Say It Ain't So...

I don't care what anyone says -- it's never a good sign when an album gets pushed up three weeks. After giving the new self-titled Weezer record a few spins, it's apparent why the people at Geffen are pulling out all the stops to get the band's sixth studio release out of their hair pronto. But alas, this is what it has come to. Which is unfortunate, because I have always been this band's number one advocate. When critics seemed to universally lampoon Pinkerton in 1996, I stood by the guys through the thick and thin of it. After the appropriately tittled Maladroit received it's early lukewarm reception in 2002, I dismissed the bad karma and was still first in line to pick up my limited edition numbered copy. Unfortunately, a diehard can only give a band so many chances before admitting that his once favorite band has officially jumped the shark.

I was initially excited when I heard the power-chord punch offered in leadoff single "Pork & Beans." This was the Weezer of yesteryear that I knew and grew to love. Had Rivers and gang finally learned to replicate their mid-nineties power-pop glory? On this song, yes. On the rest of the album? Not even a chance. And I'm not even asking the band to make another Blue Album or Pinkerton per se; this would be a nearly impossible feat. But for a band that has traditionally taken an exceptional amount of time to record and release new material, it is frustrating to consider that this is the best they can offer. The trainwreck begins on "Troublemaker" -- a nonsensical tune that has the lyrical sophistication of a six-year old. With lines like, "Put me in a special school/Cause I am such a fool/And I don't need a single book to teach me how to read/Who needs stupid books/They are for petty crooks," this song makes "Beverly Hills" sound like an opus. The five and half minute "The Greatest Man That Ever Lived" experiments with about a dozen tempo changes, and seems to go everywhere but in a positive direction. "Heart Songs" is a snoozer and the band reaches new levels of failure on the Scott Shriner-sung "Thought I Knew." The gang saves some face on the poppy "Dreamin'," which is admittedly not a half-bad tune. However, this is really the only other check in the win column I'll give them. In lieu of their once-patented endearing quirkiness, we are given a handful of songs that are just uninspired and asinine.

My Rating 4.0/10

Positive Jams

It's hard to have negative feelings for an album as optimistically titled as Stay Positive. Throw in The Hold Steady's track record of releasing some of the more exceptional studio albums of the past few years and this becomes an even more daunting task. Even so, considering the sheer genius that was 2006's Boys And Girls In America, The Hold Steady are surely destined to disappoint on their follow-up, right? I can safely answer this with a resounding WRONG! It's almost fitting that I happened to get my hands on Stay Positive the day after Memorial Day. Because more so than anything else, this is absolutely a summer record.

The album kicks off with an aggressive uptempto track called "Positive Summer," which is the perfect segue into the band's new body of material. The song retains the brilliant ramblings (a la the first three Springsteen albums) that frontman Craig Finn has so perfectly patented on the the band's first three releases, as well similar themes of youth rebellion and escape in middle America. An obvious nod to the the band's reckless idealism, Finn cleverly declares, "Me and my friends all like/Double whiskey, Coke, no ice/We drink alone in double time/I drink too much but you feel fine," and goes on to refer as "St. Joe Strummer" being his "only decent teacher." The momentum carries over into the equally terrific second track and first single "Sequestered In Memphis," which could have very well been a b-side off of Born To Run (see THIS earlier post for more on this song). "Song For Cutters" shows us some of the band's depth, showcasing Franz Nicolay's harpsichord playing abilities and Finn's witty storytelling about the tragic lives of Midwest townie drug addicts.

Positive progresses along beautifully into the heartbreaking "Lord, I'm Discouraged," highlighted by the most desperate tale of self-destruction since The Black Crowes' "She Talks To Angels." Building up slowly, the tune climaxes into a facemelting guitar solo that would garner Slash's seal of approval. Who knew the boys had it in 'em? But it is this crafty guitar work that gets carried over into the mood-changing "Yeah Sapphire", a song of redemption in which Finn confesses, "I was a skeptic at first, but these miracles work." From here on in, songs of desperation turn into songs of hope. The fist-pumping anthem "Stay Positive" seems to acknowledge all of the band's afforementioned negative undertones of youth struggle and retorts with feelings of reassurance that everything is going to be alright. The band gets a little playful with the Led Zeppelin inspired "Joke About Jamacia" -- a nod to the often mispronounced "D'Yer Maker." With references to a handful of LedZep songs ("Dancing Days," "Trampled Underfoot," "Dazed And Confused"), Finn proves that he is a wizard of wordplay on what is easily the best told story on the album. Stay Positive concludes on an extremely high note with the fantastic "Slapped Actress," a song that incorporates the layered guitars of yesteryear and comes full circle by reprising some of the band's earlier albums' themes ("almost killed me", Ybor City).

All I have to say is there is a reason why The Hold Steady was the the first band in 15 years to grace the cover of The Village Voice. This bands brings an excitement to music that is unparalleled (just check them out live). And although the guys kind of reinvent the wheel on Positive (lyrically, this disc is very similar to B&IA), they prove that they can consistently make a musically complex record all the while incorporating themes that don't seem to get tired. Hey, if the Boss can make a career out of this, why can't these guys? For me, this is a stellar effort and shows progression of a band that you can bank on.

My Rating: 9.0/10

A Buzz In Our Ears

News has been circulating today that everyone's favorite avant-garde Icelandic post-rock band, Sigur Rós, is finally back with new material! After the release of last year's compilation album, Hvarf-Heim, the band is back at it with their first full-length record in nearly three years. The album, out June 24th in America, will be called með suð í eyrum við spilum endalaust (which literally translates into English as "with a buzz in our ears we play endlessly") and will apparently feature the most visually daring album art since Pulp's, This Is Harcore. The sudden announcement of a rather eminent album release seems to be the industry norm these days (following in the footsteps of The Raconteurs, Gnarls Barkeley, and soon to be Beck) and is apparently the most effective way for established artists like Sigur Rós to combat album leakage. Funky album art and long-winded titles aside, the band breaks new ground with record's first single, "Gobbledigook". Straying away from their patented ethereal sound, the three minute tune is uncharacteristically brief, upbeat, and driven by a fast acoustic guitar. Unfortunately, I don't speak Icelandic so lord knows what this song is all about, but hey it works. Supposedly, the band treads new water on the new album by experimenting with English vocals on one of the tracks. This announcement of this album sort of blindsided me (in a good way), but proves that the summer is looking to have a pretty stacked release lineup. "Gobbledigook" can be downloaded for free now via Stereogum. Sigur Rós will be playing only a handful of North American shows this summer, so if you are fortunate enough to get tickets, I highly recommend checking these guys out at these locations:

6/05 Guadalajara, MEX @ Teatro Degollado
6/07 Tepoztlan, MEX @ Festival La Colmena
6/08 Tijuana, MEX @ Planeta Tijuana
6/11 - Omaha, NE @ Orpheum Theater
6/12 - Kansas City, MO @ Uptown Theater
6/14 - Manchester, TN @ (Bonnaroo)
6/16 - New York, NY @ Grand Ballroom

Flip On The Telly

As bad as Weezer has gotten over the years, I really gotta hand it to them on the music video front. The band just released the video for "Pork & Beans" -- their first single off of their self-titled "red" sixth studio album. What we get is a pretty hilarious video of some of the most popular YouTube viral video sensations of the past few years. The "Numa Numa" dude, the brainless Miss Teen South Carolina, the serious staring chipmunk, and even the "Leave Britney Alone" douchebag all make their appearances in this video -- further extending their respective fleeting 15 minutes. In other news, due to numerous leaks of most songs (and a very bad response to said songs), the "red album" has been pushed up three weeks, and will now be released on June 3rd.

Kool Thing

Last Friday, I probably got the best music deal in the world. I was perusing through a thrift store on 77th and 3rd when I saw a stack of new Sonic Youth CD's for sale. Considering this place is one of those charity Good Will stores, they practically give stuff away. I got new (still wrapped!) copies of A Thousand Leaves, Goo, Sonic Nurse, and Rather Ripped for a total of four dollars. Yes, this comes out to $1 per disc. These albums have since occupied most of the space in my stereosystem, causing me to go on the longest Sonic Youth binge of my life. Which got me to thinking about several things. Although everyone and their mother is aware of Daydream Nation's accolades, this band really hasn't gotten the credit they deserve on most of their other albums. Influential bands like The Pixies and The Replacements have had their catalogs praised, whereas a majority of Sonic Youth records have gone largely unnoticed. The unfortunate part to this is that people are really missing out on some good stuff. Rather Ripped (released in '06) is an instant classic and in my opinion shows the how the band has only gotten riper with age. Bands as far reaching as The Arcade Fire and Silversun Pickups really owe Thurston Moore and Kim Gordon a debt of gratitude for sculpting a sound two decades before it would appeal to the mainstream.

But it looks like this might changing after all. It was announced today that Starbucks Entertainment (Hear Music), of all people, will be releasing semi-best of collection appropriately titled, Hits Are For Squares, that will be hitting most stores on June 10th. The record will include one exclusive song and smattering of 14 tunes that have received the stamp of approval from various celebrities/Sonic Youth enthusiasts that include everyone from Gus Van Sant to Eddie Vedder. The liner notes will include each song's selector and his/her respective reasons for inspiration. If Starbucks isn't mainstream enough, I don't know what is. I pass at least three each day during my walk to work. Here is the album's songlist paired with celebritie(s):

01 "Bull In The Heather" (selected by Catherine Keener)
02 "Sugar Kane" (selected by Beck)
03 "100%" (selected by Mike D)
04 "Kool Thing" (selected by Radiohead)
05 "Disappearer" (selected by Portia de Rossi)
06 "Stones" (selected by Allison Anders)
07 "Tuff Gnarl" (selected by Dave Eggers and Mike Watt)
08 "Teenage Riot" (selected Eddie Vedder)
09 "Shadow Of A Doubt" (selected by Michelle Williams)
10 "Rain on Tin" (selected by Flea)
11 "Tom Violence" (selected by Gus Van Sant)
12 "Mary-Christ" (selected by David Cross)
13 "World Looks Red" (selected by Chloë Sevigny)
14 "Expressway To Yr Skull" (selected by the Flaming Lips)
15 "Slow Revolution" (exclusive)

A Movie Script Ending

Amid last week's speculation from its excellent first day sales, it was confirmed today that Death Cab For Cutie's Narrow Stairs is officially the number one record in the country. Shipping just over 144,000 units, Stairs assaulted the competition in a rather slow music week, besting a Frank Sinatra compilation that bowed in at number two with 99,000 sold copies. Although I was a little disappointed with this new Death Cab record, I really need to give Ben Gibbard some props here. I remember hearing about these guys in college when they couldn't even sell out a tiny club show in Pittsburgh. Five years later, it's truly amazing to see how far a once relatively unknown indie band has come. Despite the pathetic truth that 150,000 copies will pretty much solidify a number one record these days, I really cannot discount this remarkable feat and how it translates into peoples' shifting preferences in popular music. Kudos, Death Cab!

Staying Positively Good

Now that I've gotten my grubby little hands all over the new My Morning Jacket record, my second most eagerly-anticipated album of the summer is without a doubt The Hold Steady's Stay Positive -- due out July 15th on Vagrant. Lucky for me, the band released leadoff single "Sequestered In Memphis" yesterday on iTunes and their MySpace page. I've really got to give it to this band; after just one listen I'm already hooked. I don't know how Craig Finn and crew does it, but the band always finds a way to tighten up its sound on each proceeding record. 2006's Boys and Girls In America was nearly flawless, and if early glowing reviews have anything to say about Stay Positive, this band is only getting warmed up. And if The Hold Steady's early Bruce Springsteen influence was ever in question, this album will quiet the naysayers. With saxes a la Clarence Clemmons and organs remincent of Danny Federici, "Sequestered In Memphis" is the modern day equivalent to the E-Street Band backed "Rosalita". For those of us lucky to live in the New York Metropolitan Area, we get a free show June 29th at McCarren Park Pool in Williamsburg. You can bet I'll be there. They've also mapped out a summer US tour:

HOLD STEADY SUMMER TOUR: 07.17 - Cleveland, OH - Beachland Ballroom 07.18 - Pontiac, MI - Crofoot Ballroom 07.19 - Chicago, IL - Pitchfork Festival 07.21 - Madison, WI - Majestic Theatre 07.22 - Minneapolis, MN - First Avenue 07.23 - Fargo, ND - Fargo Theatre 07.26 - Seattle, WA - Capitol Hill Block Party 07.27 - Portland, OR - Crystal Ballroom 07.29 - San Francisco, CA - Mezzanine 07.30 - Los Angeles, CA - Avalon 08.02 - Tucson, AZ - Rialto Theatre 08.03 - El Paso, TX - Club 101 08.05 - Dallas, TX - Palladium Ballroom 08.06 - Austin, TX - La Zona Rosa 08.08 - Oxford, MS - Proud Larry’s 08.09 - Athens, GA - 40 Watt 08.10 - Charleston, SC - The Pourhouse 08.12 - Carrborro, NC - Cat’s Cradle 08.13 - Norfolk, VA - The Norva