Anti-Hipster, Vol 1 - TV on the Radio

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

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

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)

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?

An essay on the recent emergence of excellent Canadian music.

Links:

1. Broken Social Scene
   
2. Stars
3. Metric
4. Feist
5. The Arcade Fire
6. Destroyer
7. The New Pornographers
8. Caribou
9. Islands
10. The Dears
11. Young and Sexy
    
12. Sunset Rubdown
13. Russian Futurists
    

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.