire tour schedule, as well as streaming tracks from the new album.

Incubus:
Website
MySpace

The Little Ones @ Schubas - 11/16/06

2006-11-20T14:56:00.000-06:00

(This review was posted on thetripwire.com on November 20, 2006. Keep an eye on that website for more of my work in the near future.)

Once upon a time (about five years ago), a band from L.A. called Sunday’s Best made some of the prettiest pop music suited both for seaside lounging and mountaintop snow sports (in fact, they were featured on the monstrous soundtrack for the Microsoft snowboarding game Amped). Unfortunately, that band got tagged with the fated “emo” label, and, for unknown reasons, faded into oblivion. Now vocalist/bassist Edward Nolan Reyes (switching to guitar) and drummer Ian Moreno have moved on from that band to form The Little Ones. Joining them are Brian Reyes (bass), Lee Ladouceur (keyboard), and Greg Meyer (guitar). Their combined forces make them the most difficult to hate band of the year. A glance at their abstract yet cheery album art brings to mind The Shins CD inserts, but don’t expect this band to be a carbon copy.

Their recently released Sing Song EP (Astralwerks) is fun, to say the least. According to the band’s website, ”They came up with Uncle Lee’s Rule of Feet [during recording]. The rule stated that a song was deemed appropriate if, and only if, each of the Little Ones’ feet could shuffle.” Luckily, the self-imposed rule led them to success. Their indie pop is catchy like label-mates Phoenix, sun-soaked like older Phantom Planet, and smooth like the disbanded Sunday’s Best. But these days, a band needs an extra push to rise above redundant internet buzz. The Little Ones’ vibrant, distinctive live performance accomplished that with ease. From start to finish, Ed Reyes stood confidently at the front of the stage with his Rickenbacker guitar that shined red like a well-waxed surf board. His voice is timeless, providing the key element that makes their music so memorable. Ed and Brian were immediately recognizable as brothers, which added a familiar vibe to the already pleasant atmosphere. Furthermore, they played as if the audience were their close friends, instead of alienating the crowd as many current bands do.

The group’s sound screams of California (just like Ladouceur’s bushy, blond hair). You could practically hear sea gulls and waves crashing in the background, and hints of an ocean breeze made their way through Schubas music room. Plus, they have so much fun on stage that I almost hitched a ride to Cali with them. Most of their songs are very beat oriented, although the drums didn’t stick out over any other instrument. The keyboards are subtle but vital, adding extra flavor to the already zesty music. The separate instruments melted together as Uncle Lee’s Rule of Feet applied itself to the audience. All of a sudden, smiling and dancing were not a choice, but happened automatically for the majority of viewers.

The band (expectedly) played all seven songs from their EP. The melody on “High on a Hill” brought to mind the ‘50s pop from the movie “That Thing You Do.” The band combined that aesthetic with the ‘80s flavor of Simple Minds on “Oh, MJ.” The drawn-out “whoa” at the start of “Let Them Ring The Bells” sounded as if it were borrowed from Mates of State. The upbeat jingle “Cha Cha Cha” turned many frowns upside-down, despite how grumpy or weather-trodden Chicagoans tend to be. On “Face the Facts,” the band even dared to use a cowbell, and then managed to not sound pretentious (after all, the cowbell has become the most overplayed, albeit underused, instrument of the decade thanks to Saturday Night Live). At one point in the show, Ed Reyes warned the audience that the upcoming song was extremely dark and hoped they wouldn’t be disturbed. Even those who had heard the EP half believed him, but were relieved when the lighthearted affair was not interrupted by some depressing spell. “Lovers Who Uncover” closed the set, providing an updated take on Sunday’s Best’s airy indie rock. That song’s hand claps and “hey” chants secured the devotion of anyone left in the crowd who wasn’t already dancing.

Listeners who are still on the fence after hearing the Little Ones’ studio recordings should be much more interested after seeing them live. They affirmed the notion that a band’s true potential is demonstrated on stage. At this point, the band has a couple different directions they can take. But that’s the point of an EP; to test out the water. For the Little Ones, the water looks warm, crystal-clear, and full of little multicolored fish waiting to follow them. And since Sing Song EP is a stronger set of songs than most full length albums this year, it should hold over fans until the band can supply a full length CD of their own. Until then cherish the beautiful feeling their music inspires, and don’t fight the urge when your feet start to shuffle.

The Little Ones:
Website
MySpace

Jeff's Holiday

2006-11-19T10:10:00.000-06:00

I'm a total douche bag of an older brother and I should have posted this a long time ago. My brother, Jeff Meador, has a recording project called Jeff's Holiday. He has a free CD available for download from his website (link below) titled Young and Restless. It is really cool, especially if you're a fan of Radiohead's Kid A/Amnesiac sessions, The Postal Service (or other indie electronica) or Cocteau Twins (or other ambient pop). He's now a freshman at MSU and writes music in his teeny tiny dorm room. Keep an eye on his MySpace page for news about the upcoming CD this winter.

Jeff's Holiday:
Website
MySpace

Rad Videos!

2006-11-14T09:19:00.000-06:00

Here are some sweet videos that I've recently come across. I've been thinking a lot about the future of music videos. YouTube won't be around forever. It's been sold to Fox, and copyrighted material is being snatched away as I type. In the meantime, it's pretty amazing that we can view these works of art in the comfort of our homes on broadband internet.

1) "Whoo! Alright Yeah...Uh Huh" by The Rapture - These guys look like they're having more fun than the Beastie Boys ever did fighting for their right to party. Check out the jukin' moves at the end! I think the appropriate response is "BOOYAH."

2) "Over and Over" by Hot Chip - I missed these guys at Metro on 11/10, but I've fallen in love with these videos. They appear to be true musical and visual artists.

3) "Boy From School" by Hot Chip - Watch the whole thing! Wait for the end! It's worth it!

October Show Highlights

2006-11-09T11:16:00.000-06:00

Given everything that's going on right now, I should be forgiven for occasionally forgetting to cover a show. However, these shows were stellar, and they deserve mention.

Mobius Band wsg. Baby Dayliner @ Empty Bottle 10/18

Baby Dayliner

I saw this guy, who goes by Baby Dayliner, take stage after the opening band, and I thought he was going to introduce Mobius Band. As it turns out, he was about to perform a set. It looks like he's performed with a full band before, but this time he was just singing to a CD blasing over the PA. The first song sounded like a Barry White cover, and I quickly took my hater stance in pure anti-hipster form. I saw these girls in vintage dresses and guys in nasty sport jackets and mowhawks dancing their hearts out, and I wanted to strangle each and every one of them. However, as the performance went on, it became very difficult not to enjoy it. The soul and R&B gave way to more pleasurable sounds not far off from some of Beck's best work. Baby has an undeniable stage presence and a voice that reminds me of Morissey and David Bowie. So next time bring the band along, and maybe I'll start dancing too.

Mobius Band

Mobius Band were a hit on MSU's Impact Radio while I was still a student, so I was very excited to hear their brand of electronic indie rock. For only three people, they create a lot of racket. But their EP and debut album have more memorable moments than many bands with four LP's under belt. Currently, I'm at a loss for words (that's probably why I didn't write a review and it took me so long to post anything), so let's enjoy YouTube while we still can:

Anathallo @ Schubas 10/27

Anathallo

Anathallo appears to be the little band from Michigan that could, just like that story about a train engine climbing a long mountain and puffing "I think I can, I think I can." Well, I know they can. After a triumphant set on Friday at Lollapalooza, they returned to play my favorite Chicago venue (Schuba's) on Halloween weekend. It was enjoyable, but their sound it better left outdoors. Here's an older clip I found on the Tube (not the best quality, but better than nothing):

Aerosmith in Detroit - 10/11/06

2006-11-05T22:37:00.000-06:00

I wasn't at this show, but I have seen Aerosmith three or four times and I must say that I'm amazed they're still touring. Hell, it was amazing that they were still doing it back in '97 on their Nine Lives tour. Anyways, my dad sent me these pictures from his camera phone. So this is where technology is taking us. Those arena rock giants that once seemed so surreal and distant can now be sent via the internet to get up in your face. Aerosmith shows might be a tad predictable now, but they put on a live rock 'n' roll performance unlike any other American classic rock band. If that tickles your pickle, make sure to catch one of their shows before Joe Perry's half-robotic arms fall off, or Steven Tyler's viagra gives him a fatal heart attack. Check out Tyler's nose hair below:

Nirvana DVD Review - Live! Tonight! Sold Out!!

2006-11-02T19:12:00.000-06:00

In 1994, not long after the suicide of Kurt Cobain, a VHS tape entitled Live! Tonight! Sold Out!! was released to the general public. Now, a whopping twelve years later, the home video project will be available on DVD format.

This video compilation is definitely not a tool to attract new audiences to the band. It is more of a note in a bottle cast off from a sinking ship. The DVD has little direction and lacks the glossy finish of their major label albums. From one perspective that is favorable, since the video plays like a brutally honest documentary of a band that swerved out of control. On the other hand, Live! would have profited from some sort of narration or timeline presentation.

The program alternates between band interviews and concert performances, and promises to be informative and surprising to most viewers. Lead man Kurt Cobain looks far too comfortable in front of the camera. Meanwhile, bassist Krist Novaselic is enthusiastic about sharing his opinions, but is too inarticulate to convey meaningful information. Seeing drummer Dave Grohl in a state similar to Novaselic, it’s hard to believe that he would go on to do the Foo Fighters so soon (and, for a short while, so well). But the band seems to get along well in interviews, taking turns to talk and complementing each other’s points.

There is a gripping segment explaining how the band dealt with the popularity of their 1991 album Nevermind, but more specifically the radio hit “Smells Like Teen Spirit.” The band is shown playing the song on British music program “Top of the Pops” with Cobain singing an octave too low and barely playing his guitar at all. This section is followed by a barrage of media clips, including the band’s appearance on top 10 lists with Michael Bolton and Michael Jackson. The DVD is painful to watch – especially the closing moments which show the band destroying multiple stage sets – just as their music is often painful to listen to.

There is a lot of talk about the band’s influences. They were punk through their dedication to freedom of expression and rebellion against the music industry. They were pop because of the simplistic, infectious, and sometimes meaningless nature of their songs. They were heavy metal because they were loud and powerful. They were indie rock because of their wall-of-noise style, and passion and integrity. And there are specific bands that inspired them from each of those genres. Pop – the Knack; punk – the Clash; hard rock – Black Sabbath, David Bowie; indie rock – The Pixies, Meat Puppets, etc. Of course the world ditched all those descriptors for two: alternative and grunge.

There is also a lot of talk about “the next Nirvana,” a concept that comes to mind when bands like Arctic Monkeys are made into such a big deal. The band maintains that their music was about fun and freedom. It’s still a mystery how the band could have become such a worldwide powerhouse, but it definitely has something to do with the specific elements they incorporated into their music. Plus, their timing was impeccable. Generation X needed this reckless abandon and meaningless noise. When Cobain spit in and humped the stage camera, thousands of people cheered, smiled…and loved him.

The DVD presents some important questions. First, why did a band so intent on staying perpendicular to the music industry sign with a major label? Could it have been the money? By the way, Cobain topped Forbes.com’s 2006 list of Top-Eearning Dead Celebrities, while money-grubbing widow Courtney Love topped my list of worst human being ever. Second, what is the lasting impact of Nirvana over a decade after Cobain’s death? Does anyone, even former die-hard fans, listen to their albums anymore? Around the new millennium, the opening four chords of “Teen Spirit” could be heard sadly echoing down college dorm hallways and emanating from family basements. And now, the scruffy long-haired kids at their shows are in their twenties and thirties, with kids, careers, and car payments. There is no doubt that Nirvana was an important band. But their import may lie not so much in the public domain as inside of whichever fans can still relate to their craft.

Live! Tonight! Sold Out!! will be released to the public by Universal on November 7, 2006.

Amazon.com:
Live! Tonight! Sold Out!! (DVD)

The Hourly Radio @ Darkroom - 10/29/06

2006-10-31T21:35:00.000-06:00

On Sunday, October 29th, The Hourly Radio played a half-hour set at Chicago’s Darkroom. I hadn’t heard of the venue before the show, since it is more of a club then a live music hot spot. The stage was situated in a rear corner, while a rectangular bar glowed red in the center of the room. The first thing I noticed was the low attendance. To the band’s dismay, the crowd never grew past 15 or 20 people. It’s easy to empathize with performers who tour the country playing shows that no one comes to. But a band has to spread its name somehow, and good old fashioned word-of-mouth by touring never hurt anyone. Luckily the band seems on the right track in the touring department. They recently shared some shows with Clap Your Hands Say Yeah and opened for a stretch of stellastarr*’s tour. It doesn’t look like anyone is pointing fingers for leeching off of buzz bands as of yet.

Aaron Closson announced a few songs in that the group is from Dallas, TX, which almost made me wish that he had a marked southern accent. Closson was on stage with Ryan Short (guitar), Adam Vanderkolk (drums), and Tim Jansen (bass). The band wore all black clothing with white lights shining on their faces. This made them look almost too serious, but then again they didn’t have much to work with as far as stage production goes. Closson has an extremely distinguishable voice that sounds exactly the same live as on CD – a noteworthy fact considering the over-produced sound of the album. However, few people still want to hear those high-pitched wavering vocals reminiscent of the emo explosion around five years ago.

It is regrettable that the band chose not to play “Travelsigns,” the opening track from History Will Never Hold Me (released on Kirtland Records on September 5^th). That track’s floating guitars, washed-out synths, and crashing drums would have been a welcome change during the somewhat mundane show. “Crime Does Pay” is one of the bands tagged singles and was saved for the last portion of the show. The band’s embarrassing lyrics (“Get off / get free / get off ‘cause I miss you too”) were kept afloat by the bouncy rhythm. Granted most pop music is relatively meaningless, but some complete, intelligible phrases would not be unwelcome. On “Deaf Ears,” the band’s other single, Closson screamed “suffer to know your cold heart is to blame” without a shred of pain in his voice, like he had only witnessed heartbreak in movies.

The band emphasized their beats and vocals throughout the entire show, but failed to provide any build and release. They avoid chord changes or even the slightest bit of exploration. Instead, they prefer to keep arrangements tight, which would be beneficial if the songs were catchier. It’s much more interesting when a band can pump new elements into familiar formulas, or at least give of themselves entirely in the process. But the band sounded like they have been playing these songs for years, only to be slightly tweaked by a record label (albeit an indie one). Don’t get me wrong. Watching the band was not a completely unpleasant venture. The most enjoyable moments of the show came when the band combined power pop with a retro shimmer, like Jimmy Eat World crossed with Tears for Fears. But the band’s naïve lyrics and sleep-inducing sounds set them way back when it comes to indie credibility.

Watching the group play, I couldn’t help but think that someone had sold them a big fat lie about becoming famous on MTV. I kept asking myself questions: What is their target audience, and what are they trying to accomplish artistically and professionally? They seem to be emulating a sound and image popularized by FM radio bands like Franz Ferdinand and the Killers, but the most obvious connection is to U2 (hey, why not try to replicate the world’s most successful rock band?). Maybe the band will find a place in the frat party scene and subsequent bar star crowd. According to the band’s website, they were recently featuring in Rolling Stone’s Hot List of editor’s Top 5 Picks. But the fact that the magazine draws a comparison to My Bloody Valentine is completely unfounded and utterly offensive, regardless of whether you think Loveless is one of the best albums ever created.

As the band’s set came to a close, not much had been accomplished. The group did, however, manage to capture the attention of some Darkroom visitors dressed as our country’s founding fathers. Those fellows probably didn’t come to see The Hourly Radio (or any band), which is a testament to the group’s accessibility. The band needs to pump some passion into their craft and find new angles to approaching their influences. Then, maybe, they would create something – on album or on stage – that is a little bit more memorable.

MySpace link:

The Hourly Radio

Evangelicals and Say Hi To Your Mom @ Schubas - 10/13/06

2006-10-31T21:26:00.000-06:00

It's an interesting outing when a live music addict gets to see not one, but two, much talked about bands on one bill. Say Hi To Your Mom's album Impeccable Blahs was released this summer on the band's own Euphobia records. A little pre-show research unveiled that the Brooklyn-based group has released three other albums, although only the new one has people saying their name repeatedly. That name may or may not have been inspired by Keanu Reeves' line in Bill And Ted's Excellent Adventure referring to Kim Basinger. The name could also have been a reflection of the American Pie term "milf." According to their website, they are named after "Midwestern dairy queen civility." Bottom line - it's catchy.

Walking into Schubas Tavern is always exciting. The wooden arches over the stage are welcoming, and the finger-smeared plaster on the ceiling is a sort of testament to the number of dedicated musicians and fans that populate the venue on a daily basis. What's more exciting is walking into the music room when it's filled to the brim. The funny thing about Chicago is that local opening bands tend to draw a bigger crowd than many headliners.

Eric Elbogen started the show with the introduction, "We're Say Hi To Your Mom," even though he was the only player on stage. With less people and equipment present, the room felt more open. "These Fangs" was among the first songs played from the new album. Elbogen smirked as he sang, "And I don't mind if you want to hide your fangs too." Those who hadn't read up on the band might not have known that their new album is about vampires (how suiting for a Friday the 13th). Most peoples' first response is to say that's cool, or unique. But is it just a gimmick to get our attention, or is it a more profound statement about human nature and the vampire-like propensities within all of us? Either way, this is the stuff of dreams for college radio stations. There is a shed of Blink 182 in the chord arrangement and general sense of playfulness, but new wave also comes to mind (think of The Knack's "My Sharona").

"Blah Blah Blah" was presented with a fresh quality reminiscent of the Postal Service, as Elbogen vowed to drink our blood over lo-fi electronica beats. "Sad, But Endearlingly So" was the closest the band came to sounding like a typical New York indie rock act. Fortunately, the shadow once cast by the Strokes has now dissipated, making room for many different sounds. One stand-out song not on the new album was "Let's Talk About Spaceships," which appeared on the 2003 album Numbers & Mumbles. The song seemed anchored in the emo craze from earlier this decade, with a fragile manner and lack of confidence that is largely missing on Impeccable Blahs.

Halfway through the show, Elbogen apologized for forgetting the words in a song. He said he usually has other people on stage, and gets a bit nervous alone. It's that endearing quality which draws people to music like this. Elbogen is not a rock star. He's just a guy with a guitar, vocal chords, and a vintage synthesizer. Unfortunately, I couldn't help but think that SHTYM would be more interesting with the backing band. That could be why the crowd slowly dwindled throughout the set.

How sad it was, because Evangelicals were about to drop a bomb of incredible sound on Schubas. The three members led by singer Josh Jones came prepared with decorations and stage props - leafy green vines, red and green flood lights shining up from the floor, and a smoke machine. Stage preparedness should be a given for folks who grew up in Norman, Oklahoma, where the "local band" was the Flaming Lips.

The band played most of the songs from their debut So Gone, which Misra released in June. On "Another Day (And You're Still Knocked Out)," the group switched between high-speed chord changes and drawn-out arpeggios, sometimes taking a silent moment to switch effects pedals. With the red light shining up from below, casting huge shadows on the walls, they resembled elves dancing around a mystical fire. For an unknown reason, Jones wore no shoe or sock on his right foot only.

Songs like "Here Comes Trouble" made obvious that they would benefit from having a fourth member to man the keyboard and synth, instead of putting bassist Kyle Davis on double duty. "Goin Down" had Davis bouncing quickly around his fretboard as Austin Stevens whipped up a storm on the drums. After only 20 minutes of playing, Jones announced that they had two more songs and almost killed the mood. It seems that they have little experience as a headline band up to this point.

Before playing "What An Actress Does Best," Jones told a story about meeting an attractive girl, only to discover too late that she's a transvestite. He claimed the point of the story was to bash dishonesty, not trannies. But for a band who might prefer to be talked about without a mention of the Flaming Lips, there are many inescapable similarities. For one, Jones has a spacey, disjointed method of speech that is a close match to Wayne Coyne's on-stage story-telling. Plus, Evangelicals' free-wheeling, psychedelic rock with country underpinnings is not far off from some of the Lips' work.

The unpredictability of their live show was established early on, but manifested wholly during "Actress." Jones broke a guitar string about 30 seconds in and stopped the band so he could grab a new guitar. That artistic choice prevented the sound from faltering, but it also inspired more people to go home. In fact, by 12:30 am there were only about 20 people left in the audience.

That said, the world might not be ready for Evangelicals. Their music evokes rainbows, waterfalls, and surface tours of the Moon. They are young and full of potential, and they have to learn how to harness all their wild energy into a steady stage performance - but they are definitely a band to watch over the next few years. As a blustery Chicago slowly turns into a winter bedroom community, shows like this will keep things moving. What a shame that only 20 people were up for the ride.

Myspace links:
Say Hi To Your Mom
Evangelicals

Yo La Tengo @ The Vic - 10/5/06

2006-10-31T21:21:00.000-06:00

(This review was posted on thetripwire.com on 10/10/06. From now on, I'll also be posting my work for thetripwire.com on this blog. Enjoy!)

Yo La Tengo graced the stage of Chicago's Vic Theatre on October 5, 2006. This was a clutch event for a venue that only occasionally brings in such respectable bands. Anyone who saw the group perform in July at the Pitchfork Music Festival might have been worried going into this show. Unfortunately, that performance was plagued with technical issues (their playing faded in an out, and sound bled in from the other two stages). A dedicated fan gave them the benefit of the doubt, and assumed that their craft would be better suited for an indoor theatre. Luckily an opportunity to witness such an occurrence wasn't far away, and those same fans wouldn't be let down. The audience at the Vic was filled with people in their upper 20s, many of whom seemed to approach the concert as more of a gallery exhibit than a rock show. There were hardly any of Chicago's typical hipsters in the crowd. The stage was bare of any decorations - only the drums, keyboards, and stage speakers could be seen. This choice left it completely to the band to entertain. The band looked like they had vanished into a New Jersey basement sometime around 1986, only to emerge twenty years later to an underground music world that has changed a dozen times. With Ira Kaplan in jeans and red Converse sneakers, Georgia Hubley in long-sleeved striped tee, and James McNew in plaid, the attention was further placed on the music.

They quickly established their foundation of Beach Boys and Velvet Underground influences, with obvious connections to bands like Sonic Youth who also emerged in the late '80s. The show had a pleasant flow, alternating between quiet droning songs and riotous noise. On top of that, the band approached their live performance like a work of art. They talked infrequently, and instead concentrated on the minute details of their presentation. The band emphasized songs from their new Matador release, I Am Not Afraid Of You And I Will Beat Your Ass, but played a variety spanning their entire catalog. On "Pass The Hatchet, I Think I'm Goodkind," McNew thumped out his "one-two one-three one-two" bassline while Kaplan performed a sort of interpretive guitar dance - abandoning any conventional methods of playing. He pounded his whammy bar and flailed around, trying to extract whatever new noise he could. The result was phenomenal, and brought to mind what most people today can only witness on a Jimi Hendrix DVD. And this was only the second song of the concert.

The band showed the softer side of their current ass-beating campaign with songs like "Mr. Tough," which bounced with a youthful quality like the Charlie Brown theme song. Hearing the indie pop of "Stockholm Syndrome" played with such sincerity was truly fulfilling after hearing it for so many years only on their 1997 masterpiece I Can Hear The Heart Beating As One. It's always impressive to see band members play various instruments, especially when they take on each other's regular roles. The usual arrangement was Kaplan on guitar, McNew on bass, and Hubley on drums. But they changed up often, especially when Kaplan would man the keyboards. All three members had near equal singing duties, an amazing fact considering the inability of most bands to secure a single reputable vocalist.

Yo La Tengo's sound is one of a band who has completely discarded any hopes of being cool, and still blows most acclaimed bands out of the water - that means anyone on MTV or radio, but also indie critic gems that are given too much credit. They are also the ultimate indie band for staying with Matador throughout the years. They will never expect the music business to cater to them, but they discover artistic awards most bands will never know. The show was intimate, as if each member of the audience was hanging out in a living room with the band. Furthermore, a live show unveils new dimensions in their music instead of constraining the band. This is partly due to the lack of electronics that are so rampant in many currently performing bands. Where Yo La Tengo really succeeds is taking their few main musical influences, combining them with any inspiration they gather, and creating music with integrity and meaning. They prove in a single sitting that there's still some joy and wonder left in the world. The problem for most is that the joy is extremely hard to find, because it lies so deep inside. But as long as Kaplan and company keep mining that existential gold, they will hold their high seat as one of the America's greatest independent rock artists.

Website:
Yo La Tengo

News

2006-10-05T10:43:00.000-05:00

It looks like I won't be writing much on this blog anymore. I recently got an internship at UR Chicago Magazine in editorial journalism. Between that and still working at the animal hospital, I have about zero free time. Try to catch my work on their website (http://www.urchicago.com), and look at Noise (part of Lansing State Journal) once in a while to catch my Take Five Music column (http://hub.lsj.com). Have fun this autumn!

Elf Power @ Beat Kitchen - 9/16/06

2006-09-17T19:08:00.000-05:00

Elf Power w/ Geoff Reacher and Probably Vampires @ Beat Kitchen - 9/16/06

MySpace links:
Probably Vampires
Geoff Reacher
Elf Power

Tonight something happened that hadn’t happened in a while. Well, that is if six weeks (the time since Lollapalooza) is a while. But tonight, Probably Vampires, a local band who I’d never heard of, rocked my fricking socks off. Period. They have one of the most clever names I’ve heard in a while (which allows for the creepy yet captivating introduction “We are Probably Vampires”). Watching them with a clean slate caused me to draw comparisons to bands I do know. On one hand, there were moments of stoner rock that came off like a tolerable version of Queens of the Stone Age. Other times power pop reigned supreme, bringing to mind Jimmy Eat World. Finally, a guitarist resembling David Gilmour and a keyboardist sounding off like Rick Wright demonstrated an obvious devotion to the classic rock of Pink Floyd, among others. All five members had stage presence, especially lead singer Matt Ostrowski. His behavior was borderline androgynous as he shook his skinny hips and waved his hands around his long brown hair. He reminded me of Brandon Boyd, even before he ripped off his t-shirt. He also reminded me of Stillwater’s front man in the movie Almost Famous (“I find the one guy in the crowd who isn’t getting off, and I make him get off”). Two songs in, he targeted some chatting girls up front and said “Sorry to break up your sewing circle, but we’re playing a show up here.” I laughed out loud, considering the crowd was less than 30 people at that point, and not many had come to see their band. But I knew from the moment I walked in – as the guitarist rubbed a bow down the strings of his blood-red Gibson SG creating the background for a vampire-worthy, drawn-out blues track – that these guys have something special. I was convinced of that by the time of their bombastic finale, and I will definitely keep an eye on these young locals.

Probably Vampires

Second was Geoff Reacher, a solo artist who took the stage with a red flower pinned to his t-shirt (which read “Fuck Geoff Reacher”) and a distinguished cap on his head. I spent a lot of time figuring out exactly what he was doing on stage. Basically he played guitar and sang along with preprogrammed beats and synthesizers. I liked that there was no laptop to be seen, because it added mystery to the show. The bottom line is that he got the kids to dance – an impressive feat in a town like Chicago. His vocals weren’t amazing, but he had a bluesy quality not unlike Langhorne Slim. Overall, he provided something new, interesting, and fun. And to do that alone takes balls. Looking further into his work reveals a strong influence from early Flaming Lips and Beck. He actually provides support for the argument that Beck was an accident (instead of the musical genius he’s often described as).

Elf Power, the headliner, took the stage around 11:30 pm. They weren’t really the highlight of the show, but they were darn good. Their music spanned all things indie rock from the first emissions of R.E.M. to present Elefant 6 partners Of Montreal, or other orchestral indie pop collective Broken Social Scene. I kept wondering why a band like this, who has been releasing music since the early 90’s, isn’t bigger by now. Then I remembered that no one from the Elefant 6 collective gets the credit they deserve (aside from Of Montreal, who are constantly inflating). These musicians are sinking into myth and legend along with Neutral Milk Hotel and Olivia Tremor Control. The cello and occasional clarinet provided an organic feel similar to that created by the Decemberists. Furthermore, the lead singer played an electric 12-string guitar throughout the set (Colin Meloy always sticks to his acoustic). That was something I had never witnessed before. They managed to keep the audience dancing most of the time, especially on songs with a quick and steady beat. Watching their music videos on YouTube.com, I realized they are also very in tune with the Flaming Lips’ earlier work. So they may not be the best example of psychedelic indie pop around today, but I am happy to have seen them. I hope they find a place in the super-hectic new millennium music world.

The show was $10 very well spent. For three hours I felt good, forgetting about the turmoil prevalent in my life right now, and the absence of common comforts. Next I hope to make it to see Asobi Seksu at Schubas on 9/22/06. Look for my report in the days following.

Video: "Never Believe" by Elf Power, from their 2004 album Walking With The Beggar Boys (released by Orange Twin)

CD Releases - 9/12/06

2006-09-11T09:53:00.000-05:00

I should really dive into CD releases more often. This year it seems like every band I follow is releasing new music...or maybe I just follow 10 times the bands that I used to. This week I see three CD's that I'm excited about. Since I haven't heard any of them yet, I'll just share what I know.

1) Basement Jaxx - Crazy Itch Radio (XL) : Their previous three albums were superior to any international electronic artists, including Daft Punk or Chemical Brothers, if you want a bounce-off-the-walls type of party. The problem with these groups is that they constantly try to top themselves, and often fail. Basement Jaxx, though, has not had a bad moment yet. Rooty's "Do Your Thing" is THE song to lift your spirits when you hate the world, but that tone rings in all their music. Let's hope for that same power on their new album.

2) The Mars Volta - Amputechture (Universal) : So I can't completely ditch this group yet, even if Frances the Mute was one of the most arrogant albums (and difficult listens) of the decade. Also, their live album just plain sucked despite their often impressive stage performance. Maybe some noises just can't be harnessed on modern technology. I did hear via Pitchfork that someone was throwing urine at them at a live show (see video below). They deserved it though. It looks like we've got another concept album on our hands, so if you jumped ship at "De-loused" you might want to swim to shore and stay there.

3) Yo La Tengo - I Am Not Afraid Of You And I Will Beat Your Ass (Matador) : These noise rock giants are still on Matador after all these years, and that should say something about how they approach music. They will never succumb to the pitfalls that most rising bands do. They will keep to themselves and do what they do best, and let you find them and become completely obsessed with their entire catalog. Or maybe that's just how it went for me. Be warned though, it sounds like this will be a sonic "ass beating" compared to their last couple outtings (although that theory isn't well supported by this video).

The Clientele @ Abbey Pub – 8/30/06

2006-09-09T20:38:00.000-05:00

The Clientele w/ Great Lakes and Canasta @ Abbey Pub – 8/30/06

Well this one is a tad overdue. My mind has been spinning at 100 mph lately, but I’ve got a spare moment to share the details of this show with you now. Canasta opened the night and made clear from the start that they are from Chicago. Imagine the worn-down, lonesome city streets in October, and you’ve got a backdrop for their sound. The vocalist is a male counterpart to Natalie Merchant, often singing in lower ranges than he’s probably capable of reaching. Their line-up included two keyboards and a violin, and the singer even puffed on a trombone during one song. The song structures were a bit static at times, but they flourished towards the end of songs when they let loose and pumped up the volume. Essentially, they turned basic pop rock into swirling craziness with edgy, rumbling drums, distorted keyboard, and an occasional five part harmony. It was pleasing, to say the least.

The touring opener was Great Lakes, a band who combines Tom Petty’s country rock, Ted Leo’s indie rock, and Everclear’s alternative. Their music often lacked dimension, and their creative shortcomings weren’t helped by poor guitar tone and mediocre vocals. I don’t mean to say that they were terrible. It’s just that their music bore no relation to the Great Lakes that I grew up near. They were blessed with the presence of The Clientele’s new member, Mel Draisey, on violin. Reading that they were spawned from the well respected Elefant 6 collective will inspire me to look into their studio recordings, but the initial live experience was not amazing.

The Clientele more or less lived up to my expectations. They had an acoustic guitarist on stage for this show only, and their new member Mel rotated between violin and piano. Watching them play, I realized what an insulated pocket they’ve created for themselves, while still keeping room to grow. At the beginning of their set they all looked forlorn, like they had all just been dumped an hour before the show. The singer apologized for using up all his witty banter in Minneapolis the night before. Although, as she show went on and the crowd warmly embraced them, the band blossomed like a flower on a sunny English countryside day. What hit me the hardest was Mel, an alarmingly beautiful Cate Blanchett look-alike with ivory skin and wavy blond hair. I was completely mesmerized by her presence. My brother David spoke with the band the following night in Detroit and discovered that she had connected with the Clientele through MySpace. So it is good for something! A few new songs were a pleasant surprise, since the band will be recording a new full length album this month. Their MySpace page says to expect something a little “funkier.” As long as that funk has something to do with Ms. Draisey, this band can count on me as a primary supporter for some time to come.

My Autumn Mix

2006-09-04T17:10:00.000-05:00

CD 1:

yo la tengo – autumn sweater
stereolab – cybele’s revelrie
Fiona apple – criminal
echo & the bunnymen – the killing moon
radiohead – airbag
foo fighters – aurora
dave matthews band – #41
train – if you leave
counting crows – daylight fading
string cheese incident – bar stool (live, carnival ’99)
yonder mountain string band – town (live, mountain tracks, vol 3)
Langhorne slim – the electric love letter
sufjan stevens – Jacksonville
modest mouse – bukowski

CD 2:

the long winters – honest
the decemberists – leslie anne levine
neko case - star witness
eisley - marvelous things
band of horses – the great salt lake
jimmy eat world – if you don’t, don’t
pretty girls make graves – this is our emergency
the format – the first single
kings of convenience – I’d rather dance
phoenix – everything is everything
American analog set – punk as fuck
broken social scene – major label debut
the arcade fire – une annee sans lumiere
Benevento/russo duo – soba

Now for the moment I have been waiting for since beginning this Blogging habit. This is my personalized mix of music dedicated to my favorite season: AUTUMN. Most people love summer, but summer is too easy…and I only get sad at the lost innocence of childhood school breaks. My joy in winter is dependent on my ability to ski (something I couldn’t do last year). Spring is an anxious time that comes and goes without a real chance to take it in. But autumn…autumn to me will always be a time of new beginnings. In adolescence, it was going back to school with new classes, teachers, and friends. You got to buy new jeans and sweaters and bundle up for the increasingly chilly evenings. There was football games (even the marching band was an important part of the mix), the Homecoming Dance (although dreadful in some ways), and Halloween (complete with pumpkin patch visits and scary movie nights). The trees turn brilliant colors and the weather gets slowly cooler. It’s a refreshing change from the dog days of August. In Troy, there was the Troy Daze festival in September. Trips to the apple orchard were a must, where you could taste test in fields of trees and buy apple cider to take home. In college, autumn grew up and there was university football games with the obligatory early morning tailgates. Don’t forget the beer and hot dogs! In Spartan Ski Club there was a Fall Bash picnic with disc golf, barbecue, and of course beer. Then came the annual Hayride with a bonfire, cider (usually with rum), doughnuts, and more beer. Autumn is a sad time too, but always in a bittersweet way. The trees die in beautiful fashion. The days get shorter, but allow more nighttime for finding new romance or keeping friendly company. The breezes and rain come with distinctive pleasant smells outdoors.

As for music, there is no time of year with which I associate more music. I have a deep nostalgic connection with so much music that has graced my stereo (or iPod) over the years. Much of it is related to all those wonderful experiences previously described. And if I remember correctly, it all began (at least, for this mix) in the fall of 1997. Radiohead’s album OK Computer was released that year and often filled the space in my friend Rich’s oversized basement. Thom Yorke exclaimed “I am born again” over crisp guitars and haunting synthesizer flashes. Fiona Apple’s “Criminal” was the soundtrack to my first breakup, after my first three-month relationship (which started in September). During the year to follow, I was also listening to a lot of Dave Matthews Band, Counting Crows, and Train. What’s that? You said I’m a douche bag? Well, give me a break. I grew up in the suburbs of Detroit, remember? We’ve already covered this, so let’s get back to my story. DMB’s “#41” reminds me specifically of riding the Magic Carpet Ride at Troy Daze festival in September 1998. Train’s “If You Leave” accompanied my friends and I to an apple orchard in Romeo in October of that same year. Counting Crows’ “Daylight Fading,” although released in 1996, tickled my autumn bone two years later. Stop laughing! Mainstream bands like Counting Crows and REM paved the way for current acoustic indie bands like The Long Winters (who I’ll come back to later on). The final inclusion of my high school listening is the Foo Fighters with “Aurora” from their 1999 album There Is Nothing Left To Lose. The entire album is pure autumn, probably my favorite for the season, with its breeziness and tone of change. I really wanted to include their 1997 song “Everlong” instead, but it didn’t fit as well. That track reminds me of being driven home from a haunted house (Silo X on M-59, for those in the know) in the fall of my 9^th grade year. We were only 15 and still needed to bum rides from parents. Not to mention, the Michel Gondry directed video is a sort of dreamy parody of Evil Dead and goes perfectly with the close of October.

The next group consists of songs I discovered and listened to in college. In the fall of my sophomore year, I constantly heard Jimmy Eat World blaring through the bathroom from my suitemates’ stereo (Fred Fukuzawa and Chris Hoelscher, of course). We also drove to see them at Calvin College in Grand Rapids that November. Yo La Tengo and Stereolab are both 90’s bands that I found sometime around junior year (remember, Yo La Tengo is the band for ALL seasons). “Autumn Sweater” kicks off the party with a patchwork of gentle percussion, organ, and bongos. Stereolab is usually more of a springtime group, but I can’t resist the strings and French vocals. I first saw the film Donnie Darko in the fall of 2002, which featured "The Killing Moon." That movie takes place in October leading up to Halloween, and the music is vital. Modest Mouse’s 2004 album Good News for People Who Love Bad News was basically a concept album about death. So what better music for the Halloween season! “Bukowski” must be about the author, but I haven’t yet read anything by him. “Leslie Anne Levine” is the first track from the first Decemberists’ LP. The 12 string acoustic guitar, accordion, and slide guitar are clutch for this time of year. I also saw them at Calvin College in the fall of 2004. Pretty Girls Make Graves exploded on MSU’s Impact FM around November 2004 with this flailing, last grab at autumn before winter comes. Next is a trio of amazing singles from the Impact also from fall 2004. First is The Format, with harmonies and pounding drums for those fading September afternoons. Second is Kings of Convenience, with a song I wish all their music sounded like. Think of A-ha or Tears for Fears, but with acoustic guitars and violins. Third is Phoenix, the French pop band who went from electro pop (album 1), to soft rock (album 2, with the song “Everything is Everything”), to indie pop with garage rock flavor (their 3^rd album). But they capture the sadness and beauty of fall like only Frenchies can. The remainders in this group are String Cheese Incident and Yonder Mountain String Band, both progressive bluegrass jam bands who make me wish I was in Colorado for the fall.

Video: "I'd Rather Dance" by Kings of Convenience

After graduation, my source of new music was unavailable. However, I still came across some great artists. Sufjan Stevens and The Arcade Fire became my driving soundtrack while apartment searching in and moving to Chicago. Sufjan strives for complex instrumentation along the lines of Stereolab. Here he includes guitar, banjo, piano, drums, strings, etc etc. The Arcade Fire was an example of a hipster band who deserve the praise they received. “Une Annee Sans Lumiere” (I think that means a night without light, but that’s just a guess) sounds like stuffing yellow, orange, and red leaves with some pumpkin seeds into a stereo. Eisley is a family band of sorts from Texas who make haunting pop music with some of the most beautiful vocals I’ve heard in years. But they’re young and fragile, and could still become entrapped in a mainstream prison.When I was making music with my brothers, we were told by a friend that we sounded like The American Analog Set. They also draw from Stereolab’s droning sound, but have really carved their own unique place. “Punk as Fuck” is perfect rainy day music as the outdoor world inches towards winter. Thank Jesus that someone introduced me to Broken Social Scene’s self-titled album in fall 2005. I fell in love with them during the most lonely and deranged time of my life. My memories of that album, though, are of running on the indoor track at NU overlooking a frozen Lake Michigan scene. So that’s not exactly unpleasant. On “Major Label Debut,” you can almost see the season’s first snow in mid November as a family prepares for a Thanksgiving feast.

Finally comes the group of artists that I’ve been listening to this year, but appreciate more now that autumn has rolled around. I reviewed Langehorne Slim earlier on this website, but he’s a folk singer/songwriter from Brooklyn with an incurable case of the blues. Expect more banjo and acoustic guitar, with saloon-worthy vocals. Band of Horses are the current Sub Pop sensation from the northwest, with an approach like an autumnal version of My Morning Jacket’s music. The Long Winters, also from the northwest, sound like an indie version of Counting Crows. “Honest” is a heartbreaking song about a girl with a crush on the singer of a band. Neko Case is basically a country artist, but her powerful voice and lush arrangements maintain an indie quality perfect for autumn. Last but not least, Benevento/Russo Duo provide music for a winding road with overhanging trees of brilliant colors. “Soba” is a prime example, and sounds just as good on record as it did live at Lollapalooza.

Wow, that was exhausting. I just let out a huge sigh! You may be asking yourself, “Why does this guy waste so much time writing about crap that no one reads or cares about.” Well, I do it because I enjoy it. This music and these ideas are one portrait of me, and I think it’s important. I also made an edit of the Autumn Mix for those who aren’t fans of late-90’s adult alternative or bluegrass. Then I took out a few more to streamline it all, rearranged a few tracks, and PRESTO! You have a “City Friendly” or “College Radio” or “DMBlows” Autumn Mix, depending on how it fits you. Check it out:

Autumn Mix (edit):

yo la tengo – autumn sweater
stereolab – cybele’s revelrie
radiohead - airbag
echo & the bunnymen - the killing moon
sufjan stevens – Jacksonville
the long winters – honest
the decemberists – leslie anne levine
band of horses – the great salt lake
jimmy eat world – if you don’t, don’t
the format – the first single
kings of convenience – I’d rather dance
phoenix – everything is everything
American analog set – punk as fuck
the arcade fire – une annee sans lumiere
modest mouse – bukowski
Benevento/russo duo – soba

Chicago Show Preview - September 2006

2006-08-28T09:39:00.000-05:00

MySpace Links:
The Clientele
The Dears
Serena Maneesh
Evangelicals
Asobi Seksu

Aug 30 – The Clientele @ Abbey Pub

The Clientele is the British indie pop band designed for a rainy day spent indoors. That doesn’t only mean in springtime, since their music also fits well with golden falling leaves. I only worry because their formula is so fragile due to its retrospective quality. They might transport the audience to a 1960’s mindset, or they might fall flat (like the Shins at Lollapalooza).

(Detroit equivalent – Magic Stick, 8/31/06)

Sept 7 – The Dears @ Schubas

Last summer I caught wind of The Dears, who were being labeled as the next indie band to watch. Unfortunately, the public didn’t embrace them as they deserved. They take after the sophisticated pop and crooning vocals of the Smiths. Front man Murray Lightburn credits himself for “directing” the album. They’ll be playing a handful of shows before departing for an extensive European tour. Also, their new album “Gang of Losers” releases in the US on 10/3/06.

Video: "Ticket to Immortality"

Sept 15 – Serena Maneesh and Evangelicals @ Logan Square

Serena Maneesh hasn’t yet earned their brownie points, even if their debut album is one of the best reviewed of the year. They emulate the kings of shoegaze in some amazing moments, but usually favor the unstructured noise of late 80’s groups like Sonic Youth. The lack of structure hurts them, especially towards the end of their album when not enough emotional peaks have occurred. With so much critical hype, a live show will either make or break their future.

Evangelicals are not religious. At least I can find no indication of that anywhere. They do sound like a wild cult of some kind churning out dizzying psychedelic indie rock. 2006’s So Gone is the type of album that defines an entire year, like the much discussed Destroyer’s Rubies. They give a sonic interpretation to living as a free spirit. Their songs are catchy and inventive, but they never take themselves too seriously. If you compare them to other Oklahoma natives the Flaming Lips, I might box your ears. Listen to “Diving” while sitting in the sun with your feet in the water, and you will be happy.

(Detroit equivalent – Magic Stick, 9/14/06. Also, Evangelicals will be in Grand Rapids, MI with Say Hi To Your Mom on 10/10/06)

Sept 22 – Asobi Seksu @ Schubas

Normally, I try to avoid topics that EVERY SINGLE MUSIC CRITIC covers when discussing a new band, but this time I can’t help myself. According to my sources, Asobi Seksu is Japanese for “playful sex.” I mention it because it’s so appropriate. Their neo-shoegaze is like a more playful take on the movement that was often depressed and longing for love. Vocals alternate between English and Japanese, providing an alien feeling reminiscent of Sigur Ros. They are not from Japan, however – they’re from Brooklyn. And if they can escape that fortress of hype, they might have a bright future ahead of them.

(Detroit equivalent – Lager House, 9/23/06)

Video: "Thursday"

Aloha w/ Rahim @ Schubas - 8/20/06

2006-08-21T09:53:00.000-05:00

Website link: Aloha

Aloha used to be the little experimental indie rock band from Ohio, who my brothers and I discovered on Amped (the snowboarding video game for Xbox that boasted a soundtrack of over 180 songs). Now with four full length albums released on Polyvinyl, the band is finally starting to get the recognition they deserve. Having listened to them for the last two years, I was naturally thrilled at discovering they were scheduled to play at a small club two blocks from my Chicago apartment. The group played at Schubas on Sunday, August 20, with special guest Rahim who started off the night with a bang. I don’t know Rahim too well, but they give off major hipster vibes. Their distilled indie rock was amusing enough in a half hour live set, but whether their trendy sound would survive on record remains to be seen.

Local band The Eternals almost ruined the entire night with their vomit-inducing Primus vs. Outkast sound. Even more unfortunate was that they played for an hour, not the half hour posted on the show schedule, and they played second (after Rahim). It was a shame because the drummer and bassist seemed talented, but the third man evaded any chance of salvation with his senseless yapping and random keyboard hits.

Aloha’s new album Some Echoes has been received extremely well by critics, currently ranking at #20 on Metacritic.com’s Best of 2006 list*. Critics like to throw around a bunch of genre and sub-genre names when discussing Aloha, like progressive, post-rock, free jazz, indie pop, and even soft rock, never failing to mention their trademark xylophones. What’s most important is that their grab bag of inspirations allows them constant exploration: whether it’s through instruments, song structure, emotions, or elsewhere.

Front man Tony Cavallario’s voice is accessible, and he never wastes time with uninspiring lyrics. He switched between guitar and keyboard (proving proficiency at both), while T.J Lipple alternates between keyboard and xylophone (somehow managing to hold four mallets in his two hands). Seeing the members of a band switch instruments is always something that wins my respect (the bassist was the only one to stay put). At one point they even put three men on percussion (including a guest), sounding off like a marching band drum line. Each of their songs functions like a small work of art in a gallery. They seem to focus on constant reinvention, not only from album to album but also song to song. A headline tour affords them live show time to explore even further, jamming past many songs’ regular lengths.

Hearing the arpeggios of “Water Your Hands,” from 2004’s Here Comes Everyone, played with such accuracy was truly breathtaking. Although they omitted some of my newer favorites such as the soft rock of “Ice Storming” and the Mark Mothersbaugh-like “Between The Walls,” the show was still extremely rewarding for dedicated fans and newbies alike. “Mountain” and “Your Eyes” were especially thrilling, but the boisterous “Summer Away” and “Weekend” were what really made the show sparkle. The emotional high-point of the show occurred during “Boys in the Bathtub,” a song lamenting the loss of youth and innocence. The song reminds me personally of the spring of 2004 at MSU, when it was played regularly on the campus radio station.

Aloha has no desire to be trendy. They’re not trying to take over the world. They view their craft not as a means to an end, but as the endpoint of all their creative collaboration. And the integrity they constantly carry with them is starting to take them to high places. They rumble like snow rushing down a mountain, or waves relentlessly crashing a rocky shore. This band will be remembered and celebrated for their work, whether later this year or ten years down the line. I hope for the band’s sake that the former will be true. But only time will tell.

*For those unfamiliar with Metacritic.com, they create average scores of album reviews. They weigh the scores based on the importance of the reviewer and include quotes from many of the sources. It’s a nice way to get a lot of info on a band or album very quickly.

Video: "Summer Away" from the 2004 album Here Comes Everyone

Lansing State Journal

2006-08-20T11:56:00.000-05:00

I thought I should put up a quick note about an article I wrote for Lansing State Journal that was published last week. It's about Michigan bands on the rise. You can read it by clicking here. Enjoy!

Lollapalooza 2006 - Day 3 (8/6/06)

2006-08-18T22:30:00.000-05:00

Day 3:

Sparta
Benevento/Russo Duo
30 Seconds to Mars
The Shins
Of Montreal
Queens of the Stone Age
Broken Social Scene
Red Hot Chili Peppers

Was there really a third day to this monstrous festival??? Waking up and getting ready on Sunday was difficult. I mean writing about Lollapalooza is exhausting, so you can imagine what it must have been like to go all three days. And the third day took the most effort. But Dave and I managed to get to the AT&T stage by 12:30 pm for Sparta’s set. So what can I say about Sparta? After their guitarist (Paul Hinojos) jumped ship last year to join the Mars Volta, I thought it might be the end of the line for them. Their debut album Wiretap Scars was among my favorite albums from my college years, and represented the thunderous drive and tight songwriting from At The Drive-In (whereas The Mars Volta represented the experimentation and progression). But, they got a new dude to man the guitar, so this might not be a closed case. Their music thus far has a tone of worldly importance, carrying the weight of all the chaos since the turn of this century. It was comforting to hear their older material (like “Cut Your Ribbon” and “Glasshouse Tarot”) played with the same edginess and determination as always. In fact, some older songs even sounded better, as if Hinojos had been a loose thread in the patchwork. Unfamiliar songs weren’t immediately catchy though. But the point is that this group hasn’t lost my faith quite yet (despite their almost too smooth sophomore effort Porcelain). So rock on, you Texans, and you will likely find me in your audience wherever you play. Unless Threes is completely terrible. In that case, nevermind.

I had heard of Benevento/Russo Duo among jam band crowds in the last couple years. I think I missed their set at All Good Festival 2005 in West Virginia. But my brother saw them at last year’s Wicker Park Summer Festival in Chicago. So going in, I expected a somewhat eclectic mix of keyboard/synth/drums with a tendancy for improvisation. And that is more or less what I heard at their 2:15 pm set on the AMD stage. The first thought that came to mind while watching them is that they make good driving music. I would pop their CD in while driving down the Pacific coast (on the trip I’ve been planning in my mind for over a year now). They throw in pieces of Phil Collins and Hall and Oates during fits of autumnal grandeur on songs like “Something for Rockets,” “Best Reason to Buy the Sun,” and “Soba.” They may suffer a little from not having a vocalist, but most of the time they make enough noise to get by. And Benevento/Russo Duo could appeal to indie electronic fans despite their experimental abilities and jam band history. In fact, they kind of remind me of Caribou (especially the Up In Flames album) in a good way. If all this messiness sounds cool, be sure to check them out.

At my brother’s request, we checked out 30 Seconds to Mars on the Q101 Stage at 3:30 pm. They play radio friendly alternative rock, but it’s sometimes entertaining and never annoying. The highlight of their show (and the real reason I’m mentioning them) is because of a stunt frontman Jared Leto pulled mid-set, when he spontaneously climbed the stage and sang a song from about 50 feet off the ground. That took balls. Big balls. Watching this I couldn’t help but think of him getting his face beat to a pulp in “Fight Club”, or losing his arm after a heroin related infection in “Requiem For A Dream.” I wondered if he would slip and fall, only to splatter his brains on the stage. It’s not that I wanted him to fall, but it definitely added some suspense to the show. The dude looked like Luke Skywalker for crissake! But those 15 year old girls in the front row were probably ready to catch him, or at least break his fall. Okay, enough of that.

The Shins played all the way at the north end Bud Light stage at 4:30 pm. Keep in mind, this is the same place The Flaming Lips had detonated the previous evening. I had high expectations for this group, given my emotional connection with the music they’ve released to date. What happened in that hour, though, was the biggest let down of the weekend. I now realize that their music is better fitted for poolside lounging, or even skiing snowy mountains – NOT for playing to thousands of fans at a jumbo music festival. Given that I have little positive to say about their show, I’ll stop here. I will say that I hope to someday see them at a smaller, indoor venue.

I returned to the AMD Stage at 5:00 pm to see Of Montreal. Finally! They are a group to which I can give full-out, unmitigated praise. But I knew what I was in for, having seen them at Metro on March 10. They showed up complete in funky costumes ready to entertain not only dedicated fans, but also random passers-by and food court frequenters. Of Montreal take their love of psychedelic pop and turn into a twisted dance party. Not to mention Kevin Barnes random babbling is hilarious, and succeeds at drawing everyone into his colorful alternate universe of sound. I’ve already spoken many kind words about this group, so I’ll try and contain myself. I did hear that their song is featured in an Outback Steakhouse commercial, and I’ll let the absurdity of that slide for now. This show showed me the true potential of this band, given the right exposure. I’ll have to hold on tight while I can, because a major label could grab them at any time!

I’d just like to issue a public “screw you” to Queens of the Stone Age. I hate them. They’re terrible and should not have been given a main stage slot on any day. But staying true to my promise for Lollapalooza coverage, I will not dwell on that. What can I say? There was a lot of great music on Sunday, but also a lot of abhorrent crap.

The climax of the entire festival occurred during Broken Social Scene’s WAY TOO SHORT 45 minute set at 7:30 pm on the Q101 Stage. I knew to expect good things from his group, but WOW! Like David said, “I’ve never seen anything like that before.” The stage was occupied with six to sixteen players at different points in the show, which included every single member of the collective. Thank goodness that Feist showed up, or I would have cried. The truth is that their set had me almost in tears anyways. As they played, the setting sun cast an orange tone on their faces and the summer breeze blew through their hair. All the men had beards (the primary reason that I’m now growing one) and were adorned with bandanas on their necks. All the women (including Amy Millan of Stars) had on summer dresses. At times 4 people took on horns, or 3 people just played tambourine. They made no sacrifices, and put everything they could into that short stretch of time. I was overwhelmed by how well the miniature orchestra operated. They played well known songs like “7/4 Shoreline” and “Fire Eyed Boy,” but then some amazing songs that I can’t find record of anywhere (which hopefully means a new album is in the making). Writing about them ends up as messy as their 2005 self-titled album, but from their messiness something incredible is born. BSS blew every other act into Lake Michigan and completely captivated everyone watching, resulting in a 15 minute ovation of yelling and screaming “WE WANT MORE.” Unfortunately, Mr. Ferrel showed his asshole side because he needed to introduce Red Hot Chili Peppers. Ask anyone who was there, and they will probably tell you that this group touched their soul. Broken Social Scene has now become a band that hundreds of other bands will try to be like, but never will.

Red Hot Chili Peppers brought their unsurprising (and uninspiring) California rock to the AT&T Stage at 8:30 pm. I didn’t really watch, but instead sat in the lawn coming down from the natural high I received from BSS. Now how do I conclude my coverage of Lollapalooza 2006? It was a near perfect three day musical experience. The convenience of public transportation made it much easier than a camping festival, but the city environment takes away from some of the freedom. I did at least make some peace with Chicago, a place I’ve basically hated since moving here last October. As for the festival, there were some amazing shows, and a lot of good shows. The enormous festival ground and diversity of bands probably had some people craving a more specialized festival (like the many that feature only jam bands, electronica, etc). I get the impression that this has become one of the biggest festivals in the world, which is nice, because I’ll never be too far away in Michigan. Some day I’ll make it to Coachella and SXSW. But for now, thanks goes to Mr. Ferrel for not losing his dream after the touring Lolla dwindled away. The city of Chicago truly is a better place for having such an event, and I hope it remains here for years to come.

Lollapalooza 2006 - Day 2 (8/5/06)

2006-08-17T12:23:00.000-05:00

Day 2:

Sybris
The Go! Team
Disco Biscuits
The Flaming Lips
Thievery Corporation

Saturday was far and away the best musical line-up of Lollapalooza, and it was also the most crowded. It was obvious that many people had bought one day passes to see the mainstream hip hop stretch of Gnarls Barkley, Common, and Kanye West. I, however, avoided all three of these vile performers to the best of my ability. My day started just like Friday, at 1:00 pm on the PlayStation stage, where Sybris brought their Chicago noisy neo-psychedelia to the audience (an audience which was too small because old-school poppers Nada Surf were on the nearby Bud Light stage at 12:30 pm). Regardless, Sybris fulfilled every expectation of a live show I had developed since buying their album in the spring (I’ll try to avoid repeating myself after the CD review). I was worried that Ms. Mullenhour wouldn’t pull off that sexy howl on stage, but she did. During their set, she announced “We’re from here!” But you could tell by their shabby look, worn down by this desolate urban environment. It works well for Mullenhour though, as she shines like a ragged indie rock princess. And while men wear their guitar as an extension of their phallus, Mullenhour’s instrument melts together with her swaying hips (or even her womb). Although I dwell on the female vocalist (I’m such a sucker), I shouldn’t omit praise for the whole band. This group could soon make a national impression with the right amount of effort. Maybe it depends on the outcome of a sophomore album, so let’s wait and see.

I was sad to leave Sybris a little early, but I could not miss the Go! Team’s set at 1:30 pm on the Q101 Stage. This group’s one disappointing factor was the nearly constant rapping in places that it doesn’t appear on the album. It got very old very quick. The girl has a strong British accent that rubbed me the wrong way even when she was speaking between songs. Otherwise, I would say they got the job done. They managed to start up a rollicking party on a hot and humid Saturday afternoon. I was surprised that they didn’t even have a DJ, given that their album is loaded full of samples. I guess they felt they didn’t need one, since they already had dual drums and multiple instruments to cover most of the album’s sounds. I’m thankful at least to have seen them once, since they are from England and will not be around very frequently.

Skipping past Built to Spill and Particle (I promised to try and keep things exciting), I’ll now talk about the Disco Biscuits, who played at 5 pm on the AMD stage. I’ll admit I was pretty messed up from this time to the end of the night, but I feel that I can still report on the bands. I had been hearing about the Biscuits since sophomore year of college when I started listening to String Cheese Incident and Umphrey’s McGee, but this was my first opportunity to see them live. They are a foursome employing the classic line-up of guitar, bass, keyboard/synth, and drums, escaping the “jam band” noose to play a rather specific type of jazzy, electronic, experimental rock. I realized while watching them how much I missed hippies, after hanging out with them in years past. The crowd at this type of show becomes just as entertaining as the band on stage. The crowd was the orchestra, and the band was the maestro. There was a very “Matrix Reloaded underground dance party” feel to it all. Primal vibrations enveloped the area for an extremely peaceful and positive hour of dancing and grooving. They did include a cover of Pink Floyd’s “Have a Cigar,” which was a definite crowd pleaser (especially at a festival).

The real gem of the festival though was the Flaming Lips, who played at 6:30 pm on the Bud Light stage. I could spend all day and night talking about the Flaming Lips. They have been earning a stellar performing reputation in recent years by hitting up almost every music festival in the country. Of course, the one time they played a real show in Detroit (with Sonic Youth, Sybris, and the Go! Team?!?!) was at the State Theatre on Friday, Aug 4, and I missed it. The bottom line is that these fellows have hit a nerve in the collective consciousness of human beings. I’ve been saying for a year that this band (especially their Soft Bulletin album) is simultaneously beautiful and terrifying. Their live show is equal parts extreme carnival and campfire sing-a-long. Along with the three steady band members (with Wayne Coyne as ring leader) came women dressed as aliens, men dressed as Santa Claus, and four inflatable monsters behind them. Coyne almost immediately blew up his human hamster ball and took a stroll onto the crowd. Then “Race for the Prize” exploded with dozens of gigantic blue balloons and Coyne shooting confetti rockets at the audience. It seems like I’m the only idiot who hasn’t watched their Fearless Freaks DVD yet, but the Lips are obviously on a quest. Maybe they’re trying to take the meaning out of those symbols like aliens and Santas, or maybe they’re celebrating the wonder and excitement aroused by them. Maybe Coyne was right when he asked everyone to sing along to hopefully stop the bombing in Israel, or maybe he’s a crazy fool who just knows how to get people off. One thing is for sure, the Flaming Lips will be remembered as one of the great bands of this generation. Despite all my words, you have to see it to believe it.

The final group from Saturday that I will cover was Thievery Corporation. They were on the Adidas stage at 7:30 pm, and were a perfect come down from the previous performance. I was so worn out in fact, that I just sat in the lawn at watched the band on their stage video screen. This show turned out to be a worldly electronic dance party that sounded a lot better than I expected. They performed their song “Lebanese Blonde” with almost no alteration from the album track. The sky was striped with clouds and faded into reds and pinks as the sun slowly set. It was truly beautiful, and I felt a sense of home in the city of Chicago that I hadn’t experienced in the 10 months of living here. Of course, it faded quickly, but somehow I made peace with the city. Darkness came after I got some pizza and beer, and Manu Chao took the Bud Light stage at 8:30 pm. Remember, most festival-goers were at the south end watching Kanye West at this point, so the north end had room to breathe. Manu wasn’t too thrilling, but it was nice to hear a little Latin music at this festival. I left the festival again around 9:30 pm, completely exhausted and almost forgetting that I still had one day to go…

Lollapalooza 2006 - Day 1 (8/4/06)

2006-08-15T10:55:00.000-05:00

Day 1:

Anathallo
Stars
Umphrey’s McGee
Mates of State
My Morning Jacket
VHS or Beta DJ set
Death Cab for Cutie

After a well-deserved week of rest and recuperation, I can now begin covering my experience at Lollapalooza 2006. As you may or may not expect, I went into the weekend with the entire festival almost completely planned out. Although some of the plans did change, I am proud to say that my brother David and I survived from approximately noon to 10 pm three days in a row. To save time (and avoid boring you), I will only talk about the groups who rocked my socks off. If I didn’t see a band, don’t remember much about their set, or didn’t enjoy a band, I probably won’t mention them here. I like to follow the age old motto, “If you don’t have something good to say, don’t say anything at all.”

According to my plan, we arrived at Grant Park on Friday promptly at 12 pm so I could help pass out Innerview magazines for an hour. The first band I was determined to see was Anathallo, who bombarded the audience from the PlayStation stage at 1:00 pm. Descriptions of the group always mention the former marching band participation of these Michiganders, but it’s no secret when you see their stage set. Their xylophones look like they were permanently “borrowed” from the band storage room. But a couple things stood out to me about this group’s live set. First, the front man has a sense of humor, and likes connecting with the crowd. It doesn’t matter if we had no idea what he was yapping about when describing a Japanese folk story (which inspired much of their album Floating World). He reminded me of the Decemberists’ Colin Meloy. Secondly, I was amazed at how their complex music came together so seamlessly in a live setting. With seven members on stage, there is much to coordinate, and they pulled it off like pros. Third, they were extremely grateful for the chance to be there. I heard multiple thank you’s and other phrases of awe and excitement from the band. So it seems that Anathallo learned a bit more at band camp than that geek from American Pie, like how to kick off a three day urban music festival the right way.

The next band to tickle my fancy was Stars, who played the Adidas stage at 3:30 pm. Stars are the band for springtime, but fit well in summer too. Their music would fit well accompanying time lapse photography of flowers opening. Strangely, their music would also fit in many 80’s teen movies (think Breakfast Club or really any of the Howard Hughes flicks). Seeing them on the festival’s only permanent stage was rewarding, despite the camera crews constantly blocking our view (there’d better be a live DVD MR. PERRY FERREL!). Their music has a raw naivety to it, but also a stylistic quality that makes it completely unique. Their music is bittersweet in nature, but also for me personally because I came to know them around MSU graduation time. Songs like “Set Yourself On Fire” play like a moment stopped in time, allowing the listener to witness it all in detail. They didn’t play “The Big Fight” or “He Lied About Death,” which are my favorites, but their performance was still once of the best of the weekend. I also love them because Evan Cranley and Amy Millan are on the current Broken Social Scene roster, but I’ll get to that later. I said enough about this band between this festival coverage and my Canada feature.

I had seen Umphrey’s Mcgee about a dozen times at indoor venues, so I had some idea what to expect for their set at 4:30 pm on the AT&T stage. What I didn’t expect was the giant crowd. Umphrey’s isn’t your run of the mill jam band. They operate with a strictly no bullshit mentality, melting all forms of rock together with a currently unmatched ability for improvisation. And improvisation is the key factor. My favorite moments of their concerts are when they experiment and let themselves wander. Some of their album tracks just aren’t that exciting, and the vocals are often unattractive. The bottom line is that this set was a chance for the little turbo touring band to show a crowd of near 40,000 what they’re capable of.

Power duo Mates of State played on the AMD stage at 5:00 pm. Although there wasn’t as much tangible energy as a small club show (it’s too bad that I missed their Lolla pre-show at Abbey Pub), they still drew one of the biggest crowds to that smaller stage. Their performance didn’t falter in the boiling afternoon sun either. Opening with “Fraud in the 80’s,” they pushed on for the hour allowed to them and created more racket than would seem possible by two people. The best thing about Mates is that they know their role. They know what they’re capable of, and they do it full out with their keyboards, drums, and dual vocals. They are right when they claim “You will surely find us pleasing to your ears.”

After a hefty walk to the north end, I found what would become my regular spot on the hill to the viewers left of the Bud Light stage, where My Morning Jacket played at 6:30 pm. I have to admit, I was impressed by this Kentucky rock band. I want to hate them because of all the praise given to their 2005 album Z, but they make it so difficult. With songs like “What A Wonderful Man” and “Anytime,” you can’t help but bounce to the beat while taking in all the sunshine and skyscraper views. Their set made me think of them as the new brand of arena rockers. With Jim James' gigantic voice and straight up rocking guitars, they could fill every square inch of a stadium with celebratory sound. So cheers to MMJ for impressing me, despite my desire to detest them.

Since I didn’t want to watch Sleater-Kinney or take another trip to the south end to see Violent Femmes, I went to check out the Mindfield where a VHS or Beta DJ Set was slated for 8:00 to 10:00 pm. During the day, this was supposedly filled with movies, comedy, and singing competitions. But at night, the small stage with dual video screens turned into a dance party. This was a real unexpected treasure. There were streamers and inflatable brains hanging from the trees, creating a small forest haven from the chaos of the festival. I wish that I had been intoxicated, because VHS or Beta was spinning some awesome music (including Daft Punk and Chemical Brothers). But I was sober, so I just relaxed and watched the psychedelic visuals on the screen.

After a half hour of that, I returned to the Bud Light stage for Death Cab for Cutie’s set at 8:30 pm. Just two years ago, I saw them in a small ballroom at MSU, and now they played a headline slot at Lollapalooza. That’s crazy! I give them kudos for playing such a wide variety of music. They included older songs like “President of What?” and “Company Calls,” and played many from Transatlanticism (my favorite of their CD’s) like “The New Year” and “Title and Registration.” So Death Cab is no longer the tiny Pacific Northwestern emo band, but instead are world class performers. I don’t think they made my top ten performance count, but I was still impressed. I did leave before the end of their set in order to beat the traffic to the train. So day one I survived from 1:00 pm to about 9:30 pm. Stay tuned for days 2 and 3!

Pitchfork Music Festival 2006 - Day 2

2006-08-10T09:54:00.000-05:00

The bands I saw/heard at Pitchfork Fest Day 2 were:

CSS (Cansei de Ser Sexy)
Aesop Rock w/ Mr Lif
Mission of Burma
Devendra Banhart
Yo La Tengo
Matthew Dear
Spoon

Because of the exhaustive nature of Day 1, I decided to go to Union Park a bit later on Sunday. It’s too bad that I missed Tapes ‘N Tapes and Danielson. I wanted to evaluate them based on the buildup Pitchfork created. I’m kind of glad I missed Jens Lekman though. I just don’t understand what the indie writers see in his music (maybe he’ll be my next Anti-Hipster project). I arrived around 3 pm, and made my way straight to the Biz 3 stage (where I had spent very little time on Saturday) at the rear of Union Park. I had heard a little about CSS (short for Cansei de Ser Sexy) from internet news sources. I won’t tell you what their name means (just read any review of their album), but I will say that they’re an electro dance rock group from Brazil. I came into this set with a very skeptical mind, since I hadn’t heard their music and I tend to expect most bands with hype to be letdowns. At first approach, the scene resembled the opening act of zombie movie “Shawn of the Dead.” Or maybe even Robert Palmer’s “Addicted to Love” music video. Anyone who can make twenty-something Caucasian males dance and groove like South American strippers must be employing some new tricks. So CSS doesn’t consistently amaze, but they do have the ability to make a party in full daylight with little to no intoxication involved. I enjoyed the female vocals, and the explicit song titles up the fun level. After all, they don’t seem to take themselves too seriously, even though they’ve been signed to Sub Pop (a label on the opposite side of the world of where the band was formed). Fans of the Sounds or older Yeah Yeah Yeahs would benefit from looking into this group.

Moving on, the first main stage act that I paid attention to on Sunday was Aesop Rock with Mr. Lif. As far as hip hop goes, I can only appreciate music that displays creativity and a willingness to push beyond the mainstream sounds of the past 20 years. It seems as though Aesop Rock fits the bill. He’s not trying to sell an image or a lifestyle. He’s just a guy from New York (I think?) with smooth lyrics about life that match ideally with his undemanding beats. His wordplay will really have your head spinning at times, but it’s impressive to say the least. If you’re into any alternative hip hop (like Jurassic 5, the Roots, or even older stuff like A Tribe Called Quest), I’d recommend you pick up the album Labor Days.

The rest of Sunday was difficult. I was basically passing the time until Yo La Tengo took the stage. I watched a little of Mission of Burma’s set, mostly because I wanted to see the band who reportedly started the post-punk genre (and they’re on my 80’s underground box set). For a threesome who are probably in their 50’s, they do rock in a big way. It was interesting to imagine the hundreds of bands who have followed in Mission’s footsteps since their debut album was released in 1982. I don’t think their recent couple CD’s are something I’d really get into (not like Sonic Youth’s new one), so halfway through their set I went to rest in the shade and conserve water (remember, it was another 95 degree and sunny day). (note - picture below is the water filling station at the festival)

After Mission came Devendra Banhart, who I had been waiting to see for some time because I expected that the pedestal he has been placed on would dissolve easily after his unfulfilling performance. Banhart is usually tagged as “freak folk,” but all I know about him is that he was born in Columbia and writes generally unengaging music. His set came with extensive breaks between songs and a whole lot of boredom. His band looks like they were dug out of some northern California cave after decades of recluse, all complete with dirty beards and flower-child clothing. But the bottom line is, this is not psychedelic rock, or even melodic folk rock. It’s some kind of minimalist experimental acoustic-based songwriting that, I believe, 99% of people who aren’t struggling indie music critics won’t connect with.

Finally! Next was Yo La Tengo! The band who I’ve been obsessed with for the past three years since I first discovered them through my own hard work. But oh, what a let down I was in for. I won’t blame it on the band. I blame it on the festival set up. First of all, their stage speakers were QUIET. Next, techno performer Matthew Dear was on the Biz 3 stage behind them, so the bass bled through their sound in a bad way. Third, the other main stage was doing sound check for Spoon and interfered with their sound. The end result was extremely frustrating and I don’t even think I can attempt to talk about the band or their abilities and accomplishments, because I don’t feel that I got a real concert experience. So I will put off talking about them until I (hopefully) see them in October, when they are scheduled to play at indoor venues around the country.

After giving up on Yo La Tengo, I went to the Biz 3 stage to watch Detroit artist Matthew Dear. I heard that he’s a prominent figure in the electronic music scene there, and his set was very entertaining. When I walked up, he was mixing old disco and hip hop with fresh beats. It was basically a dance party in that big white tent. I was thinking that, at a techno concert, the crowd is really the show instead of the artist. The crowd becomes the entertainment, or the physical manifestation of the music. I hope I get to explore that idea more when I move back to Michigan.

Spoon was the last band that I saw at the Pitchfork Music Festival. They are not a very inspiring band, so I don’t have a lot to say about them. They do strike me as the carriers of a torch once held by piano man Billy Joel. They play relatively to-the-point indie rock, with repetitive piano or guitar arrangements. The vocals have a cold city sound, ideal for Chicagoans ears, but without being unpleasant. I am a fan of their song “The Way We Get By,” which played on an episode of O.C. (when I was completely and embarrassingly obsessed with that program). After Spoon came the Brazil group Os Mutantes, who I expected to be world music giants playing psychedelic rock with a Latin flair. They were not altogether appealing though, so I decided to head home after what felt like a long weekend of music. I had no idea, though, what was in store for me at Lollapalooza. I will do my best to convey my experience of the weekend of Aug 4 – 6, 2006 to you over the next week or two. In closing, the most important thing I learned from attending the Pitchfork Music Festival is that you can draw 36,000 people to a line-up of bands largely on hype you generate on your own website, instead of the accomplishments of the bands themselves. So that’s what it comes down to. The festival was made by hipsters for hipsters. There were a couple good performances here and there, but overall it was a let down. That’s the truth according to me. Disagree if you will.

Pitchfork Music Festival 2006 - Day 1

2006-08-10T09:23:00.000-05:00

The bands I saw/heard at Pitchfork Fest Day 1 were:

Chin Up Chin Up
Man Man
Band of Horses
Destroyer
Ted Leo & the Pharmacists

Now it’s time to tackle the monster of a writing project that is the Pitchfork Music Festival (although when compared to Lollapalooza it’s a piece of cake). To clarify in advance, I have no intention of covering the entire festival. That would be dumb. I plan to cover my personal experience at the festival. I will only talk about bands that I saw (or at least listened to), and only display pictures that I took. I had no press pass, no backstage VIP pass…no notepad, no professional camera. I was just a soul wandering in the crowd, taking it all in. That said, let’s get started.

Sometime around May I ordered my 2 day pass for the Pitchfork Music Festival at a measly $30. I knew there would be at least 40 bands there, but really Yo La Tengo was enough for me to buy the ticket. After attending the Intonation Festival, I had high hopes for Pitchfork. I knew the bands would be better, and I figured the crowd would be better too. I had no idea that both days would completely sell out (according to their website, the number present was around 36,000). The forecast for sunny skies and temperatures in the mid-90’s was intimidating, but I wasn’t going to pass up this opportunity. I rode my bike to the Red Line, purchased two 1-liter water bottles, and got on the train. After a quick transfer to the Green Line, I was at Union Park.

It was odd to see a line at the entrance at noon on Saturday, until I realized that I was among the first to enter the park. After a quick circle of the park I decided to sit in the shade, where I would still sweat my balls off. Luckily I could see both stages well enough. The first band to catch my interest was Chicago group Chin Up Chin Up. Their sound carries traces of vintage groups like the Cure, but also current northwestern rockers Modest Mouse. The dual guitar and restrained synth and keyboards are ever pleasant. Next was Man Man, who are a batch of circus freaks with white outfits and face paint. The first thing they reminded me of, with their childlike exploration of percussion and yelling, was Primus.

Finally Band of Horses took the stage, and managed to live up to the hype surrounding them. I had been trying to figure out what I like about this group, despite their relatively unoriginal songwriting. I think it’s the richness and depth of sound. The lead singer often employed a slide guitar, which inevitably adds warmth and texture. Their songs have a tricky way of growing on you the more you listen to them, especially with soaring vocals that bring to mind My Morning Jacket. Look for this group to either make a big Pacific-style splash over the next few years, or drown into complete obscurity.

Now comes the most difficult section, where I talk about Destroyer. For those who don’t already know, I am obsessed with their 2006 album Destroyer’s Rubies. But what I realized during this set is that Destroyer is not an incredible live act. The best explanation I could come up with for this fault is the fragility of their music. Their albums have a sense of magic that doesn’t come just from the instruments or vocals or lyrics. It’s like a crazy science experiment that could go terribly wrong, but always seems to create the desired product. I think mostly it reminds me of Cat Stevens (a childhood favorite) and Van Morrison, even though I always hear about Dan Bejar's dedication to early-70’s David Bowie. (note - I took the following video on my digital camera. The quality isn't excellent, but you get the basic idea)

The last group I paid attention to on Saturday was Ted Leo & the Pharmacists. Their song “Where Have All the Rude Boys Gone” was one of my all time favorites from MSU’s Impact 89 FM. Basically, their the most straightforward, dependable indie rock group around today. They provide catchy guitar chops and lyrics that make me think of Elvis Costello, even though I am relatively unfamiliar with that artist’s work.

Unfortunately due to the extreme heat, I was completely exhausted by 6:30 pm on day 1 and had to head home (actually it was fortunate because I didn’t have to watch the Walkmen that way). What really stuck out about this day was the fluidity of the crowd and the overwhelmingly friendly atmosphere. Of course, the entire neighborhood of Wicker Park had emptied all its hipster children on Union Park. But the result was not objectionable. I kept thinking, “Why was there never anything like this at parks back home?” I pictured in my mind a rectangular fenced-off area at Boulan Park (that’s Troy, if you don’t know) with two stages and an exciting line-up of bands. Anyways, look out for day 2 soon. I have to move on to more important things, like LOLLAPALOOZA!!!

Quick Lollapalooza Top Ten Preview

2006-08-01T10:33:00.000-05:00

I am so excited about Lollapalooza 2006, at Chicago's Grant Park August 4 - 6, that I thought I'd write up a TOP TEN REASONS YOU SHOULD BE AT LOLLAPALOOZA list. So here it is, as quick as my fingers will type it:

10. Sybris - Chicago dreamy indie rock quartet Sybris is set to play Saturday at 1:00. They sound a little like the Pixies, a little like My Bloody Valentine, and a lot like GOOD MUSIC. The female lead vocals are obviously a selling point for me, since I am apparently a sucker for a sexy voice.

9. Anathallo - This group from Mount Pleasant, MI (what?!?) could actually be amazing live. Their lush orchestration and interesting arrangements have been compared to Sufjan Stevens and the Decemberists. Show your support on Friday at 1:00, especially if you're from the Great Lakes State.

8. Manu Chao - Screw Kanye. Across the park from that giant-headed monster, a world music dance party will take place. His music contains elements from British rock and French music, but also sounds from Spain and South America. Forget the hype of that hip hop hooligan. The cool kids will be partying with Manu from 8:30 to 10 on Saturday night. (p.s. - followers and/or members of Kanye's entourage, please don't murder me)

7. Feist - Oh why do you have to be performing during The Go! Team's set??? Canadian vocal vixen Feist will be performing Saturday at 1:30. She recorded her album in Paris, which makes her even hotter. It's for the best that I miss her set anyways. She'd probably break my heart in that short hour on stage. Trust me, Feist can't wait to quit her job so we can get married and have babies. Then one day we will start a family band and we will tour the countryside and you won't be invited! (Sigh...I'm a dork)

6. The Shins - The Shins broke out with two songs on the Garden State soundtrack and a huge college following in the last couple years. For some reason I always thought they were British. Anyways, see them serve up their summery indie rock at 4:30 on Sunday. It should be a good time.

5. Sonic Youth - These days Sonic Youth plays like Yo La Tengo playing like late 80's Sonic Youth (anyone that follows that deserves a pat on the back). The reality is that their new CD is actually good! Make sure to check out these legends of noise rock Saturday at 4:30.

4. The Go! Team - I am actually skeptical as to whether or not the Go! Team can pull off a live act with the same fervour as their live album. But I'm completely willing to find out. See them combine hundreds of samples with live instruments and vocals on Saturday at 1:30. Get ready for a Motown-kung fu-western-cheerleader-indie rockin good time!

3. Of Montreal - Their live shows have the same capacity for fun and excitement as the Flaming Lips (read below). Alternating intstruments and switching between real and electronic drums, this is acid indie pop like you've never heard (or seen) before. Kevin Barnes is hilarious at the mic. You will leave their set (Sunday at 5:00) feeling happy. Trust me.

2. Broken Social Scene - I think this group, with their miniscule 45 minute set on Sunday at 7:30, will emerge as one of the more memorable of the festival. Call it a hunch. At least Feist will only be breaking my heart once this weekend while she provides the powerhouse vocals on songs like "7/4 Shoreline." Be there, or be Canadian.

1. The Flaming Lips - Their set at All Good Fest 2005 in West Virginia was hands down one of the coolest acts I've ever seen. I wish they had a headline slot. At least they get an hour, at 6:30 on Saturday (Saturday's gonna be a good day huh!?). Be prepared for fake blood, giant balloons, strobe lights, confetti, and....oh, wait....I'm giving away the surprises!!! GET EXCITED!!

Wow, I'm exhausted already. Go to www.lollapalooza.com for more info or to buy tickets. Hopefully I'll see you there!

Wicker Park Summer Fest - Day 2

2006-07-31T11:04:00.000-05:00

On July 23, 2006, I attended what I consider to be the best neighborhood Festival in Chicago. The Wicker Park Summer Fest featured local and touring acts that made up a fairly eclectic mix of music. Wicker Park is ultimately ground zero for hipsters in Chicago, but I have to admit that it’s a prominent artistic environment. The area definitely has a unique atmosphere. There are many hot shops and restaurants to compliment live music venues like Double Door and Sutberranean. But I’m not interested in the “scene.” I’m interested in events like the Summer Fest. Unfortunately I couldn’t go on Saturday when bands like Telefon Tel Aviv, Apollo Sunshine, and DeVotchka performed.

I took the Belmont bus to the Blue Line CTA and arrived at Damen and North around 5 pm on Sunday, just in time for Oh My God to begin. This group is a powerhouse threesome from Chicago with a line-up featuring bass (by the vocalist), organ, and drums. The singer resembled George of the Jungle as he jumped around shirtless waving his lengthy brown hair. He exclaimed “This is a perfect day!” and was telling the truth. We had been blessed with pleasant weather with clear skies and temps in the upper 70’s. Given Chicago’s terribly unpredictable weather patterns (trust me, if you thought Michigan weather was bad, Chicago is worse). I had heard the song “Get Steady” on MSU’s Impact Radio, so I knew to expect solid indie rock with organ cranked out with powerful distortion. It really rattles your brain, but in a good way. It’s always great to see musicians taking a tangent from what everyone else is doing.

Starlight Mints are a pop band from Oklahoma, but I can’t think of anything interesting to say about them. Maybe that’s a sign of their music. I did notice that they played along with prerecorded samples (the drummer wore headphones to make sure he was in sync), which reminded me of the Avagami set the previous night. Watching this group, I felt like it wouldn’t matter one way or another if their tour bus got lost in some obscure rural area of Idaho never to be found again. Maybe that’s a bit harsh, but I think it’s more realistic than providing some useless comparisons to other Oklahoma indie group the Flaming Lips, as most critics choose to do.

Next was Make Believe, who are an unclassifiable Chicago band. I reviewed their album earlier on this site. Their only consistent weakness is Tim Kinsella’s vocals. However, the guitar work is insane – like nothing I’ve ever heard before. Together with the bass and drums (the drummer also plays occasional keyboard while drumming!), they produce an extremely tight knit brand of futuristic punk. I think they will be appreciated more some time in the future.

I think this was about the time I picked up an orange creamsicle float from the Cold Stone booth. It was mouth watering and you should be jealous. I headed back to the stage for Dead Meadow, a psychedelic rock act from Washington D.C. I wrote them off a little early for being stuck in a dead era of music (hence the band name?). After a few songs, though, the threesome proved to be entertaining. Because they aren’t exploring new ground, the lead guitar is what really defines a band like this. Luckily their guitarist rocked, and their sound was often powerful enough while still going down smooth. Plus, they're signed on Matador Records, which I give them credit for.

The Gris Gris was an arty, abstract indie rock band from southern California. I didn’t pay too close attention to their set because it was the kind of music that you’d probably have to hear first on CD to appreciate fully. What I remember most about them is their X-shaped stage set. The drummer face sideways, and bass, guitar, and keyboard were spread out in the corners. In the end, Wicker Park Summer Fest was an inspiration. It was a display of creative, diverse music that needed no hype to draw people out. It was a reflection of what that neighborhood is, and where it will be heading in future years. Next I hope to write about the Pitchfork Music Festival, but it might take me a little while because there’s a lot more to tell. So be patient and stay out of the heat.

MySpace Links:
Oh My God
Starlight Mints
Make Believe
Dead Meadow
The Gris Gris

Human Television @ Schuba's Tavern - 7/22/06

2006-07-24T22:59:00.000-05:00

And thus begins what will hopefully turn out to be the best month of live music in my life. I had intended to travel to Wicker Park for their Summer Fest on Saturday after I got off work. The weather was too unpredictable though, and the gloomy sky made me decide to wait until Sunday. Instead I went up to Schuba’s Tavern by myself. I had never seen a show there and it was long overdue. Schuba’s claim is to have live music of various genres every single night. And by the way, it really is a tavern. The music room is small and sleek, with little tables lining the two side walls. The stage has carved wooden arches overhead, and the overall setting is very intimate. The show on Saturday was Human Television, Avagami and Bound Stems opening.

I arrived around 9:45 pm and entered the music room. At 10 pm, Chicago group Avagami took the stage. Avagami is, in the spirit off the current trend of duos, a two man band. One plays drums and handles electronic samples, and the other sings and plays saxophone. Their MySpace identifier is “psychedelic/new wave/jazz.” Think that sounds mind boggling? It makes more sense than you might believe. Just imagine Devo (that robotic 80’s new wave group with red conic hats) crossed with Miles Davis (maybe late 50’s era). Then throw in the palpable energy of a duo like Mates of State. When the samples expired, the drums and saxophone often exploded into freestyle escapades. A few times the drummer would solo while the other performed interpretive dance. Overall it was highly entertaining. I recommend checking them out at Beat Kitchen on August 10.

The next group was Bound Stems, who are also based in Chicago and are currently members of Flameshovel Records’ line-up. Having heard a few clips of their 2005 EP, The Logic of Building the Body Plan, I knew enough to expect some noisy indie rock. Since they’ve been a prominent act in the Chicago music scene over the past year, the crowd swelled to its largest level of the night during their set. The group has a guy on vocals/guitar, a girl on vocals/keyboard/etc, then lead guitar, bass, and drums. The result is like a midwestern Modest Mouse with definite Broken Social Scene aspirations. It was disappointing to hear the two vocalists often singing the same words in the same key, instead of complimenting each other with some sort of harmony. However, they did command the crowd, and I appreciated how much fun the group was obviously having. I could see them expanding their sound to something more powerful with national potential or beyond. I’ll be sure to check out their new album Appreciation Night, which releases on Flameshovel September 19.

There’s not much to say about the headliner, Human Television. They boast impressive influences that actually set the bar a little too high for their current abilities. Their group play was tight, but their unexciting state presence requires that the music do the talking. And the truth is that their music said too little for me to stay through their entire set.

I’ll try to cover all the live music I witness over the next few weeks, which should include day 2 of the Wicker Park Summer Fest, Camera Obscura at Logan Square this Friday 8/28, Pitchfork Music Festival, and Lollapalooza. So check back soon!

MySpace pages (where you can find band website links):
Avagami
Bound Stems
Human Television

My Dream Pop Mix

2006-07-20T10:45:00.000-05:00

The Beach Boys – God Only Knows
The Beatles – Tomorrow Never Knows
The Velvet Underground – Sunday Morning
Cocteau Twins – Pearly-Dewdrops’ Drops
The Jesus and Mary Chain – Just Like Honey
The Smiths – That Joke Isn’t Funny Anymore
My Bloody Valentine – To Here Knows When
Slowdive – Machine Gun
Ride – Kaleidoscope
Lush – Kiss Chase
Chapterhouse – Breather
The Boo Radleys – Barney (…and me)*
Spiritualized – Lay Back In The Sun
Yo La Tengo – Little Honda
The Helio Sequence – Transistor Radio
Caribou – Jacknuggeted
Sybris – Breathe Like You’re Dancing
Serena-Maneesh – Drain Cosmetics
Asobi Seksu – Thursday

*song does not appear on actual mix CD due to size constraints

Since I’m running out of seasons to talk about, I’m going to start branching into different kinds of mix CD’s. The first to come of my expansion is the Dream Pop Mix. Dream pop, in my mind, encompasses a few different styles of music. Shoegazing and ambient pop are related styles (I’ll explain more later on). On this mix, I tried to explore the evolution of dream pop. The mix starts at the beginning of modern dreaminess, when “dream pop” didn’t really exist yet.

The elements first appeared in the sixties. The Beach Boys are a primary influence of bands in the dream pop genre. I grew up listening to my dad’s copy of Endless Summer, but I had no idea just how influential the work of Brian Wilson and friends has been until recently. “God Only Knows” is my favorite song by them, and it’s a great example of the joyful patchwork of sound they developed on the Pet Sounds album. The next band is a given when talking about any modern group’s influences. The Beatles played an important role here, especially on their drug-tinged late 60’s work like Revolver and Magical Mystery Tour. The Velvet Underground was a band remembered most for their ability to maintain a certain atmosphere and using it to captivate listeners. Many bands are attracted to this emphasis of ambiance over song structure.

The first emissions of an actual genre of dream pop came in the early 80’s. The Jesus and Mary Chain successfully mined those aforementioned 60’s bands and ultimately influenced many groups to come. Cocteau Twins are considered the perfect example of ambient pop with their airy vocals and silky smooth melodies. The Smiths are one of my favorite bands (I will later add The Queen Is Dead to my list of all time favorite albums), but the song I included here is unique. Johnny Marr’s construction of layer upon layer of magnificent guitars is what will forever stand out about his work with the Smiths.

The peak of dream pop occurred in the late 80’s and early 90’s on My Bloody Valentine’s Loveless and Slowdive’s Souvlaki. I already wrote a review of Loveless. It’s ridiculous how the name My Bloody Valentine is thrown around in modern music writing. However, that band (and especially that album) have influenced an endless number of bands and remains one of the most painfully underappreciated works of all time. These two groups are considered quintessential shoegazers. Shoegaze, when done well, finds the vocals pushed way back to become gelled with swirling guitar and keyboards to create a pure sonic orgasm. You really have to hear it (or see it below) to believe it.

Ride, Lush, Chapterhouse, the Boo Radleys, and Spiritualized followed, each with their own take on the world of dreamy indie pop. These bands were prominent from the early to mid 1990’s. Yo La Tengo is another band that deserves mention with their 1997 cover of the Beach Boys’ classic “Little Honda.” Yo La Tengo has established themselves as one of indie rock’s most respectable acts over the past 20 years. Their music employs the classic Beach Boys and Velvet Underground influences, but they are an entity that stands alone. I cannot wait to see them on July 30 at the Pitchfork Music Festival.

Now, in the 21^st century, many bands draw inspiration not only from the 60’s groups, but also largely from the shoegazing movement. The Helio Sequence is a pair from Portland, OR, who share drums, guitars, synthesizers, keyboards, and vocals. Their earlier work fits in well here, but their new album has a more direct sound (think Mates of State or Of Montreal). I’ve already talked about Caribou in my Canadian music feature. Caribou’s 2003 album Up In Flames was excellent shoegaze-go-electronic. However, Caribou’s newer work also strays from the formula. Here is the video for "Jacknuggeted" from Up In Flames.

Sybris (who I also reviewed on here not too long ago) is a female-fronted Chicago indie rock band with a flair for My Bloody Valentine and 80’s noise rock like the Pixies. Serena-Maneesh is exploding out of Norway with a seemingly new take on those early 90’s sounds of which I’ve become so fond. Finally, Asobi Seksu is a New York group who sound like a 15 year shoegaze time capsule. Don’t worry though because they throw in some new tricks.

Not all of the groups here were locked into the dream pop genre. Sometimes it just shines through on a single album, or sometimes just a single song. But all of these songs deserved to be included. Hopefully this list has inspired you in some way. Maybe when people start reading this blog (trust me, I do realize that no one currently reads it) they will start listen to some of these obscure bands. Or maybe my idea of perfect music is not the same as someone else’s. I expect the latter. I write all this for my enjoyment anyways. If you’d like to come along for the ride, feel free to accept my open invitation.

Anti-Hipster, Vol 1 - TV on the Radio

2006-07-19T19:30:00.000-05:00

TV on the Radio – Return to Cookie Mountain (4AD; 2006)

Welcome to my first edition of trashing super-hyped groups that, in my opinion, don’t deserve the attention. I’d prefer not to build a reputation on denouncing anyone. However, my inspiration shows itself in many forms, and one of those is a disgust at the way indie music writers put some groups on an unjustifiable pedestal. Keep in mind that I’m not a professional (not yet anyways). I don’t claim to know everything. These utterances will be strictly from my point of view, and based on what credible information I can get my hands on without wasting too much time on these bands. Now that we’ve cleared all that up, let’s begin.

I first heard the name TV on the Radio on MSU’s Impact 89 FM around my third year of classes. One of the songs from the 2004 LP Desparate Youth, Blood Thirsty Babes had minor airplay, but ultimately didn’t fit in with the song oriented station. It has such little affect on me that, looking back, I can’t even remember which song it was. My musical information bank had not yet swelled to its modern day size, so all I knew about them was that one song. But my goal is to cover the present, not the past. So in the present, I ponder the meaning of the band’s name. I think of TV and commercial radio as one and the same. They are just tools of commercialism designed to sell products. Go figure.

What I really want to talk about is their new album, Return to Cookie Mountain, which was released on the 4AD label in early July. According to Metacritic.com (an amazing website that creates weighted averages of music, movies, books, etc based on numerous critic reviews), this album is the fifth best-reviewed of 2006 to date. This is a fact that bothers me initially and even more so after listening to the album once. But before I cover my listening experience, let’s explore what information I can gather about this group.

The first place anyone should be able to look for information on a band is their official website. Unfortunately, theirs is under construction, and I can't find any official-looking Myspace page. So I look through the clips of reviews on Metacritic, which include words like “cataclysmic,” “overwhelming,” “intoxicating,” and “inspiring.” One reviewer even dares to call it “accessible.” Next I turn to Allmusic.com and Pitchforkmedia.com for some credible info. I learn from Pitchfork that an earlier version of the album appeared in the spring with a different track sequence. Ultrahipsters seem to argue over which tracklist they think is more effective. I, on the other hand, think it’s absurd that they completely rearranged the album. In making my mix CD’s, I meticulously arrange the track list to create a mood and flow. When listening to my favorite albums, I can’t imagine the songs occurring in any different order. Pitchfork praises the singer Tunde Adebimpe for staying in the background despite the fact that he has “got about the best set of pipes in indie rock.” I say, without proof otherwise, his voice is unremarkable. Then I remember that many people are tone deaf, and some people genuinely enjoy bad singing voices (like the old timer Bob Dylan, or current hipster wet dreams Clap Your Hands Say Yeah).

Allmusic.com claims that the album “threatens to become more impressive than likeable,” and I agree with that to some extent. Any band that puts more emphasis on experimenting and finding new sonic territory takes an automatic risk. That risk allows for the possibility of creating something incredible or ending up with something that completely lacks an impact. That really lies in the ear of the beholder. Supposedly David Bowie contributes background vocals on “Province,” but I can’t make them out. Although I’m slightly offended that Mr. Bowie would involve himself in such a project, I give him credit for always attempting to be ahead of the trends in music.

Next I turn to the Deli, a New York music publication that focuses on the local music scene. Since the band originated in Brooklyn (which, from an outsiders perspective, seems to be one of the most self-inflated music scenes in the world) I hope to find some hard facts straight from the source. The only thing I notice from their interview with the band is that they played on Carson Daly, and that just makes me want to vomit on my keyboard.

Now let’s talk about listening to the album. The first thing that I pick up on is the emphasis on drum beats. The songs are intentionally repetitive, focusing on atmosphere over song structure or buildup. They give off the impression of being a political band, or at least people who are concerned with societal issues. However, there are few phrases that stand out to me because, like Pitchfork pointed out, the vocals have been withdrawn. There have been instances where this works, such in most shoegaze acts (Allmusic even has the cojones to reference the mother of all shoegaze albums, My Bloody Valentine’s Loveless). However, it only works if the music can create an emotional impact on its own, and that is not the case here.

Certain bands or genres come to mind while listening. The album makes me think of the messy noise of Nine Inch Nails, but I never acknowledged the accomplishments of that group either. At times the beats and vocals even resemble those of Outkast. But where Outkast uses their hip hop and pop abilities to create some of the most infectious and memorable songs of recent years, TOTR falls flat. Caught up in their Brooklyn mindset, they ultimately lack the ability to create music to which most people can relate. At times I even think of British rockers Bloc Party, with their meticulously constructed beats and production. But Bloc Party triumphs through having the best lead guitarist in indie rock in years, as well as extremely tight song arrangements.

Finally I look to YouTube.com to see what kind of video clips of the band are available. After all, if a group can deliver on stage, what does album failure matter? What I find, though, is lackluster. You can have a look yourself.

"Wolf Like Me" at Coachella 2006

"Dreams" with Trent Reznor of Nine Inch Nails and Peter Murphy of Bauhaus

It seems that I just can’t figure out modern day music critics. After all, Destroyer’s Rubies, which is currently number two on Metacritic’s 2006 list, is definitely my favorite album so far this year. So why do I completely agree with them at times, and other times want to smack them and make them eat their words? Maybe I’m just being close-minded. Maybe I’m so caught up in connection and influences that I only like something if it reminds me of something else that I love. Maybe I should just give TV on the Radio a chance.

The album isn’t even a completely unrewarding listen. It’s not that the music is too complex or eclectic. In a single word, it’s just boring. I don’t hate every song though (“Wolf Like Me” would be fun with some kind of deranged werewolf music video, and “Hours” at least has a catchy drum and bass construction). I mostly just hate the hype. I hate the way critics try to pick diamonds out of dirt hills, like they’re the ones who made the music. I’m not trying to claim a piece of the music. I’m just expressing my thoughts and feelings in an attempt to spread information.

That’s the point of this whole Anti-Hipster thing; to give you my point of view. But don’t take my word for it. Make up your own mind. Decide for yourself. That’s your privilege. I don’t yet know which band or album I’ll focus on next. My next post should be my Dream Pop mix, which will be a refreshing turn from these dark matters.

French Kicks new album out today

2006-07-18T19:22:00.000-05:00

French Kicks' new album Two Thousand was released today on Startime International Records. They have been one of my favorite bands over the past two years. I feel that they have been severely underappreciated by indie music critics and audiences (especially in Detroit) alike. I have no idea what the new album is like, but I still wanted to get the word out. Their live shows cover for the rare shortcomings in their studio recordings. Few bands can entrance me the way that they have. They are playing in Detroit at the Magic Stick on 7/26, in Grand Rapids at Intersection on 7/29, and in Chicago at Double Door on 8/26. They are also playing some kind of private show with Phoenix at Double Door on 7/28. I tried to get tickets for it but they only sold about 15 to the public. I almost ninja kicked the lady at the ticket booth when the guy in front of me bought the last ticket. Arrrrrggghhh. Anyway, here is the Myspace link for French Kicks so you can check them out.

The Anti-Hipster

2006-07-13T10:06:00.000-05:00

Over the past nine months, I have been immersed in an actual music scene. It’s not just any music scene though. Chicago is one of the biggest and most powerful scenes in America, especially in the present time. With the emergence of music resources on the internet, bands can spring up from anywhere. My top five rotation list on Myspace includes bands from Norway, Scotland, Texas, Oklahoma, and New York (okay, so New York isn’t exactly an obscure location). Not only does Chicago have a plethora of impressive live music venues and a fine set of up-and-coming bands, but Pitchfork Media is based here as well. If you’re not familiar with Pitchfork, it’s a website that provides music news, reviews, and interviews and focuses on indie music.

Adjusting to life in a big city has been terrible at times. I’ve discovered over the last few months is that every place has a group of people that I don’t want to deal with. In high school, it was the jocks. In college, it was the frats. Now, in Chicago, it’s the hipsters. Hipsters are, to my understanding, the “cool kids” of the urban environment. They wear clothes from vintage boutiques, get tattoos and freaky haircuts, and populate specific areas of town (i.e. Chicago’s Wicker Park, pictured above) that allow them to be on the “scene.” They also obey everything fed to them by media sources such as Pitchfork. If Pitchfork screams “hot meat!” the hipsters respond by drooling and begging. If one band on a three band bill is touted as being extremely hot, hipsters will attend the show only to leave after the specified band has finished their set (trust me, I’ve seen it happen).

I’m not entirely innocent. From time to time, I do end up liking the music praised in indie music sources such as Pitchfork. And I am going to the Pitchfork Music Festival in July which features some of the bands I’d like to burn. But often, I can’t understand how they come up with some of their far-fetched compliments. Honestly, I’m tired of it. I’m tired of city life. I’m tired of their scenes. I’m tired of the hipsters. And I’m going to do something about it. I’m going to systematically deconstruct the bands that are pronounced as special. I’m going to show that hipsters are just people looking to surrender their individuality and mind power for the sake of being a part of something. I now declare myself the anti-hipster.

The first album that I will attack is “Return to Cookie Mountain” by TV on the Radio. Stay tuned for that.

The Postal Service - Give Up (Sub Pop; 2003)

2006-07-09T20:00:00.000-05:00

The fourth album in my all time favorites series is quite different. It’s a fairly recent release and it was created as a side project, not by a true band. It’s important to note that this is a full-fledged album. I read somewhere recently that OK Computer might have been the last great album in the traditional sense. Many seem to believe that the internet and digital music have transferred the emphasis back to single tracks, as opposed to whole albums. However, I disagree with this claim. I think that there are still great albums, even if tracks are pushed on the internet like egg rolls at a Chinese jumbo buffet. You just have to look harder to find the best albums, and you have to spend more time letting them sink in.

What stays with me the longest from my favorite music is the feeling I get ever single time I listen. Often those feelings come from pleasant associated memories (view all my seasonal mix CD’s for example), but sometimes it can be purely created by the album. The beauty of Give Up is that both are true. The music stimulates my mind with the catchy rythyms and emotive lyrics, but there are also many incredible memories evoked. I close my eyes and it’s the spring of 2003 at Michigan State University. The world is coming alive. I’m sitting outside with friends, barbecuing, having a beer. I have someone to love and who loves me. The Michigan twilight shines through the tree branches and I feel the grass on my toes. But enough of that…

The most vital quality about Give Up, in my mind, was its power in heightening awareness of independent music. I was introduced to it through MSU’s Impact 89 FM radio station, where the tracks “Such Great Heights” and “Clark Gable” were played in regular rotation. Then I returned home for the summer to discover (through my younger brother) that everyone at my old high school was listening to the same music. So Give Up was essentially a major step in the right direction for modern music. Many people’s attentions are beginning to turn away from commercial radio and towards something better.

The Postal Service is Ben Gibbard, of Death Cab for Cutie, and Jimmy Tamborello, who has been praised for his ability to cross indie rock with electronica. They reportedly got their name from their initial method of music composition. They would exchange bits and pieces through the mail (although maybe it was email, which would further add to the progressive nature of the album). This indie electronica really rests in a world of its own. Sure, some of it could be compared to Bjork or even Radiohead, but not consistently. Gibbard brought in his quirky songwriting with regular influences like the Smiths, and Tamborello brought a unique blend of beats and sonic trimmings reminiscent of 80’s new wave. The result is something like Phil Collins vs Daft Punk (the group did cover Collins’ easy rock hit “Against All Odds”). Then add on backing vocals from Jenny Lewis (of Rilo Kiley) and Jen Wood, and you have all the ingredients for a damn good musical concoction.

So what about the songs? An album is made up of songs, right? Well, some bands lose focus when making such inventive sound and aren’t able to congeal their ideas into effective songs. Luckily, that is not the case here. “Such Great Heights” is one of the catchiest tracks on the album (and was later covered by Iron and Wine for the Garden State soundtrack). The opening beeps give way to scratchy drums and Gibbard’s guitars, and the tale of long distance love helps to make this a sure winner. “Nothing Better” is one of my personal favorites. It’s a sort of argument between Gibbard and Wood playing partners in a failed relationship. Gibbard’s character is still in love, but Wood’s is ready to move on and explore other things. She feels that his romantic idealism is contrived. Hopefully there will be a sequel (preferably on a second Postal Service album) where the girl realizes what she’s lost. “Clark Gable” is another amazing song. It’s both a bittersweet tale of a man looking for wholesome, mutual love and a parody of the way we live through movies, basing our hopes and dreams on them. Instead of fading out, the album keeps raising the stakes. “We Will Become Silhouettes” touches on issues of mortality before breaking into ambient techno for the finale, and “Brand New Colony” opens with a keyboard riff straight out of a mid-80’s video game. “Natural Anthem” is a fitting closer as the song explodes into a chaotic fusion of whirlwind noises.

Recently in someone’s MySpace profile music section, they exclaimed that they liked “anything that makes me feel…” This made me think about my favorite music. Give Up not only reminds me of certain times when I felt great, but it also makes me feel great every time I listen to it. It’s mystical but accessible, progressive but reflective, classic pop but also novel digital sound. Give Up is an astonishing album. It shows that you can keep your feet on the ground and face the sadness and joy in life, but once in a while you can escape to a place in your mind that only you will know. And it will be wonderful.

What the Canada?

2006-07-05T23:21:00.000-05:00

An essay on the recent emergence of excellent Canadian music.

Links:

I grew up in southeastern Michigan, just a half-hour from the Ambassador Bridge which spans the Detroit River and connects us to our northerly neighbors. There were few things about Canada that I could ever be certain about. The first is that every town must have a Tim Hortons. As the years went on I learned that residents of Ontario (and Windsor especially) didn’t seem too fond of Michiganders (I once had my windshield egged and hubcap stolen while eating dinner). Of course I don’t have to delve into the obvious fact that Canadian people talk funny and have beady eyes. My naïve patriotism was not subdued by the terrible Canadian music played on Detroit commercial radio (like Nickelback, for example). Just hearing that word makes me shiver with disgust.

In recent years I’ve learned to seek out my own music, and I found all the wonderful sounds that exist beyond the radio frequencies I once knew. Now, in what seems like overnight, dozens of Canadian artists have appeared on my musical radar. Canada is no longer just a place where 19 year old Americans can get sloshed and chant “America the Beatiful” while enjoying street vendor hot dogs.

First and foremost is Broken Social Scene. They have established themselves as the premier Canadian (and some would say international) indie rock back. They are actually a collective of Toronto musicians that have accumulated over the past decade. Among the collaborators are members of Stars, Metric, and Feist. With so many pieces in the puzzle things are bound to get hairy. But the band must have excellent direction, because the end result is often incredible. Their noisy, experimental mix-up sounds as if each band member has equal say in creating the music. They cover so much ground and pay tribute to so many influences, and yet their music is remains unique. Their music is an example of many unremarkable parts that integrate to create something extraordinary.

Now to explore those responsible for Broken Social Scene. Stars draw mostly from 80’s acts like the Smiths. They bring together smart orchestration and shimmering pop sounds with an electronic flair. Then there’s the alternating male/female vocals and general sense of awakening. Play this stuff in springtime as the weather is thawing and you won’t regret it. Their track “The Big Fight” from 2005’s Set Yourself On Fire, with its dual viewpoints of an evaporating relationship, was a huge hit on MSU’s Impact Radio in 2005.

Metric have a unique take on new wave. Their danceable rock is effortlessly catchy, but in a way that doesn’t quickly wear out. The female vocals and calculated percussion aren’t far off from Pretty Girls Make Grave or other similar groups. What’s for sure is that Metric puts many new-new wave groups to shame by doing what they do well and with natural flair.

Feist, the one woman project of Leslie Feist, is a mostly lighthearted affair. Her voice flutters with a classic, soulful quality that easily surpasses whatever else is going on in the songs. Feist benefits from not sounding like a singer/songwriter project. The unique instrumentation is at times reminiscent of Fiona Apple, but overall it usually sounds like nothing else. The song “Tout Doucement” boasts French vocals and ragtime piano, and displays some of the more obscure influences involved.

Moving on from the Broken Social Scene theme, another important band is The Arcade Fire. 2004’s Funeral succeeds through its subtleties, and is one of those albums that mesmerizes through its dedication and genuine emotion. David Bowie is an obvious influence, but in a way that allows them to incorporate their own feelings and desires and create something beautiful and new. This is another album where you’ll find French lyrics. It’s just so damn mysterious!

Destroyer began as a single man, Dan Bejar, in Vancouver and has developed into a full band in recent years. 2006’s Destroyer’s Rubies is the coolest release I’ve heard so far this year and will be a guaranteed addition to my 2006 Top Ten list. Another disciple of 70’s Bowie, Destroyer makes glittering indie rock with explosive abilities. “European Oils” is a trademark example of the captivating power of this group. I’m never quite sure what Bejar is singing about, but it sounds significant and philosophical. Don’t miss this one. Bejar has also worked with The New Pornographers, but this group is rarely memorable although it constantly strains to be. Their songs practically beg to be catchy, but usually just don’t cut it.

Caribou is an electronica project started in Ontario by Dan Snaith. 2003’s Up In Flames (under the name Manitoba) came to fruition as a sort of My Bloody Valentine gone electronic. It is beautiful music with hazy vocals and washes of synthesizers, backed by hypnotic rhythms. 2005’s The Milk of Human Kindness found Caribou with less to brag about (some tracks sound like a sonic translation of an anxiety disorder). However, for a real treat, check out the Marino DVD or Caribou’s live performance. Snaith’s real strongpoint lies in his ability to combine video and audio for a truly artistic multimedia experience.

Islands are a slightly goofy indie rock troupe from Montreal who, when I saw them live last November, visually resembled the band in the first Revenge of the Nerds movie (or maybe it was just the electronic violin). They complained that someone stole their recorder and, unfortunately, were outplayed by their opening band (Chicago’s Make Believe). Regardless, their 2006 album Return to the Sea shows that they have some tricks up their sleeves. Although it’s too theatrical at times and has difficulty holding a steady feel, they churn out music that’s often interesting.

Other bands to watch out for include The Dears (more Smiths lovers from Montreal), Young and Sexy (a promising Vancouver indie pop group and another candidate for my 2006 Top Ten list with Panic When You Find It), Sunset Rubdown (a Montreal band with awkward vocals and trendy arrangements for all the hipsters), and Russian Futurists (a one-man recording project from Toronto that is not unlike Caribou).

So maybe the great white north isn’t such a bad place after all. They did invent hockey and they are superb brewmasters. British Columbia has the best skiing (and other perks) in North America. All this noteworthy music seems like it’s here to stay. Although many a Canuck has a funny accent and a general dislike of certain American attributes, we will apparently still be able to count on them to provide remarkable music. Then again…those bastards did egg my windshield.

Intonation Festival 2006 - Union Park, Chicago

2006-06-28T08:23:00.000-05:00

On Sunday, June 25th, 2006, I attended day 2 of the Intonation Music Festival at Chicago's Union Park. My reasons for going to Intonation this year can be counted on one hand. Concerning bands, I wanted to see Bloc Party and Jon Brion. Other than that, it was a chance to start helping the Chicago Innerview magazine with their street team.

I arrived at Union Park (via bus, since mass transit is one of the only things I enjoy about Chicago) around 2 pm on Sunday. Union Park was an excellent location for the festival. Two stages were set up (for quick set changes), and people had ample space to watch the shows, throw a frisbee around, or lay in the grass under a tree. The line-up for my time at the festival was The Constantines, Rhymefest, Annie, Lupe Fiasco, The Sword, Blue Cheer, Jon Brion, Robert Pollard, Dead Prez, and Bloc Party. The Constantines were, in comparison to many acts I would later witness, respectable. After reading that they're from Guelph, Ontario, Canada, I have more respect for them. Guelph is an extremely boring place, and their music is decidedly entertaining with that in mind. Rhymefest and Lupe Fiasco were both bling rap acts, which in my mind is no different than seeing Backstreet Boys or any other mindless trash. In fact the only difference is the crowd, for a Backstreet Boys crowd would have been a rather enjoyable gathering of teenage girls.

Moving on, Annie was a dull Norwegian, The Sword was Pantera-like southern metal, and Blue Cheer was (according to Chicago Innerview) a supposedly important band from the early seventies (although their live show provided no proof of this claim). At least during these sets I could pass the time handing out the Innerview as people entered the festival grounds.

Finally Jon Brion took the stage around 6:30 pm. Before the set, I didn’t know exactly what to expect. I did know that Brion had created the soundtrack for Eternal Sunshine of the Spotless Mind, I Heart Huckabees, and other movies, as well as worked with many up and coming artists such as Fiona Apple. Brion began simply by playing electric guitar and singing and captured the audience attention after a single song. He then set out to employ the “trouble” installed on stage, by which he meant loopers attached to drums, keyboard, and guitar. Instantly he became a one-man band. He created a drum track, then a keyboard track, and finally played guitar and sang. By the time people figured out what he had done, they were completely hooked. Wilco drummer Glenn Kotch joined Brion for a few songs, including a cover of the Beatles’ song “Baby You’re A Rich Man.” Brion finished with another one-man song, complete with scorching guitar solo. Watching him, it’s obvious that you’re in the presence of a musical genius. I feel fortunate to have seen him live.

After Brion’s hour long set Robert Pollard, ex-Guided by Voices player, took the stage. His hour on stage was unexciting, so I sat in the grass and relaxed for a while. Next was Dead Prez, the third bling rap act of the day. Don’t get me wrong. I can appreciate any music with talent and creativity. I like alternative hip hop groups like Jurassic 5, MF Doom, and even Aesop Rock (who will be gracing the stage at the Pitchfork Music Festival in July). Dead Prez consisted of 4-6 guys on stage, talking more than rapping, with an entourage of 20 or so men standing around them at the back of the stage. It was pompous and deranged. One song proclaimed that you “Can’t Sell Dope Fo Eva.” This was truly a wasted hour of my life, except that while some idiots watched them perform I was able to acquire a great viewing spot for Bloc Party’s set.

When Bloc Party finally went on stage around 9:30 pm, it was completely dark out and everyone at the festival had turned their attention at the stage. When they started playing, I immediately knew that the wait had been worthwhile. They were just as explosive and captivating as on their album, Silent Alarm. Some bands can’t overcome the hype attached to them, but Bloc Party meets and surpasses all hype. They opened with “So Here We Are,” a spacey track that slowly builds to a beautiful wall of sound. Next they played “Positive Tension,” my favorite song of theirs. The angular structure tightens up until the full release of fiery energy. Other song highlights were “Banquet” and “This Modern Love,” but the whole set was excellent.

My thoughts leaving the festival were that I should have researched more of the bands before coming. Nonetheless, Jon Brion and Bloc Party were worth the $20 admission. Now, I have a month to carefully prepare for the Pitchfork Music Festival, taking place at the same park on July 28 and 29. I’ll be sure to let you know how it goes.

My Summer Mix

2006-06-23T00:43:00.000-05:00

And now, the moment you've all been waiting for. I unleash upon you my SUMMER MIX. Two discs of sunshine, laying in the grass watching clouds pass by, lounging in a beach chair with your toes in the sand listening to the waves crash and seagulls fly overhead. I'm talking about pure easygoing bliss. Forget your daily grind for a while and remember what it was like to pass the time riding bikes, playing tag on the playground, and running through sprinklers.

This was by far the most difficult mix for me. Of course there has always been music that I associate with summer, or some albums that I listen to far more often in the summer. But summer has never been my season. I was a winter baby. Although, I think summer is a difficult time for everyone. Now before you all scream in disagreement, let me explain.

Summer is the season of our youth. The day that school let out and summer vacation began was incredible. Those two and a half months meant freedom from school, homework, classes, etc. When we grow older, summer is just another section of the year. You have to go to work just the same as everyone else. The "real world" requires that you stay responsible and pay the bills. In this process, many people can't stay connected with the youthful essence of summer. Most people, although they enjoy summer and all the warm weather activities, don't remember how fun it used to be to just sit in a sand box and make miniature villages intended only for destruction by stomping.

Unfortunately, as we grow older, some things inside us will die. Human suffering is inescapable. We all go through different ways of hurting, and no hurt should be downplayed. It is all valid, and it all needs to be explored and worked out. What I'm trying to say is that it's important to make an effort to stay connected with our inner child. For some people, this will only happen once they've had children of their own, to spend time with and relate to. But I challenge you, take strides to connect with that child today. They don't have to be living and breathing in front of your face. The child is inside of you. This task is just as difficult for me as for anyone, which brings me back to my first point of how difficult it was to compile this list

On the first CD, I tried to include songs that are without a doubt summer music. You'll find songs ranging from reggae, to drunkard sing-a-longs, to Ace of Base. These songs are classic, but, I admit, still quite eclectic. Some of them remind me of my childhood and some I could just imagine being played in a tiki bar on a tropical island. Some of the songs you may have never heard before (The Smiths), but still fit in better here than on the second disc.

So on the second CD, I grouped all the songs that I'm currently listening to that feel like summer. I'm proud to include a few Michiganders (Stevens, Saturday, Pas/Cal). You may laugh at the fact that almost all of my mixes include Yo La Tengo. What can I say? They are a timeless band for all seasons. This disc closes with a Columbian (Banhardt), and a few Brazilian tracks, including Jorge's "Life on Mars?" cut from The Life Aquatic with Steve Zissou.

In conclusion, I enjoyed making this mix and I hope you enjoy listening to it (I have it in iTunes if you'd like it sent to you). Remember my challenge, but also remember that summer isn't a quest. Summer isn't something you have to work to find. You've already arrived. So enjoy it.

So on the second CD, I grouped all the songs that I'm currently listening to that feel like summer. I'm proud to include a few Michiganders (Stevens, Saturday, Pas/Cal). You may laugh at the fact that almost all of my mixes include Yo La Tengo. What can I say? They are a timeless band for all seasons. This disc closes with a Columbian (Banhardt), and a few more Brazilian tracks, including Jorge's "Life on Mars?" cut from The Life Aquatic with Steve Zissou.

CD 1 – Classics

bob Marley – buffalo soldier
steel pulse – ravers
the drifters – under the boardwalk
otis redding – (sittin’ on) the dock of the bay
seals and crofts – summer breeze
stan getz/joao Gilberto – so danco samba
van Morrison – moondance
jimmy buffet – margaritaville
stevie wonder – my cherie amour
the beach boys – all summer long
led zeppelin – d’yer mak’er
the outfield – your love
the police – de do do do de da da da
the smiths – there is a light that never goes out
tears for fears – everybody wants to rule the world
pet shop boys – west end girls
blind melon – no rain
ace of base – all that she wants

CD 2 – My Summer Songs

gorillaz/spacemonkeyz – slow country (strictly rubbadub)
sufjan stevens – come on! Feel the Illinoise!
kings of leon – king of the rodeo
pas/cal – the bronze beached boys (come on lets go)
Saturday looks good to me – meet me by the water
the essex green – rue de lis
jack Johnson – staple it together
broken social scene – pacific theme
caribou – Hendrix with KO
the avalanches - two hearts in 3/4 time
destroyer –watercolours into the ocean
pete yorn – life on a chain
the elected – would you come with me
the new amsterdams – past the pines
yo la tengo – season of the shark
devendra banhardt – santa maria da feira
seu Jorge – life on mars?
bebel Gilberto – august day song

(note - the picture above is one that I took of my brother Jeff on Spider Lake in Traverse City, during Memorial Day weekend 2006)

My Apologies

2006-06-20T14:45:00.000-05:00

I feel that I owe a sincere apology. Has it really been over two months since I posted anything on here? Time flies so quickly now. Adopting a dog has been vaguely similar to adopting a child, which makes me vaguely similar to a single dad. On top of that, I've been hard at work on my new career goal (yes, I've finally given up on veterinary school). I'm working on an application to MSU's Masters of Journalism program. My goal is to one day create my own independent music publication. I don't know yet if I will make it printed or solely online. The environmentalist in me would like it to be online. Anyways, if all goes well I will be back at MSU by January.

Now that it's summer, I'm also back in Michigan a lot, specifically Traverse City and Troy. Little Jeffy just has his high school graduation party last Saturday. I hadn't been to Troy in about 6 months. It was nice. I got real messed up. Plus, suburbia isn't so bad, but Detroit desperately needs mass transportation. Damn you, Big Three. They have trains in Japan, and they still make better cars than you.

Anyways...add your general weekly errands and outtings, and that leaves me with hardly any free time lately. That absent free time is what I used to fill by writing CD reviews. Now I exhaust the little free time I have keeping up with music, and filling my iPod with the 10,000 songs it now contains (that's ten thousand, if you were confused). So I'm a little obsessed. At least I care about something.

So hopefully I'll be able to get a CD review up here once in a while. But that's not what's most important to me anyways. What's most important is getting into the professional world ASAP doing something that is fulfilling to me and helps the community around me. Hopefully that will be southeastern Michigan, but who knows. For now, I recommend you check out the bands at Chicago's Pitchfork Music Festival this summer. (http://www.pitchforkmusicfestival.com). Also, check out the Chicago Innerview magazine. I'll be helping out with their street team this summer. (http://www.chicagoinnerview.com). The picture above is the Chicago skyline as viewed while driving back after Memorial Day weekend. Enjoy!

Sybris - Sybris (Flameshovel; 2005)

2006-04-10T23:07:00.000-05:00

This is the second addition to my series of Chicago artists. Sybris is scheduled to appear at Lollapalooza 2006, and are among my current most listened to artists.

When a full length album only has nine tracks listed on the packaging, I the expect the music to either be not fully realized, or maybe too stretched out for its own good. Fortunately, that is not the case with Sybris’ debut album. The band knows exactly what they want to be, and they prove it on each of those nine tracks. The album liner has crayon drawings of a bird (which is the only cliché thing about this album, due to the endless usage of birds by bands lately). But on the cover a wolf is confronting the bird, and everywhere else the bird flies free. Is this a statement about the band and how they currently feel?

Sybris draws on various musical eras, specifically 60’s folk, late 80’s indie rock, and early 90’s dream pop. Angela Mullenhour’s vocals call to mind Karen O of the Yeah Yeah Yeahs, but with a more sincere approach. However, there are really few bands that Sybris actually resembles (My Bloody Valentine and Sonic Youth included).

The album opens with waxing noise. “Best Day in History Ever” plays at first like post-hardcore before opening up to a bombastic shoegazing climax. “Breathe Like You’re Dancing” follows a similar formula, starting with a tight verse structure, and changes tempos more than once, exploding at the close. “Neon” has a Pixies-type punch but with a more modern, hazy quality.

The dynamic instrumental arrangements invite you in, and Mullenhour’s voice closes the deal. She has a sexy tease to her voice that can only come naturally. Often, Sybris’s music is deceptive. Just when you think they are about to tread down a familiar path, they surprise you. Each song winds around itself and explores the entire realm of that sound. The good in that is that you never tire of a song before it’s over. You’re actually left wanting more, only satisfied by repeat listening. The greatest accomplishment of Sybris is that it isn’t quite like anything currently going on right now. Sure, there are moments that sound like other bands, but they’ve really claimed a place that they can hold for themselves. Although this album feels like an accomplishment, it shows even more potential. I’m already excited to see what comes next from this group, and to see how they pull off a live show.

Langhorne Slim - When the Sun's Gone Down (Narnack; 2005)

2006-04-09T21:53:00.000-05:00

(Note to readers - I originally prepared this review for a Pitchfork Media writer submission. However, I have gotten no response from them, so I'm going to display it on here. Anyways, I need to stop calling these reviews. The word "review" implies that I'm rating the work. In reality, what I hate about music journalism is the assertion of opinion. Of course, it's impossible for me to talk about music without expressing my opinion. But I hold a firm belief that music is a personal experience. What music does to me is not what it will do to anyone else. And Langhorne Slim does a lot for me. So here's my "review," and please notice the omission of an actual scaled rating.)

Langhorne Slim’s 2005 release When The Sun’s Gone Down inhabits a section of the record store not often visited by music buyers. That is the Insurgent Country section. Given the small exposure that most have to this tiny characterization of music, a passionate listener becomes so inclined to dig deep and see what this stuff is all about. For starters, the sticker on the album cover displays the term “foot-stompin’.”

With further investigation, we find that Langhorne Slim migrated from rural Pennsylvania to the hustle and bustle of Brooklyn. Fortunately, that is the exact notion evoked by the music. The DIY quality is consistently apparent as well (listen for a strange boom at the end of “By The Time The Suns Gone Down”). Langhorne Slim has claimed a preference for recording in city apartments over an actual recording studio.

One of the stand-out features of the album is the vocals. At times reminiscent of Jack White, but at times an entirely unique entity, Slim’s singing is extremely engaging and entertaining. The sounds also bring to mind Americana acts like The Pogues (but minus the Irish-punk vocals), and current eclectic northwesterners, the Decemberists.

Only the lyrics to “Checking Out” are displayed in the folding case. In this song, Slim describes feeling out of place and missing home, which is common for anyone who’s made the transition to big city life. This, accompanied by an illustration of Slim following a sort of Noah’s Ark wedding procession, suggests that he’s become lost in the madness of New York while trying to expose his music to the world.

Most of the songs are quick and to the point, each one a small treat leaving you hungrier for the next morsel. The album opens with a couple hoedown rockers (“In The Midnight,” “Set Em Up”) which set the stage well for what’s to come. “I Love to Dance” is really the only song that carries a blues progression, despite Slim’s claim to have had the blues since his high school days. The crazy howl at the end of “Drowning” is straight out of a western saloon when most have already moseyed on home. “I Will” is one of a batch of songs which offer romantic gestures. However, his breeziness slightly discredits his message (or maybe he’s drank too much whiskey to care anymore).

Gone Down quickly works into a pattern of upbeat, multi-instrumental tracks followed by stripped down acoustic tracks. This formula keeps the folk-blues elements at the forefront and holds the attention of the audience well. And while it’s the guitar and vocals that drive most tracks, the addition of a dozen other musicians and instruments is what really brings this work to life. Banjo, slide guitar, upright bass, and organ are just some of the tasty tools employed here.

It seems that Langhorne Slim is struggling to find his place in the ever progressing present day, while bringing along what matters most to him. In this light, Gone Down is the result of placing a backwoods blues artist in America’s indie rock mecca. The album feels like the golden days at the end of summer, before the first cool breezes of autumn tease us or the leaves begin to change. When The Sun’s Gone Down is a reminder to relax, dance for a while, taste the homemade pie, enjoy the company. Don’t let a moment of these classic days escape you before the world enters its time of slumber. Sometimes it feels like we’re all stuck in a grandiose spectacle of a parade or lost in the jungle that is the modern world. However, Langhorne Slim proves that you can still have a good time and make the best of things…even if you do have the blues.

Radiohead - OK Computer (Capitol; 1997)

2006-04-09T21:27:00.000-05:00

(I wrote this review in two parts. There were a few weeks between due to changing apartments and adopting a dog. It’s still not completely finished, but I’d like to post it anyway. I’m not sure that I would ever finish talking about this album, because I don’t think I’ll ever fully understand it.)

Growing up in the 90’s was odd. There were no great social movements, no epic wars, nothing to set the decade apart in a historic way from any other era (except a growing fear of the new millennium). From a musical perspective, things were looking vile. Legions of Nirvana copycats rampaged. The internet had been birthed by 1997, but was not extremely accessible (i.e. cable modems) until around 1999. As a result, finding independent music was extremely difficult unless you lived among a great music scene, had a college radio station nearby, or a very knowledgeable older sibling. I had none of the three.

By some terrible misfortune, I didn’t actually purchase this album until 2005. Shame on me. When I finally did buy it, I looked through the album insert. What I saw was absolute chaos. Burning airplanes, a Jesus statue, super highways, misspelled lyrics, and general messiness. When I look back on the mid-90’s, I think the insert matches the general state of things. But then I begin to wonder if that sort of messiness could be unique to any single timeframe. It seems that in every decade there are those who are more aware of the chaotic elements of human society and who are unable to cope with or improve it. Maybe OK Computer was just the epitome of that feeling wrought through music in this time and place. By “place”, I mean outside of America. After all, this album made Radiohead ridiculously popular in the U.S., which shows that although not all people can relate to these sounds and ideas, they are definitely not confined to any single time or place (although they could hold truest in the “democracies” of the U.S. and England).

The album begins with “Airbag,” the perfect introduction to the off-kilter Brit rock that the listener is about to encounter. In less than ten sentences, Yorke describes the disarray that society was moving towards as timed ticked away towards the new millennium. Topics such as war, commercialism, and materialism are touched upon, but in a way that suggests the possibility of overcoming these things. “Paranoid Android” goes through a few distinct movements, including a standard Radiohead guitar rock anthem and a bossa nova acoustic passage. This track also includes the most notable quote of the entire album (“When I am king you will be first against the wall”), and embodies the helplessness so common among people who desire change. “Subterranean Homesick Alien” is a breakthrough for the group, combining sensual keyboards, swooshing guitars, and lyrics about alienation from your environment and peers. The song suggests that Yorke would feel more at home with invaders from space than with the people he’s known his whole life. “Exit Music (For a Film)” demonstrates the sheer power of Yorke’s voice. Close your eyes and imagine a dream (or nightmare) where you try to escape a pursuing foe, hand in hand with the only friend in the world you can trust. “Let Down” goes best with the album artwork; both depict the cluttered world from a person’s everyday point of view. The song points out that life is overwhelming and we’re often let down in our ambitions, but there is still some hope that comes from the utter spectacle that is the world.

“Karma Police” is one of the most recognizable acoustic guitar-driven epics of the 1990’s. Although the musical equation is not a breakthrough by any means, the track is a prime example of the mastery of subtleties shown throughout the album. “Fitter Happier” obviously doesn’t fit in musically with the rest of the album, but is a reflection of the robotic mindlessness displayed by masses of people day in and day out. “Electioneering” blares with the audacity of the greatest British rock, and might be the closest tie musically to Radiohead’s earlier work. “Climbing Up The Walls” is a statement about fear, but mostly from the public perspective and not as it is used by governments to maintain control (but that could spur a “chicken or egg” debate in contemplating which came first). The song is chilling with its buzzing bass progression that opens into an alarming final passage. The video for “No Suprises” will always be remembered as a steady shot of Thom Yorke’s (rather ugly) face in a container filling up with water, only to release and let him breathe at the very end. The xylophone and guitars ring together to create a gentle lull that almost erases the previous song, like a political leader covering up a really nasty secret. “Lucky” provides one of many allusions to airplanes and crashes. Yorke speaks of walking away from a crash as if he hopes to escape the disasterous modern day scene. “The Tourist” is another double sided story. Is Yorke a lost tourist in the seemingly foreign world around him? Or is this just a commentary on the inability of humans to acclimate to things that they don’t understand (displayed in this case by a frustrated tourist)?

I may have gotten carried away in covering each specific song, but I felt that it was necessary. I always knew that this album was magnificent, but I had never taken the time to read the words and really think about the work as a whole. It is only at this point that I can fully understand why this is considered by many to be the best album of the last twenty-five years. Radiohead succeeds in sounding like nothing ever before, while still sticking to the basic guidelines of 90’s British rock. The album shifts between pessimism and optimism throughout. What really makes the difference on this album is the little things. The sounds that you can’t label as any specific instrument. The layers that peel away with each successive listen. The dual meanings and bold ideas of Yorke’s lyrics. The passion that comes alive in every moment of recorded sound.

OK Computer is a modern masterpiece. Radiohead probably knew well before all the critical and commercial approval that it would be near impossible to top or recreate this work. What they would need is a reinvention, and that is exactly what came three years later. But that is a different story…

An Ode to Wolfie

2006-03-30T21:40:00.000-06:00

I know what you're thinking. "Why hasn't Nick posted anything lately? What am I going to do with my time besides read the blog over and over and over again."

....Okay, so maybe no one even reads this. But either way, I thought I should explain the current drought of material. On March 27, I adopted a dog from the Chicago Animal Control. They had named him Wolfie (picture left) and I probably won't change it. He's a chow/lab mix 1 year old male, about 45 lbs. And he rules. I saved him from certain death and/or dumb owners. So this week has been kind of like having a little kid live with me. Granted, he's a lot better than I would have expected. He's well behaved (except for the standard young dog things like jumping up to see what's on the kitchen counters) and he bonded to me almost immediately.

He enjoys the finer things in life...like rawhides, long walks on the waterfront, and sniffing butts. He is a perfect example of why you should never get a dog from a pet shop or breeder. Go to a damn shelter and adopt a dog. If you choose wisely, it will be very rewarding (and $100's less than the other option). Do it.

In other news, I'm moving to my own apartment on Saturday, April 1st. So once I get settled there I'll probably start writing again. Then again, maybe I should figure out where my life is heading first, and then get back to writing. We'll see.

My Bloody Valentine - Loveless (Sire; 1991)

2006-03-13T22:09:00.000-06:00

The next album in this series is maybe the last to be included in my collective of favorite albums. My Bloody Valentine released Loveless in 1991 (which means I was only about 9 years old and completely unaware that such music existed). The group defines shoe-gazing dream pop on this, their masterpiece and, ultimately, their swan song. Listening to Loveless for the first time is like accidentally figuring out how to control your dreams, allowing you to fly over the earth in a cloudy, “Care Bear” adventure. From up above in this mystical, heavenly landscape you can look down at the seemingly peaceful Earth and watch all the microscopic inhabitants go about their daily routines. Then, before you know it, your eyes open and you’re in your bed. But you’re not alone, not startled by an alarm clock. You’re awoken by your lover, who is gently brushing your hair and looking into your eyes. And that’s just in the album’s first 30 seconds.

There is a sense of mystery and wonder constantly present in My Bloody Valentine’s music. The vocals are often indiscernible and usually blend into the many layers of each song (and to my knowledge, there’s no credible source of the actual lyrics). However, the songs still manage to convey emotions and create pictures in your mind. The record requires many listens to hear everything incorporated into each work of art. Sometimes you’ll hear three or four overlapping, swaying guitars. Sometimes the synths stick out and other times it’s the eerie backing vocals. But with each listen you gain a greater sense of the tireless effort that went into making this album.

Each song carries its own weight as an individual exploration within the confines of this unique world the group has created. Each track is a bold experiment in sound, but the music is never imposing. What ultimately happens is up to the listener. The album opens with “Only Shallow,” and you’re immediately sucked into a world of lush, provocative sounds before you can really figure out what you’re listening to. “Come in Alone” just feels downright sexy. “Sometimes” is a standout track (and was perfectly placed in the film Lost in Translation). “Soon” is probably the strongest song on the record, with swooning guitars and clomping drums. In the end, words can’t describe Loveless, no matter hard one tries (which is probably a reason why most lyrics are inaudible). It is losing virginity, laying on the beach, running barefoot in the grass, rolling in the snow, spooning on a cold winter night, and a million other things all rolled into 11 tracks.

There really aren’t high or low points in the record. Every song is an experience to be had on its own, but fits perfectly into the overall mood. The group demonstrates a mastery of flow. You get drawn into a certain state of mind, but you don’t become numb. You start to understand. You understand the band, you understand music, you understand nature, you understand life. You also understand that the band might have been on some really wild drugs while making this album. Unfortunately, most people will never even be exposed to the treasure that is Loveless (except, for some odd reason, certain mid 90’s mainstream acts like the Smashing Pumpkins and Garbage). But even those who are exposed probably won’t take the time to see what it’s all about. However, those who do hear it and let it affect them will be forever changed. In just under an hour, you’ll be taken to a childhood summer day when you’re chasing kids in the park, then to a naked lover’s embrace in a big comfy bed…all while walking the fuzzy line between reality and dreams. Although the album has a somber name, Loveless is a testament to what is beautiful in life. Or even what could be beautiful and perfect, even if you don’t have it now. It’s a simultaneous display of hope and despair. And really, what is truer than that?

Meet Me In Montauk

2006-03-12T21:50:00.000-06:00

This is something I wrote back in September about Eternal Sunshine of the Spotless Mind. I thought I should start branching out to topics beyond music. So here it is:

"I've decided that Eternal Sunshine of the Spotless Mind is one of my favorite movies. I love how it works backwards from when a couple is driving each other crazy, to when they were simply in love. It's a very unique look at a very common situation. I also love how they meet again, after their minds have been erased, and instantly fall for each other. I think this says that true love can't be erased. It lasts forever. Another twist on this idea is that we can’t help who we love, even if we try to deny it. The third thing I love is that they get a second chance. They find out that they were together, and that things got bad. But they realize another quality of true love, which is full acceptance. They know that they can make it better than the first time. I think everyone deserves a second chance once in a while...

The movie also touches on some important points. Joel often talks about how he wishes he had done things differently. The sad truth is that no one can change their past, nor can they re-live it. Memories are valuable, but they are not our life. Mistakes we make will become regrets only if we don't learn from them and improve our future efforts. Another important point is when Clementine says "I'm not a concept. I'm just a f*cked up girl trying to find my own peace of mind." Guys often think a woman can "save" them. No one thing can create happiness. No person, job, house, car, etc. Anyone who bases their happiness on a person will eventually be let down. Each person has to have their own life sorted out before a real, lasting relationship can develop.

There's also the important concept of valuing each moment, especially those spent with people who add meaning to our lives. As Joel's memories are being erased, he has one last chance to enjoy the good times he had with Clem. This gives a whole new meaning to "live each day like it's your last." Each memory that gets deleted is one closer to his last experience with Clem. It's really sad actually.

Another interesting concept is brought up at the end of the movie. After having their minds erased, they are given a tape with all the bad things they had said about each other before the procedure. What if you could know everything about a person within 2 days of meeting them? It would save so much time getting past the “getting to know you” phases.

The combination of Charlie Kaufman writing and Michel Gondy directing is near perfect. Michel has done a lot of music videos (which is evident). He depicts a man running through his own memories in an amazing fashion."

That's it. I just thought I should diversify the blog. Hope you enjoyed reading as much as I enjoyed writing (and watching the movie 50,000 times in a row).

Incubus - Make Yourself (Sony; 1999)

2006-03-04T18:27:00.000-06:00

Now I’ll begin a series of reviews on my favorite albums of all time. The first album is one of the first I ever considered to be a forever favorite. Incubus’ “Make Yourself” was released in 1999, which was a time of uncertainty and despair not only for music, but also for society as a whole. This music goes hand in hand with the Fight Club mentality (which was an influential movie released in the same year). That philosophy is rather simple: do something with your life. Don’t adhere to the restrictions and guidelines of society. Don’t sleep your life away. Don’t waste any more time. Find out how to make your life fulfilling. Incubus display activism without exploring the realm of politics. After all, there was no George W. to attack yet. This was a time coming up to the new millennium. The big Y2K scare. The world could explode, the time-space continuum could be disrupted, or…maybe our precious PC’s would just fry out.

As far as the music world, 1999 marked a culmination of everything that was depraved and uninspired. The 90’s were a decade littered with Nirvana copiers, or at least, that’s what popular rock radio consisted of. And growing up in the Detroit suburbs, rock radio was my only source of music. That said, “Make Yourself” was a call to arms. A rebel yell saying, “Break this spell. Rock isn’t dead. We can and will do be better.” Think for yourself. Stop waiting for the world to explode and get on with your life.

Sonically, “Make Yourself” finds Incubus coming into its own as a group of sophisticated music makers. “S.C.I.E.N.C.E.” found them carving their niche in the world of nu metal, but “Make Yourself” was a truly defining moment. Mike Einziger employs effects pedals without sacrificing creativity. Most songs would (and sometimes do) work well in acoustic versions, which is proof of that. Brandon Boyd learns how to put his voice box to use in ways never heard before. The threesome of drums, bass, and DJ hold up the back end of the music. Everywhere there is balance and careful collaboration between instruments (especially the rare tie between guitars and drums, probably due to the longtime friendship of Mike and Jose Pasillas II).

The album opens with “Privilege,” which became a staple opener for their shows over the next few years. Despite the gratuitous use of power chords, they manage to set the tone for the entire album. They follow suit on the next few tracks, but really outdo themselves on “The Warmth,” which starts a trend of underwater sounds characteristic to much of the band’s later work. There are a couple love songs, the prominent one being “Stellar” (the girls just loved the idea of Brandon being inside them). Of course “Drive” was the little hit song that could. Its vast popularity doesn’t change the fact that it’s a well written, acoustic-hop track, enjoyed by 16 year olds and their mothers too. “Battlestar Scralatchtica” hints at the group’s future as well-prepared performers and improvisers, while sounding scarily like Super Mario Bros music at times. Another standout track is “Clean,” which urges someone to stop holding back and let out their feelings (and also might be a Jack Kerouac reference). But the shining star of the album is “Pardon Me.” By my opinion it’s one of the greatest rock songs ever written. I still remember the intense rush I felt upon hearing it the first time. Memorize the lyrics and sing along, and it’s even more rewarding (but embarrassing if anyone hears you).

Some may say that the music is slightly dated. After all, something so relevant to the time it’s released has to stay in that time to some extent. But “Make Yourself” lives on because it was the best album Incubus could have released at that time. They had something to say and they and they knew exactly how to say it. It was a window into their past, but also a glimpse into their future. In the following years, the band has had down moments (cough….”Morning View”…cough). But they have matured into amazing performers (thanks in part to the addition of bassist Ben Kenney) and definitely have a bright future despite their obligation to the world of popular rock. They are now leading in the area of alternative metal and I have faith that they won't disappoint in their future efforts. So call me crazy if you’d like, but I’m sticking to my instinct. “Make Yourself” is and will always be one of my favorite albums, and it serves as a perfect opener to my series of reviews. Stay tuned for more...

My Spring Mix

2006-02-28T21:37:00.000-06:00

Somehow this blog rapidly turned into a collection of Mix CD's. However, I don't have a problem with that. And if you do you can eat a big scrotum. Tomorrow is March 1st, and although we won't be seeing the real signs of spring for another few weeks, I think it's important to mentally prepare for big changes. But I'm sure most of you have been prepared for spring for some time now. Regardless, this music should not only prepare you, but get you excited for spring as well.

This was the most difficult mix for me up to this point. I arranged it with a sort of "April showers bring May flowers" theme, and tried to maintain a fresh quality througout. The first half is subdued, rainy day music, and is even an extension of winter in some ways. After all, weather in Michigan (and I'm sure Chicago too) is always unpredictable and ever-changing. Then around the halfway point, things start to liven up. The music reflects the awakening of the sleeping beast that is Mother Nature. By the end of the CD, the Dandy Warhols are bumping and you're ready for summer.

Now for an explanation of the songs. Some of the songs are new to me (The Clientele, The Pogues) and just sound like a rainy spring day or St. Patty's Day, respectively. Some of the songs are very personal to me (Cat Stevens, James Taylor) because my family used to go on road trips to the Great Smokey Mountains in Tennessee and pretty much only listen to those two CD's (and Fleetwood Mac). Also, these trips usually occurred in April on our school's Spring Break. Everything was extra damp and smokey, and we would search out waterfalls and hike mountain trails.

The third and final category of songs (The Postal Service, Aloha, Belle & Sebastian, etc) come from MSU's campus radio Impact 89 FM. I was a DEVOUT listener of this station, and it always seemed that the music was extra special in the spring. The Impact songs on this Mix came from springs '03 - '05. And spring was an extra special time of year at MSU also. The first sign of spring brought students out of their winter slumber and everywhere they would be playing frisbee and sunbathing by the Red Cedar River -- I'm talking sudden beach party. Also, during the past two years the porch at 312 Grove St would become constantly occupied by roommates with beers in hand and radio blasting. Homework was immediately forgotten. We had people watching to do!

God I miss 312 and my old roommates. What I would give for another weekend back there. The memories evoked from this mix are definitely bittersweet for me. I still hope to create comparible memories in this segment of my life, but have had little luck so far.

Well my thoughts have sufficiently wandered for this endeavor. So without further delay, I give you My Spring Mix. (Remember, I'll burn you a CD if you're interested - but so far no one has been, so I'll just enjoy all my Mix CD's by myself I guess).

the clientele - E.M.P.T.Y.
the beatles - penny lane
cat stevens - peace train
james taylor - carolina in my mind
the pogues - a pair of brown eyes
dirty vegas - simple things, pt 2
aloha - boys in the bathtub
yo la tengo - little eyes
the sugarcubes - birthday
turin brakes - average man
the postal service - clark gable
the smiths - william, it was really nothing
the cardigans - your new cuckoo
belle & sebastian - i'm a cuckoo
junior senior - boy meets girl
stereolab - margerine rock
ted leo & the pharmacists - where have all the rude boys gone?
saves the day - anywhere with you
of montreal - the party's crashing me
the dandy warhols - bohemian like you

The "Sexy Ass" Mix

2006-02-06T22:20:00.000-06:00

So I know what you're thinking. What the flip is a Sexy Ass Mix??? Well, in honor of (or in spite of) the upcoming holiday of Valentine's Day, I thought I would make a list of all the music that I consider to be damn sexy.

And I know what you're thinking now. Valentine's Day isn't a real holiday and it's just a ploy to get people to either spend money or feel like shit. Am I right?? It looks like I will be in the "lacking a valentine" group. But regardless, this is a great mix. And if I had a valentine, I would play this for her.

What you'll find here is some classic songs, as well as some you've probably never heard. Some are straight-up love songs, and some just have the appropriate flow and groove. There's two Massive Attack songs, cuz they're super sexy Brits. Many of these come from Yahoo Radio's Chill Out station, which I listened to obsessively sophomore and junior year at MSU.

As always, I'd be happy to burn this CD for anyone, wether you'll be spending the holiday with a loved one or crying yourself to sleep. God I crack myself up.

mazzy star – fade into you
chris isaak – wicked game
sneaker pimps – six underground
311 – lovesong
gorillaz – tomorrow comes today
the cardigans – iron man
portishead - sour times
massive attack - protection
air – all I need
morcheeba – trigger hippie
massive attack - exchange
royksopp – in space
dido – honestly ok
bjork – immature
phil collins - in the air tonight
my bloody valentine - sometimes
iron & wine – love and some verses

Now that I've got that out of my unloved system, let's focus our energy on a far superior holiday...St. Patty's Day!

My "Childhood" Mix

2006-01-25T20:25:00.000-06:00

Now for part two in my Mix CD series. This is my Childhood Mix. These are all the songs that remind me of when I was a young lad. I tried to include mostly cheesy 80's songs. Think 100.3 FM Pillow Talk (that's DETROIT radio) on the way home from fireworks shows...or watching music videos on MTV on sunny afternoons when you should be outside playing in the sandbox. Some of these might have been in my collection of 45 records (I used to prefer them to cassette tapes. I knew my shit even as a little kid!).

The one thing tying these songs together is that they all make me nastalgic. They all send me back, one way or another, to a simpler time. A time when life's important choices consisted of a blue popsicle vs. a red one, and when a Disney cartoon could be viewed every single day and never get old. This music is classic in a way. It might not hold as much importance to you, but I think some will still get a kick out of this collection. Once again, I'd be happy to burn this mix for anyone.

1) dire straits - money for nothing
2) a-ha - take on me
3) johnny hates jazz - shattered dreams
4) tears for fears - everybody wants to rule the world
5) duran duran - save a prayer
6) the church - under the milky way tonight
7) naked eyes - always something there to remind me
8) phil collins - take me home
9) huey lewis - stuck with you
10) journey - lights
11) madonna - live to tell
12) michael jackson - human nature
13) cyndi lauper - time after time
14) steve perry - oh sherrie
15) pet shop boys - west end girls
16) real life - send me an angel
17) fine young cannibals - she drives me crazy

My Winter Mix

2006-01-15T15:38:00.000-06:00

Now I'm going to begin a series of Mix CD's devoted to different subjects. The first one is a 2 disc compilation of all my favorite winter music. I tend to associate music with different seasons. It all gets arranged in my head autobiographically (see High Fidelity). Hearing certain songs reminds me a of a season in a specific year, people I was with, places I went, feelings I experienced. This list is arranged into two main themes. The first theme is what I think of as fireside music. These are tracks I would put on if I had a warm fireplace, a glass of wine, and someone to cuddle with in the dead calm of a snowy, winter evening. This first disc starts off with British rock, then works in some American artists (including a quick waltz), and finishes with some spacey sounds. The second theme is more like outdoors, ski/snowboard music. This is indie rock, dream pop, electronica...and then some jazz cuts squeezed in at the end (which don't fit thematically, but are necessary in winter). This is all tied together by some Jon Brion tracks from Eternal Sunshine of the Spotless Mind.

This is actually a second coming of this compilation, with a few minor changes. Regardless, this music is very special to me, and I hope that it gives you something to be excited about during these cold, cloudy days. I know that you won't have the same memory associations (like laying on my roof looking at the stars, sitting in my MSU dorm room watching snow fall outside, or skiing in the Colorado mountains), but that doesn't mean you can't enjoy it.

If anyone is interested in having these compilations on CD, all I ask is that you send me blank CD-R's (email me for my address) and I would be happy to burn them for you. (That's legal...right?). So here it is...

Winter Mix

Disc 1

jon brion – eternal sunshine theme
doves - rise
coldplay - sparks
radiohead – knives out
the shins – pink bullets
supergrass – late in the day
badly drawn boy – once around the block
nick drake – at the chime of a city clock
john mayer – 3x5
iron and wine – sunset soon forgotten
the decemberists – the engine driver
dave matthews/tim Reynolds - granny
cat stevens – the wind
…and you will know us by the trail of dead – to Russia my homeland
the smiths – asleep
bjork - aurora
sigur ros – staralfur

Disc 2

jon brion – phone call
yo la tengo – Madeline
my bloody valentine – come in alone
sea ray – revelry
aloha – with the lights out, we sing
the American analog set – the kindness of strangers
death cab for cutie – title and registration
Sunday’s best – don’t let it fade
Copeland – coffee
pinback – sender
the flaming lips – one more robot/sympathy 3000-21
the album leaf – the audio pool
air – mike mills
jon brion – elephant parade
ben folds five – selfless, cold, and composed
dave Brubeck quartet – take five
charles mingus – jelly roll
john Coltrane - spiral

Make Believe - Shock of Being (Flameshovel; 2005)

2006-01-11T20:53:00.000-06:00

I don’t know much about Make Believe, but hints to what they’re about are immediately provided. The band's name makes me think of two things. One is that they create a fantasy world (sort of like Muppet Babies) for the listener. The other is that they have the ability to make you believe in them (or at least completely control your attention). As for the title of the album, I have a feeling it came from a J.G. Ballard quote.

I saw them open at Beat Kitchen in Chicago in November. I was completely awe struck. I felt as if I'd stumbled across something earth shattering purely by chance. Shock of Being is a 13-song collection of incredible Chicago music, not to mention the creative album artwork (the CD insert, when folded out, is their interpretation of a U.S. $1 bill). I can honestly say this is like nothing I’ve ever heard before. Granted I’m sure there are prominent influences (even I can admit that I haven’t heard everything). There is a clear nod to Metallica (note the print style of Amscaredica on packaging). There are also elements of punk and indie rock scattered throughout.

The album is a whirlwind of sound that never really lets up. There’s a sheer virtuosity in the guitar work and a sense of experimentation. However their sonic explorations remain tight and their style is actually extremely well-defined. The social commentary is lathered on strong in songs like “Amscaredica” and “Television Cemetary.” “The Storm on Her Birthday” begins on a familiar note (by familiar, I mean in the context of the album), but then delves into a hypnotic multi-instrumental array that’s sure to occupy every inch of your mind. "'Boom!' Sounds Like '-Hiss-' From Inside It" is another standout track and a smooth closer for the album.

Every new song gets the better of you. By all rights there should be a point where the album falters and fails to completely amaze. There are only one or two flaws I can even suggest. One is the sometimes rough-around-the-edges vocals of singer Tim Kinsella (check out “Fumio Nambata Had a Farm”). But really, I wouldn’t want the vocals to be any different. Furthermore, I’m learning about the vast presence of Kinsella in the Chicago music scene and coming to respect him even more. The second flaw is only that their songs are often anticlimactic. The listener is left with the impression that the songs could be much more powerful if everything came together to a peak of meaning and sound.

Make Believe’s music is not easy to absorb. However, it suggests that there is something far beyond what was prior known to be the realms of music. It is, in a sense, a breakthrough. It affirms the hope that every music junkie holds dearly inside of them, that it is possible to abandon all trends and patterns and create something wholly unique and special.

Rating: 4.5 out of 5

Try if you like: Yeah Yeah Yeahs, Aloha, 80’s Metallica

To get audio and video, or order the CD, go to www.flameshovel.com.

Quick Welcome and Explanation

2006-01-05T10:15:00.000-06:00

I thought I should give a quick explanation for this blog. I have a tattoo. It's an indian with a head dress (not unlike this fine fellow). So when I was forced to come up with a name, it was the first thing that popped into my mind. Why would I have that as a tattoo you might ask???

Well, I got it for my 21st birthday...partly because of my Native American heritage, partly because I saw a similar one on a certain admirable actor. It is a token of my passage into manhood. It was also a gift from my best friend.

Last night I decided that this blog will be largely dedicated to music...bands I find, CD's that amaze me, and impressive live shows. I will also make room for movies and books (I've been on a reading rampage lately). Hopefully it'll prove to be a useful way to spend my time, and an enjoyable read for everyone else. I felt limited by the myspace blog...and I have a feeling this will work out better for me.

My 10 Favorite Albums of 2005

2006-01-04T20:13:00.000-06:00

Hello. I decided to branch off of My Space blogs in hopes of a more rewarding internet information experience. I hope you enjoy the result. For my first post, I will tell you all about my favorite albums of 2005. I say "favorite" instead of "best" because I believe that these sorts of things involve OPINION and not FACT. These are two concepts that many people get confused.

This is a celebration of the worst year of my life. But don't worry...this list will provide something for anyone to be excited about. These lists have carried me on road trips, long jogs, sad days, happy days, etc. Although I can say that 2005 was personally the most difficult year for me yet, it was by no means a bad year in music. Allow me to convince you...

(in order of increasing importance to me)

10. Deerhoof - The Runners Four : Abstract music stylings and child-like vocals create a wildly artistic adventure on this album. At times it's testing, but they get A+ for effort in breaking the mold. Sometimes it reminds me of Belle & Sebastian or The Cardigans...sometimes like nothing I've ever heard. It's not for everyone, but it's one of the most interesting musical endeavors I've heard this year.

9. The Clientele - Strange Geometry : Altough slightly repetitive, this music is 100% rewarding. I'm actually looking forward to rainy April days just so I can listen to this album and look out the window, glad that I'm dry and warm indoors. This is tremolo-ridden music with bit and pieces taken from other decades (specifically the 60's).

8. Gorillaz - Demon Days : One song can sometimes make or break an album. On this album, the song that makes it is "Dare." I was a huge fan of the Gorillaz debut. This is definitely a departure of sorts, but some change is never a bad thing. They stick to their guns (note iPod commercial blaring "Feelgood Inc").

7. The Decemberists - Picaresque : Not their best work, but definitely their most dramatic. This Portland group is progressing towards something increasingly unique. With the cutesy vocals, 12-string guitars, accordians, and other various instruments, things turn out enjoyable. Not to mention the stories of revenge, unrequitted love, and child labor...involving pirates, British boys and ghosts (not in respective order). Trust me...it all works out. Plus I'm in love with Petra, the newly added violinist/vocalist. Oh sweet sweet Petra.

6. DangerDoom - The Mouse and the Mask : Not until a couple years ago did I learn that not all hip hop is bad hip hop. As with most genres, I had only been exposed to radio crappola. This album reminded me of the best Jurassic 5 (and occasionally music found in the best ski movies). In a word, it's fucking SMOOTH. I think it's based off of an Adult Swim cartoon. No matter...It's creative and intriguing.

5. Sufjan Stevens - Illinois : Reportedly the 2nd in an attempt to make an album for each of the U.S. states (never gonna happen!), this is an excellent summer CD that accompanied me on many a trip to/from Chicago. Sometimes densely orchestrated a la Stereolab, sometimes bleak and foreboding...but always captivating. And who knows, you might even learn something about a serial killer or Honest Abe.

4. Broken Social Scene - (self titled) : Not one piece in this collaboration is striking on its own. What is striking is the result when this large group of Canadians combines their powers. It's a painting in progress that changes slightly with each listen. It's a mesh of feelings and pictures in your mind. Soft summer afternoons and fond memories of teenage years. Not to mention a well-used sense of humor to accompany their musical integrity (I believe the last line of the album is "why are you always fucking goats?"). My favorite song is "Swimmers".

3. Of Montreal - The Sunlandic Twins : I revised this list two months later to include this album. I don't know how it escaped me before. Anyways, I saw them live at Metro in March and they were unbelievable. I guess I needed that live performance to show me this group is no fluke. At the show I tried to think of how to describe the band. I came up with "Electro Psychadelic Disco Indie Dance Rock." And that fits this album just the same as the live show. Song highlights are "The Party's Crashing Me," "I Was Never Young," "Wraith Pinned to the Mist & Other Games," and.....wait....they're all amazing. Get this CD!!!

2. Bloc Party - Silent Alarm : Angular loud British indie rock at its best. Some songs are lovey dovey, some songs have a political point, and some just say "hey, we're British, and that makes us important". Yes, there was a lot of hype about this band...and yes, it was well deserved. Their tightly wound arrangements will leave your head in a frenzy wanting more. At least, that's what happened to me.

1. The Go! Team - Thunder, Lightning, Strike : Grab a box. Place in it equal parts indie dance rock, electronica, Kung Fu soundtrack, playground chanting, and harmonica...now stir and brace yourself. This album rocked my socks off completely. I have not been so addicted to a CD in a long time. I WISH so badly that I had seen them at Metro on Halloween weekend. Why the hell is the UK so far away?! Trust me...just get this CD and be happy you're alive. (note - this CD was released in the UK in 2004, but in the US it was 2005)

Honorable Mentions:
1. Kings of Leon - Aha Shake Heartbreak : Southern NYC-style indie rock makes me want to break beer bottles and knock over tables.
2. My Morning Jacket - Z : The opening track ("Wordless Chorus") is one of the most lush and hypnotizing songs I've heard in a while. The CD opens like Flaming Lips crossed with Coldplay, but ends with too much American trad rock.

Chicago Album Award:
Make Believe - Shock of Being : I can't really say anything about these guys yet. I saw them live and I was really impressed. The guitar work is like nothing I've ever heard. I ordered their CD. I'll write something about it once it comes. All I know is it's the coolest Chicago band I've found yet.