Talk of the Town

There's mash-ups, and then there's Girl Talk -- the nom de plume of Gregg Gillis, a 26 year-old Pittsburgh whiz-kid producer who has been making waves with his new record Feed The Animals. If you thought Danger Mouse got a little creative with the Grey Album back in '04 you really ain't seen nothing yet until you've given this new album a spin. And if the opening vocal track to the album's first cut, "Play Your Part (Pt. 1)," sounds familiar, you better buckle up, because this is one's going to be a pleasantly bumpy ride. For you see, in the next fifty-three minutes this might happen about, oh, another 300 times. No, I'm not talking about a disc to accompany a power hour (although I'd like to see you try). Rather, what we're given is a truly remarkable display of one man's creative ability to seamlessly intertwine everything from Jay-Z to Twisted Sister. Yes, being dead serious here. But here's the catch, he gets away with it -- both musically AND legally. Thanks to the fair-use principle of U.S. Copyright law, Gillis doesn't have dish out the royalties unless he uses more than thirty seconds of a sample (which he doesn't). In fact, I challenge you to find a sample that comes anywhere close to said thirty seconds, because just a little heads up -- it ain't gonna happen. And here's the best part, Gillis is going all Radiohead on us. If you go to Girl Talk's MySpace page, you can name your price to purchase the album (hint, hint: go there NOW!). Bottom line, anyone who can figure out how to interweave "15 Step," "No Diggity," and "The Weight" in the same song gets an A in my book.

My Rating: 9.0/10

This Is [Free] Music

Free music rock my socks. Especially when it's free new music from a band that hasn't made any in over a decade. If there's one good thing that has come from this digital fiasco, it's the the whole "giving to get" mindset that has been pioneered by bands like Radiohead, Nine Inch Nails, and yes, even Coldplay. Following in the footsteps of their 90's alt-rock brethren, the recently reunited Verve is offering a free download of a new song, "Mover". Head over to the band's website to nab yourself a copy. Be forewarned; this song will not be on the band's upcoming album, but it's free nonetheless.

Where Did It All Go Wrong?

It looks like Jay-Z got the last laugh in the ongoing feud with Noel Gallagher. Last night, the rapper/producer/P.I.M.P. extraordinaire mocked the lads by performing a rather hilarious version of "Wonderwall" on the band's home turf at Glastonbury. The rivalry started a couple of months ago when Gallagher didn't exactly stamp his seal of approval over Jigga's headlining stint at the British festival. Take a look:

Simple Twist of Fate

If you're not well versed in the history of rock and roll, the first thing you should know is that Bob Dylan was the man responsible for making the Beatles cool. Here's a nice little history lesson for you all:

God, Make Up Your Mind (and see the Cold War Kids for free TOMORROW)

If you're as broke as me, you appreciate a nice free show every so often. I know this is kind of last minute, but tomorrow is your lucky day -- especially you, Greg. The Cold Wars Kids have a fantastic album called Robbers & Cowards, and my guess is that they will be playing a large chunk of it tomorrow night for FREE at the Prospect Park Bandshell. For all you Moneybags McGee's out there, they will also be playing two ($) shows in the city this October (one show at Webster Hall, and another at the Music Hall of Williamsburg). Tickets for these go on sale on Saturday.

No Lies, Just Love

For those of you who missed the boat on scoring Conor Oberst tickets for his upcoming Bowery Ballroom show, you're in luck. It looks like the man has some love for the Big Apple. He and his new side project -- The Mystic Valley Band -- will be playing not one, but TWO shows at Terminal 5 on November 8th and 9th. Tickets go on sale Saturday at noon, so there is no excuse for slacking off this time around.

The List (Part 1)

Everybody's got one of these, so why not give it a shot? Friends tell me that I have an unhealthy obsession with mid-90's indie-alt. rock (which may or may not be true), but I like to think I'm more than a one trick pony here. Besides, who doesn't love lists?!? In what will be the first of a (weekly) ten part segment, I give you my top 100 records since 2000. First, a few disclaimers:

1. Yes, I have a soft spot in my heart for emo.
2. I encourage you to disagree with me.
3. If you're nice enough, I might illegally send you copies of the following material upon request.

100) Pearl Jam - Pearl Jam (2006)
Let's kick things off some legends. After giving us a helping of forgettable albums (beginning with 1996's No Code and finally ending with 2002's Riot Act) the boys return to glory on their 8th studio effort (the one with the avocado on it). Spawning several modern radio hits, including the #1 charting first single "World Wide Suicide," Eddie and gang prove why they are the only mainstream Seattle grunge band to survive the '90's.


99) Queens of the Stone Age - Era Vulgaris (2007)
Who cares if Josh Homme may or may not be a homophobe? And please disregard fact that (with the exception of Homme), every other slot in this band has been a virtual revolving door. When these guys get together to make a record, they don't fuck around. And I hereby challenge you to beat 3's and 7's in Guitar Hero on expert -- if you can, you're a better man than me.


98) The Strokes - Room On Fire (2003)
Few bands that receive such critical acclaim on their debut disc can rarely keep the momentum moving. Back in 2001, The Strokes were the toast of the town. Everybody (and I mean everybody) thought these guys were the best thing since sliced bread. Hell, they made it cool again to add "The" before your band title. So the pressure was definitely on in 2003 to repeat the success of Is This It. Although Room On Fire was initially considered a disappointment, this one has evolved into a cult favorite along the lines of Weezer's Pinkerton. Just don't get your hopes up for First Impressions of Earth.


97) Regina Spektor - Begin To Hope (2006)
The Russian-born starlet's follow-up to 2004's Soviet Kitsch, this is the one that broke this lady into the mainstream. If you think you haven't heard any of these songs, you've probably heard a handful in commercials and TV shows. This peppy anti-folk singer-songwriter has been selling out shows left and right and will only get bigger on her future releases. She also does a killer version of John Lennon's "Real Love," if you want a starting point.


96) Josh Rouse - Under Cold Blue Stars (2002)
This guy has been around for over a decade now, and I am still shocked he hasn't hit it bigtime like his singer-songwriter contemporaries Pete Yorn and Ryan Adams. Although he's experienced moderate soundtrack success, he's not quite a household name just yet. I'm really a fan of most of his catalog (see also 1972, Subtítulo), but Under Cold Blue Stars is really where it's at. Just listen to brilliantly poppy "Nothing Gives Me Pleasure" and "Miracle" and you'll see what I mean.


95) New Pornographers - Twin Cinema (2005)
Who doesn't like Canadian indie rock?! Before Tokyo Police Club busted on to the scene, these guys made one hell of a record three years ago. Nevermind those incessant University of Phoenix spots featuring "The Bleeding Heart Show" -- the Pornographers are the real deal. Featuring poppy harmonizing and fast riffs, this record occupied prime real estate in my stereo for a very long time back in '05. If you like what you hear, check out the solo work of bandmembers A.C. Newman and Neko Case.


94) Arctic Monkeys - Whatever People Say I Am, That's What I'm Not (2006)
Fun fact: The Arctic Monkeys set a record for having the fastest selling debut album in British history (which was recently broken by Leona Lewis). After listening to a couple tunes from this record, it's pretty easy to see why. Their attitude and witty lyrical style flex this band's brawn and brain -- making them the poster children for a new musical genre: English post-punk. Their follow-up ain't have bad either.


93) The Futureheads - The Futureheads (2004)
The Futureheads are the poor man's Arctic Monkeys, and for this reason I have chosen to rank their debut slightly ahead. These guys are all the rage in England and have barely made a splash in the States. They just released their third album last month that has already been getting pretty decent reviews. Show them some support.


92) The Shins - Wincing The Night Away (2007)
This band obviously got a huge sales boost thanks to Zach Braff's soundtrack skills. Wincing was The Shins' first effort since achieving their Garden State glory. I remember this being the first big release of '07, and these guys didn't disappoint. Although some songs are a little bland for my liking, they really hit the nail on the head with tunes like "Australia" and "Girl Sailor." Just be wary; if you're going to see this band live, what you see is really all you get.


91) Jimmy Eat World - Bleed American (2001)
Hooray emo! And hooray god-awful band names. Jimmy Eat World is indeed guilty of both. But you know what, Bleed American is one hell of a catchy album. This record was huge when I was a freshman in college and admitedly gets some sentimentality points. Irrespectively, how can you not enjoy "A Praise Chorus," "Sweetness," and yes, even "The Middle". Supposedly, lead singer Jim Adkins (no relation to band name) is the most down to Earth man in rock and roll. And you gotta appreciate modestly in this industry.

Bring It On Down

Well, I guess I'll just keep 'em coming. It was announced yesterday that Oasis will be releasing their seventh studio release on October 6th. Their first new record since 2005's Don't Believe The Truth will be called Dig Out Your Soul, and will feature the leadoff single "The Shock of Lightning." The song will hit radio on September 29th -- just a week before the album. According to Noel Gallagher, “If ‘The Shock Of The Lightning’ sounds instant and compelling to you, it’s because it was written dead fast. And recorded dead fast. ‘The Shock of The Lightning’ basically is the demo. And it has retained its energy. And there’s a lot to be said for that, I think. The first time you record something is always the best.”

Taking a page from their book, I'm gonna choose to not believe the truth. I literally worshiped these guys in like 1997, but Oasis really hasn't done for me (or Americans, for that matter) in about a decade, so we'll see if this one is finally able to make a splash. The band will be playing a brief stint of Canadian dates this summer with Ryan Adams & The Cardinals.

Kings of Productivity

Wow. If this is how it's gonna be, 2008 figures to be one of the best years in music as far as I can remember. The surprise album announcements keep comin' in! Following in the footsteps of Beck, The Raconteurs, and Gnarls Barkley, it was just announced that Kings of Leon will be releasing their 4th studio album, called Only By The Night, on September 23rd in the States. This is coming in off the heels of last year's extremely underrated Because of The Times. I didn't even know the band was in the studio. Looks like there was a reason why these guys were mysteriously absent at Bonnaroo this year. Excellent news.

Viva La Haiku

Coldplay played the Garden.
I didn't win tickets.
Shortest blog post ever.

Setlist:

1. "Life In Technicolor"
2. "Violet Hill"
3. "Clocks"
4. "In My Place"
5. "Viva La Vida"
6. "Chinese Sleep Chant"
7. "God Put A Smile Upon Your Face"
8. "42"
9. "Square One"
10. "Trouble"
11. "Lost!"
12. "Strawberry Swing"
13. "Yellow"
14. "Death Will Never Conquer"
15. "Fix You"
16. "Lovers In Japan"

An Alright Start Indeed...

Don't be fooled by the intricacy of Sigur Rós' obscenely long new album title, Með suð í eyrum við spilum endalaust. Compared to the aural complexity of some of the band's prior albums, this one is all about simplicity. Audiophiles who rejoiced the post-rock production knick-nacks scattered throught Ágætis byrjun and ( ) might be a little disappointed with how much the band really pulled back on this effort. However, despite the countless mispronunciation botches this one will invariably suffer, Með suð... will be on the minds of fans and critics alike for quite some time. Because unlike most of the band's abstract catalog, I can see this one realistically appealing to the mainstream. And although I don't know how to decipher Icelandic just yet, it's pretty apparent that this is a record brimming full of optimism and and celebration. You want hints? Well aside from the happy-go-lucky streakers on the cover, the album's literal English translation ("With a buzz in our ears, we played endlessly"), and some exuberant song titles ("Festival," "All Alright"), just take a listen to the opening strums/happy pounding of the radiant acoustic single, "Gobbledigook." Is this Sigur Rós or giberish-laden Dave Matthews? Well, whatever it is, the party doesn't end after track one. If "Gobbledigook" was part I of the band's first foray into pop, "Inní mér syngur vitleysingur" does an excellent job following up. Not only does it manage to retain the clap-along drum beating from "gook," but we are also treated to a horn section (which rocked the MoMA last week, by the way), and an army of violins that make this the least-sounding Sigur Rós song to date. We are given a slow beauty in "Gódan daginn" before the trumpets make their triumphant return in "Vid spilum endalaust." Hell, this song even clocks in a radio-friendly three minutes and thirty-five seconds. Oddly enough, if you dig some good ole fashioned slow-building Rós, "Festival" is the track for you. But don't for a minute think this one has the bombast of the first couple of songs -- it appears as if the boys are getting all ironic on us. But have no fear, the newly maneuvered sound reprises itself on "Med sud í eyrum," lush pop and all. From then on it, it all familiar ethereal territory. And whether or not you've become accustomed to sudden foray into unexpected normalcy, this can either be considered good or bad. Taking a page from every other critic who has compared Sigur Rós to Radiohead, Með suð... is this band's The Bends -- except they've already made their own Kid A and OK Computer. I guess they do things differently in Iceland, which is perfectly fine in my book.

My Rating 8.0/10

A New Arrangement

Before Cassadaga, I was never really much of a Bright Eyes fan. Key word being before. After a buzz circulated about this album last year, I figured I'd throw this band a bone and give it a listen. I was gradually turned on to what I heard, and have consequently become a huge fan. I've since explored the depths of the band's prolific catalog and highly recommend doing the same. You might be surprised with what you hear. I sure as hell was. What does this have to do with anything? Well, Conor Oberst will be releasing his first (self-titled) solo album in 13 years on August 8th (depite what many think, he is NOT Bright Eyes inasmuch as Chris Carraba is NOT Dashboard Confessional) and the album artwork was released today (see below). Oberst has always reflected his surroundings in his music, and considering how this album was recorded in Tepoztlán, Mexico, this is sure to lead to some interesting results. Bottom line, this one's defintiely on my radar. For you New Yorkers, he will be playing a sold out show at the Bowery Ballroom on August 8th, and will be apparently be touring endlessly thereafter.

You can stream a couple of songs from the new record HERE.

"One Big Holiday" -- My Morning Jacket @ Radio City Music Hall 6/20/08

Ok, let's set this straight. It's been slightly OVER A WEEK since I lasted posted about My Morning Jacket, so I think I'm finally in the clear here. And man-oh-man where do I begin?! I could go ahead and reinforce my bold assertion that MMJ is the best live band in the world. If you're rolling your eyes at this claim, I will double-or-nothing and say that I experienced history in the making Friday night. At what is already being hailed throughout the blogosphere as downright legendary, I was on hand this past Friday night at Radio City Music Hall to witness My Morning Jacket's most important show of its decade-long existence. And let me just say, this was, without a doubt, one of those "milestone" rock shows -- you know, the kind that transforms a club & theater band into arena superstars. Case in point, the guys are headlining Madison Square Garden New Year's Eve on a ticket that is expected to sell out in minutes. This is a bittersweet moment for me nonetheless, as I can confidently say it will be a VERY long time that I'll get to see the band in as intimate as setting as the 930 Club. But you know what, I can't think of a band that is as deserving of this kind of success, so they've got my full blessing here. Alright, back to the show.

On a night that featured no opening act, the boys went on just after 8 PM, kicking the night off with the album-titled first track of their new record, Evil Urges. Jim James' falsetto vocals were dead on throughout the tune, proving he needed no easy warm-up songs to hit the high notes on this one. This segued beautifully into Z's reggae-inspired, "Off The Record" -- a song that received the crowd's warm reception from the opening notes of its intro riff. From then on in, the guys put on mostly a clinic of their new catalog. Before the night ended, Jim James and crew played all but one song from Urges ("Look At You" was the only tune that didn't make an appearance). In between all the new material, the boys strategically placed old favorties from their first four studio albums, including alt-country gem "Golden," the ska-infused "Phone Went West" and live standard "The Way That He Sings." But there's something that should be noted here. All of this happened during the band's FIRST SET! Yes, you read that correctly. After polishing off the dreamy, Pink Floydy "Touch Me I'm Going To Scream, Pt. 2," MMJ took a brief break before officially proceeding to melt all of our faces. Normally, a 100 minute, 15 song set would be considered generous for most headliners. Not these guys; they had merely just begun.

Jim James started the second set off with a couple of acoustic numbers -- beginning with the obscure "Bermuda Highway" (off of 2001's At Dawn), which then led into "Librarian." James then thanked the crowd, and expressed how honored he was to be on the same world-famous stage as so many legends who have come before him(He had mentioned how his mind had been blown as an attendee of an Aretha Franklin show just months before.). With the full band back in tow, they guys ripped into the one-two Z punch that was "Wordless Chorus"/"It Beats 4 You." After slowing things down a bit with "Dodante" and This Tennessee Fire's "The Bear," the Jacket played what might possibly be the best four-song closer that I've ever heard. Having securely tightened their Southern rock hats, they gave us a good ole fashioned classic rock ass whoopin' with the headbangingly-brilliant "Lay Low," before jamming it out to "Run Thru." I'm pretty sure everyone was on their feet at this point, and the band responded accordingly with my favorite cut from Z, the aggressive masterpiece, "Anytime." Without further ado, MMJ busted out their signature tune, "One Big Holiday" and literally tore the house down. With guitar work that would make Ronnie Van Zant proud, the boys ended a magical night on the right note. The show ended at just around 11 PM, but I'm pretty sure this wouldn't have been the case had there been no curfew. Still, a 2 hour and 45 minute set is nothing to sneeze at, especially coming from a band that has, in my mind, raised the bar for live music excellence. My mind = offically blown.

Setlist
Evil Urges
Off The Record
Gideon
I'm Amazed
Highly Suspicious
What a Wonderful Man
Touch Me I'm Going To Scream Part 1
Sec Walkin'
Golden
Thank You Too
The Way That He Sings
Two Halves
Phone Went West
Aluminum Park
Steam Engine->
Smokin From Shootin->
Touch Me I'm Going To Scream Part 2

Encore:
Bermuda Highway
Librarian
Wordless Chorus
It Beats 4 U
Dondante
The Bear
Lay Low
Run Thru
Anytime
One Big Holiday

It's a Secret to Everybody

Dammit. By the time I found out Modest Mouse was going to be playing a secret show tonight at the Music Hall of Williamsburg, it had already sold out. I guess whenever a mass email (via Ticketmaster) gets sent out to practically everybody in the tri-state area, the word tends to spread pretty quickly. Sucks for me, but yeah, they are indeed going to be playing tonight. And a late one at that. Doors open at 1 AM and the band goes on at 1:30. If you're brave enough to trek out to Brooklyn this late, this one's definitely scalp-worthy.

Gobbledigook!!!@%&!!

It pretty apparent where my head is at musically this week. Coming off their spectacular mini-tour of the States (which included Bonnaroo and two legendary shows in NYC), Sigur Rós announced today that they will be playing another string of U.S. dates in the fall, begginning September 17th here in the Big Apple. No MoMA this time; you'll have to trek all the way up to Harlem to see them this go around. It looks like these guys are gonna be racking up the frequent flyer miles in the upcoming months. Get up early tomorrow, because tickets to all shows go on sale TOMORROW at 9 AM! Here are the dates:

09/17 - New York, NY @ The United Palace 09/18 - New York, NY @ The United Palace 09/19 - Boston, MA @ Bank Of America Pavilion 09/20 - Montreal @ Quai Jacques Cartier 09/22 - Toronto, Massey Hall 09/23 - Detroit, MI @ The Fillmore 09/24 - Chicago, IL @ The Chicago Theatre 09/25 - Minneapolis, MN @ Orpheum Theatre09/27 - Denver, CO @ Morrison Red Rocks Amphitheatre 09/28 - Salt Lake City, UT @ Saltair 09/30 - Tempe, AZ @ The Marquee 10/01 - San Diego, CA @ Copley Symphony Hall 10/02 - Los Angeles, CA The Greek Theatre 10/03 - Berkeley, CA @ The Greek Theatre 10/05 - Seattle, WA @ Benaroya Hall 10/06 - Portland, OR @ Arlene Schnitzer Theatre 10/07 - Vancouver, The Chan Centre

"With A Buzz In Their Ears, They Played Endlessly" -- Sigur Rós @ MoMA 6/17/08

So last night Pop Rally hosted a Sigur Rós concert at the MoMA, and I somehow found my way into this exclusive event. The show was kind of announced last minute, but this in no way took away from the planning that must have gone into it. The concert was bascially held in conjunction with an exhibition called Take Your Time, from fellow Icelander Olafur Eliasson -- which featured thirty-eight room-sized installations with changing atmospheres/enviroments that are supposed to represent the surroundings of his native Iceland....or whatever. Admittedly, I'm not as well-versed with the modern art scene as I'd like to be, but it was still cool to check out these pieces of work -- especially before a show by a band that is just as explorative and transcendental. Call me unsophiticated, but my favorite piece was a low-hanging pendulum fan that perpetually criss-crossed the happy hour tables (see below). So yeah anyway, weird exibits + even weirder band + free drinks (Grolsch flip-top bottles at that!) = a pretty epic night.

The band itself went on just before 9 PM, and opened with one of my favorite songs, "Svefn-g-englar," from their second studio album Ágætis byrjun. Given my surroundings, I experienced one of those reality-imitating-art-imitating-reality moments, as this particular song just happens to be featured in one of the more memorable scenes of my favorite movie, Vanilla Sky. Yes, very cool indeed. Throughout the course of the night, the guys brought out their standard surprises, which included a full horn section, a wind section, and singer Jónsi Birgisson's trademark falsetto vocals/bow guitar playing abilities. The setlist differed from the previous night's show (at the Grand Ballroom) and featured career-spanning mix from the band's crtitically-acclaimed ouvre. Some more highlights included crowd-fave "Olsen Olsen," and the drum-pounding upbeat new single "Gobbledigook," which ended the set (sorry, no nudity this time around). For the encore, the guys played "Untitled #8" off of ( ), and finished the night off with their first English-speaking song, "All Alright." All and all, a great performance by the most Radiohead-sounding band that isn't Radiohead. The only complaint I had was that the stage was a little low for onlookers in the back of the crowd (i.e. me) to really get a good view of band. But this was okay because they gave me free beer. Words really can't do this show justice because, well, it's really hard to tell what these songs are about (I don't speak Icelandic). There are a ton of pictures posted on BrooklynVegan.com HERE that sum up the evening quite well.

Setlist
Svenfn-G-Englar
Glosoli
Se Lest
Ny Baff
Vid Spilum Endalaust
Hoppipolla/Med
Vidrar
Saeglopur
Inni Mer Syngur
Olsen Olsen
Hafsol
Gobbledigook
------
Untitled #8
All Right

Hipsterpalooza

For those of you fresh off the heels of Bonnaroo, you've got some more good festival news coming your way. The Lollapalooza daily schedules were announced today, so it might be a good idea to get a head start on working out those inevitable conflicts. It looks like the planners did a pretty good job this time around. After a quick glance, the only major scheduling conflicts I see are: The Raconteurs/Bloc Party/Stephen Malkmus, Wilco/Rage, Weakerthans/Whigs, and Nine Inch Nails/Kanye West. But you can probably disregard that last one. Because if 'Ye pulls another ego stunt like he did at Bonnaroo this past weekend, chances are he probably won't go on 'til three in the morning. One last thing to note, I love how the schedule is COMPLETELY cleared for Radiohead. Lollapalooza will be taking place at Chicago's Grant Park the weekend of August 1st. For higher-resolution versions of the schedules, just click the images below:

They Can Make You Like Them

To combat piracy (guilty as charged on this one) The Hold Steady are pushing up the digital release of Stay Positive nearly a month. The album, as I reviewed it, will be available on iTunes tomorrow (it's already streaming on their MySpace). But wait, there's more! To reward those of you who have been patiently waiting, Craig Finn and gang have a special treat for you. You'll be able to purchase a special edition disc that will contain an additional three unreleased songs: "Ask Her for Aderall," "Cheyenne Sunrise" and "Two Handed Handshake." If the leaked material is an early indication of how these new songs are gonna sound, I just might explode.

Sick, sick, sick

Wow. Easily one of the best rock and roll meltdowns EVER! Kudos, Josh:

Better Men

Surprise, surprise. Pearl Jam tore the house down over at Bonnaroo this past weekend. I swear this band gets better with age. I remember when I first saw them in Pittsburgh in 2003, Eddie jested that his voice was made of "galvanized steel". It looks like he wasn't joking. Pearl Jam played an incendiary three hour, 25-song set during their headlining stint at the Tennessee festival that included the usual hits, a helping of rarities, and some covers. Why I didn't make the 13-hour drive, God only knows. I've been complaining as of late about the band's absurdly high MSG ticket prices. But if they're gonna whip out a setlist like this, maybe it's well worth it:

1. "Hard To Imagine"
2. "Corduroy"
3. "All Night"
4. "Why Go"
5. "Elderly Woman Behind The Counter In A Small Town"
6. "Down"
7. "Who You Are"
8. "Severed Hand"
9. "1/2 Full"
10. "Animal"
11. "Even Flow"
12. "Daughter"
13. "Gone"
14. "Love Reign O'er Me" (The Who)
15. "Do The Evolution"
16. "Rearviewmirror"
----
17. "W.M.A."
18. "Better Man" -->"Save It For Later"-->"Better Man"
19. "Black"
20. "Crazy Mary"
21. "Porch"
----
22. "No More"
23. "Release"
24. "Alive"
----
25. "All Along The Watchtower" (Dylan)

"Tonight The Sky" -- Mark Kozelek @ Highline Ballroom 6/13

Mark Kozelek remains an enigma in my book. For a songwriter who is as painstakingly confessional as they get, he sure is one hell of an insecure dude. On Friday night, I finally seized the rare opportunity to catch the man action, baggage and all. At what was billed an "intimate acoustic evening," I was amongst the privileged on hand to witness the brilliant Kozelek pour his heart out to a sold-out Highline Ballroom crowd. But before the man even played a note, there was already a little tension percolating. Mark apparently did not find a man in his line of vision particularly pleasing, so he offered a bribe of fifty dollars to switch with a more attractive woman in the first row. In what was easily the funniest moment of the night, the man accepted and Kozelek surprisingly paid up. I suppose this was the singer's way of breaking the ice with the faithful in attendance.

After meticulously making some last minute tuning changes, Kozelek finally got to work, kicking the night off with a pair of obscure Modest Mouse covers, "Trucker's Atlas" and "Tiny Cities." As complex these songs' arrangements typically are, Kozelek made it look easy -- further proving his guitar work (mostly finger picking) is as mighty as his pen. The first original song of the night was "Heron Blue," a sad tune off of his band Sun Kil Moon's critically-acclaimed new album, April. Kozelek, who's baritone voice can best be described as Eddie Vedder meets Nick Drake, was stunning on this one, proving his heart and soul are as present in his live shows as they are in his studio tracks. If only he just realized this. After finishing the song, Kozelek self-consciously asked if the audience was enjoying itself. If he wasn't convinced during the first few songs, this changed after the crowd applauded the opening strums to SKM favorite, "Gentle Moon." The serenity of "Moon" brilliantly contrasted the gloominess of some of the night's earlier selections. However, the highlight of the evening came when Kozelek played "Carry Me Ohio," a personal favorite off of Ghosts of The Great Highway. Judging the crowd's reception, I have a feeling I was in good company here. After a little bit of back and forth with his longtime supporting guitarist, Phil Carney, Kozelek brought out a guest named Emily to sing "Follow You, Follow Me," an old Red House Painters rarity. Despite some audio setbacks, the two duetted wonderfully on a song that was all too short. Kozelek continued to bust Phil's chops, and again questioned whether the crowd was enjoying itself. Despite Mark's hesitations, the show moved right along with a pair of Red House Painters standards, "Summer Dress" and "River". Kozelek became a little peeved when a camera-phone toting fan was furiously flashing away in the first row, causing the singer to unleash the fury in a rant that was all too awkward. Audio feedback plagued a gorgeous rendition of another new song, "Tonight In Bilbao," before Kozelek closed the set out with Sun Kil Moon standard, "Duk Koo Kim". I was a little disappointed with the lack of Red House Painters tunes included in the set (most namely "Have You Forgotten?"), but this was fine considering how well he mixed it up. He really spanned his prolific catalog on a night which undoubtedly pleased fans old and new.

Before the night came to a close, Kozelek played a two-song encore (sans Phil), that consisted of my favorite news songs from April -- "Lost Verses" and "Moorestown" (the latter of which is inspired by a town in New Jersey). And I gotta say, this is when Kozelek was at his best. The raw emotion his voice evoked in these lyrically soul-wrenching songs really proved he is a master of his art. The only complaint that I had was Kozelek's inability to realize this. Musically and lyrically it doesn't get much better than this, and maybe if he embraced his talent, Kozelek would be more of a household name.

Bad Habit

It's hard to believe that it has been five years since The Offspring last released an album. While they were sleeping, A LOT has happened in the pop/punk realm. We've seen Green Day shatter the mold with the brilliant American Idiot. We've witnessed the disintegration of some of the more influential emo acts of the late nineties (Blink-182, The Get Up Kids). And finally, we've come full circle with a new bastion of self-important pop/punk bands attempting to churn out their own opuses (My Chemical Romance, Panic At The Disco). Somewhere along the lines, The Offspring ducked under the crowd, survived the fallout, and came out no worse off for the wear. Well, this might be a stretch. Popping out of nowhere with their first release since the fart in the wind that was 2003's Splinter, Dexter Holland and crew give us Rise and Fall, Rage and Grace (not to be confused with the Foo Fighters' latest album Echoes, Silence, Patience, and Grace) due out Tuesday. What we essentially get here is textbook Offspring -- aggressive three-chord radio-friendly rock thinly disguised as punk. And depending on whether you anticipated this, or expected growth from a veteran band, this record is either a steady rise or a sharp fall. Unfortunately, I'm going to have to side with the latter on this one. Because quite frankly The Offspring make their best music when they remember where they came from ("Killboy Powerhead", "All I Want") and NOT when they try to replicate the radio garbage of 1998 ("Pretty Fly For A White Guy", "Why Don't You Get A Job?"). It is evident that they've retained a bit of their angst-ridden, machine-gun speed punk, but these moments are few and far between. The record's first single, "Hammerhead," is not a half-bad tune, but this doesn't fill in the rather large gap left from their first foray in ballad-land ("Fix You"). And this DEFINITELY does not excuse the awfully-Nickelback sounding "Half-Truism" that starts the album off. The band even sounds suspiciously emo on "Kristy, Are You Doing Okay," which is definitely not a compliment. Other than this, there really is much else to say about this record. Longtime fans will probably enjoy it, but if it's the critics they set out to please on this one, they can expect to fall down before they rise.

My Rating: 4.5/10

Just One Thing

I guess there is a silver lining to every cloud. Although my favorite band at the moment got trashed by Pitchfork, it looks like Jim James and the boys are getting the cover treatment for the July issue of Paste. Here's an excellent article that gives My Morning Jacket the justice they deserve:

http://www.pastemagazine.com/action/article/7525/feature/music/touch_me_im_going_to_scream_my_morning_jackets_quest_for_connection

And I promise this will be the last MMJ post on here for awhile....at least for a week.

UPDATE!: Just kidding. Sorry, one LAST bit of info. just in! As I predicted in a post awhile ago, it also looks like the boys are going to be getting the arena treatment. Billboard is reporting that My Morning Jacket is going to be headlining MSG on New Year's Eve! Holy shit, this is big news! I'm beyond excited. See link below for deets:

http://www.billboard.com/bbcom/news/article_display.jsp?vnu_content_id=1003815947

Martha My Dear

Despite having one of the stronger musical pedigrees in the biz, Martha Wainwright proves time and again that she is no need of nepotism on her sophomore release, I Know You're Married But I Have Feelings Too. On what is easily the most tell-tale album title of the year, Wainwright serves up songwriting that is wrought with heartbreak, frustration, and revenge. And boy, the things her ex-boyfriends must have done to her to inspire this! Her beautifully jarring voice (think one part Jewel, and two parts Tori Amos) can turn from angelic to screeching at the drop of a hat on songs like "Bleeding All Over You," "You Cheated Me," and "Hearts Club Band" -- tunes that are as emotionally charged as they are titled. Album standout "Comin' Tonight" proves that Martha has brother Rufus' penchant for pop, but also showcases her ability to cram Dylan-esque ramblings into three and half minute perfection. Her acerbic singing style, clearly inherited by humorist father Loudon, shows that Wainwright has the lyrical wit to match her originality. She dabbles into the cover realm with a playful version of Pink Floyd favorite "See Emily Play" before closing the disc out with the solemn confessional, "I Wish I Were." All in all, Feelings is an excellent follow-up to Wainwright's 2005 self-titled debut, a feat that may very well force Rufus to share the spotlight.

My Rating 7.5/10

Where It's At

It looks like everyone's favorite musical Scientologist is back. Although we've been teased with Beck's damn good single/video for "Chemtrails," little information has been circulating about Mr. Hansen's upcoming album. That is, until now. It was announced today that Modern Guilt, Beck's eighth studio album (gotta applaud prolific artists), will be released July 8th on Geffen. Other than hearing the first single, all I really know is that this one is produced by Danger Mouse (of Gnarls Barkley fame) and will, according to Stereogum, "vacillate between economy and experimentation, hybrid and pop classicism, while consistently manifesting Beck and Danger Mouse's shared interest in psych-rock, folk, electronic minimalism and orchestration." Whatever that means. Anywho, Guilt has already been generating some buzz in hipsterland, and hopefully this will allow Beck to bounce back from 2006's forgettable The Information. Here is Modern Guilt's suprisingly bland artwork with tracklisting:

1. "Orphans"
2. "Gamma Ray"
3. "Chemtrails"
4. "Modern Guilt"
5. "Youthless"
6. "Walls"
7. "Replica"
8. "Soul of A Man"
9. "Profanity Prayers"
10. "Volcano"

Real Emotional Trash

I normally don't use this blog as a venting vehicle. However, all bets are off when I read or hear something that is, in my mind, absolutely absurd. And let me just say, this is long time coming. Don't ask me why, but I was perusing Pitchfork Media when I happened to stumble upon the site's early review of My Morning Jacket's Evil Urges. Mind you, this is absolutely one of the best albums I have heard the year, and nearly ever critic who has had the privilege to obtain an advance copy will agree with me. This record will be the band's OK Computer, and will thus launch these guys into the superstar stratosphere. I hate to be a broken record here, but I just wanted to set the record straight on the eve of the album's release. But anyway, back to the rant.

Pitchfork (and more notably Eric Harvey) gave Urges an embarrassingly low rating (4.7 out of a possible 10) and basically ripped the record to shreds. Pick your poison, but the gist of the review can be summed up by the following blurb: "Evil Urges ends the mean streak the band's been on since 2000, and threatens to squander some of the widespread goodwill they've been steadily building along the way." A declaration like this, which couldn't be any more INACCURATE, represents the hypocrisy and snobbishness that plagues this jokingly well-respected publication. A journal that has routinely rewarded musical innovation while blasting anything that bears any semblance of "mainstream," Pitchfork has become a tabloid in my mind -- just another publication that will say or do anything to make a splash. And while I will agree that it has introduced the music world to its share of groundbreaking bands, the minute said talent gains any modicum of notoriety, Pitchfork will turn its ugly head and drop an endorsement quicker than a bad habit. You name it -- they've embraced it, then blasted it: Ryan Adams, The Strokes, and now My Morning Jacket. I have said this many times before, but this is nothing but a Revenge of the Nerds situation. These "critics" were like the kids that got beat up in high school. Years of taunting has turned them into everything they grew to hate. Ironically, these "tastemakers" are really the least open-minded of all. I bet their office is filled with these people:

All Alright

UPDATE: As a follow up to one of my earlier posts, it looks like Sigur Rós has posted their upcoming album, Með suð í eyrum við spilum endalaust, in its entirely. If you go HERE right now, you can stream all of the songs! I've only given the record one listen, but I really like what I'm hearing thus far. Definitely A LOT more commercial and Radiohead-sounding than their previous albums. And as I mentioned earlier, the guys attempt their first song in English to interesting results. Review to follow shortly.

Here is the tracklisting for Með suð í eyrum við spilum endalaust:

1. "Gobbledigook" – 3:05
2. "Inní mér syngur vitleysingur" (Within me a lunatic sings) – 4:05
3. "Góðan daginn" (Good day) – 5:15
4. "Við spilum endalaust" (We play endlessly) – 3:33
5. "Festival" – 9:24
6. "Suð í eyrum" (Buzz in ears) – 4:56
7. "Ára bátur" (Row boat) – 8:57
8. "Illgresi" (Weeds) – 4:13
9. "Fljótavík" [A place in Iceland] – 3:49
10. "Straumnes" [A mountain near Fljótavík] – 2:01
11. "All alright" – 6:21
12. "Heima"(Japan Bonus Track)

Seeing Success?

There's no denying that Pharrell Williams has one of the more impressive resumes in the music biz. Churning out hit after hit for artists as diverse as Madonna, Gwen Stefani, and Jay-Z, this man of many talents has developed quite the musical palate over the years. His penchant for productivity has inspired two albums under the the outfit N*E*R*D, which includes Neptunes producing partner Chad Hugo and rapper Shay Haley. After a four year hiatus, the trio returns with their third effort, Seeing Sounds -- a album inspired by synesthesia, a rare neurological phenomenon that causes people relate particular words or sounds to colors in their minds (Side note: I think I have an aunt who has this). And this title couldn't be any more fitting, as Pharrell and Hugo certainly get creative with a multitude of sounds on this genre-spanning disc. Through the course of the 12 song set, this production prodigy team experiments with riff-heavy rock, electronica, hip-hop, soul, funk, and new wave. When interviewed about Seeing Sounds at SXSW this year, Pharrell was quoting as saying, "We didn't care about genres; we're not doing this for the money." After listening to some of the record's more head-scratching songs (see "Anti Matter" and questionable single choice "Everyone Nose") this sentiment becomes apparent. Considering Pharrell's track record of mastering the art of the mash-up, he falls a little flat on this set. And oddly enough, it is the underproduced songs that are really the winners on Sounds. The soulful "Sooner or Later" stacks up with some N*E*R*D's best material from the first two albums. But unfortunately there is a level of excitement that is missing from say a "Rock Star" or a "Lap Dance." And please don't pay much attention to Haley's rhymes. Because lyrically this is a very forgettable album. But if blasting loud car stereo music is your thing, you'll have no problem with Seeing Sounds.

My Rating: 6.5/10

Everything's Not Lost

Chris Martin has got to be one of the luckiest men on the planet. Not because he's got Gwyneth wrapped around his finger. Or even because Steve Jobs happens to be on his speed dial. The reason why Mr. Martin is a giant amongst men in my book is because he has somehow turned Coldplay (perhaps the most average band ever) into the most marketable rock act in the world. And let's just call a spade a spade. These guys aren't particularly exceptional musicians, and Martin has hardly got a decent set of pipes. Nevertheless, with the exception of maybe U2, there is no band that is as universally celebrated than Coldplay. And sure, naysayers have tried taking a stab or two at these guys (just watch 40 Year-Old Virgin), but nothing seems to manhandle this mainstream rock machine. So when I heard that the band's new record was going to be as pretentiously titled as Viva La Vida Or Death And All His Friends, I was sure as hell that this was going to be Coldplay's tipping point. And I'll admit that I wanted these guys to fall flat on these faces, simply because this band can't even hold a candle to the boatload of anonymous artists who are more deserving of praise.

But even I know when to concede an argument. Because, to be completely honest, Viva La Vida is without a doubt Coldplay's best work to date. And yes, as much as it pains me to say this, this is in fact a great album by anyone's standards. Clocking in at a mere 45 minutes, the record is jam-packed with obsessive orchestration, beautiful guitar hooks, and contrasting complexity that is worthy of its bombastic title. And it doesn't take a scholar to realize that Viva's fast-slow-fast tempo pattern changes go hand-in-hand with the album's overarching theme of life's dualities. From the opening notes of instrumental beauty "Life In Technicolor," it is evident that Coldplay has opted to kick things off on a positive note (I am 100% sure that this song will be the intro during the band's upcoming tour). And despite dreary undertones, the deceptively titled "Cemeteries of London" happens to also be a pretty upbeat song chock full of handclaps and sing-along choruses. The prolific percussion continues into the slower church-organ filled "Lost!" -- a tune that is reminiscent of some of the slower material off A Rush of Blood To The Head. Things start to get very interesting during the violin and piano-laden "42," which seemingly transitions into a completely different song midway through. At around 1:35, morose violins morph into fast bass, as a little life gets breathed into this one.

Coldplay's progression is most apparent on "Lovers In Japan/Reign of Love" -- the album's most elaborate cut. Producer Brian Eno's influence is made apparent by the song's atmospheric electronic background affects and wall-of-sound layered guitars that make this one awfully U2-sounding. But don't be fooled; this one also pulls a 180, as it eventually reprises the solemn piano from part one of the previous song. But wait, there's more. The next track "Yes" starts off as what is easily Viva's weakest song before returning to the distorted guitar complexity of "Lovers." Yikes. Between all of the rearranging and tempo changes it is at times difficult to figure out when one track ends and another begins. But alas, thanks to those incessant iTunes TV spots, we finally stumble on some familiar ground with the catchy title track "Viva La Vida," the band's most radio-friendly single to date. This tune segues into the equally recognizable "Violet Hill" -- yet another build-up song that takes advantage of Eno's knowhow. We get one more optimistic, dreamy gem in "Strawberry Swing" before the disc's grand finale opus in the ominously titled "Death and All His Friends." As morbid as this song appears, Martin and crew throw us a curveball in what is one of the more upbeat tracks on Viva La Vida.

The thing that I find most admirable about Coldplay is their willingness to not get comfortable in making this album. After what was considered to be a lackluster follow-up to the acclaimed Rush of Blood, the band still managed to sell millions of copies of 2005's X&Y. Rather than settling in with their bankable mediocrity as so many one trick ponies have done, Coldplay took the high road to meticulously create one of the year's surprises. For me, this band is back on the radar, and who knows, if they maintain this consistency on future albums, maybe I'll actually root for them.

My Rating: 8.0/10

M83 = Nostalgia

If, according to M83, Saturdays equal youth, then apparently this year's follow-up to 2005's Before The Dawn Heals Us equals nostalgia. Because this is what we are given on what is arguably the year's most ambient record. Synth-heavy eletronica frequently meshes with Anthony Gonzalez's penchant for producing distorted guitar shoegaze on an album that is distinctively dedicated to the '80's. New Order, the Human League, and My Bloody Valentine are among the many influences that make their appearances on Saturdays=Youth, evoking a throwback soundtrack would fit perfectly in a prom scene during a John Hughes movie. The album's many ethereal mood changes underscore contrasting lyrical themes of angst, excitement, desperation, and hope -- the very feelings that go hand-in-hand with our favorite flicks of yesteryear. Album standouts "Kim & Jessie" and "Graveyard Girl" fit these sentiments to a tee and could easily be mistaken for cuts off Tears For Fears' 1985's album Song For The Big Chair. Which can be good and bad. The problem is that the album's consistency, although admirable, is pure novelty. And this, just like trips down memory lane are ephemeral.

My Rating: 6.5/10

She'll Find A Way

With great opportunity comes great expectation. And considering Santogold's former day job as an A&R rep for Epic, her collaborations with GZA and Lily Allen, and her connections to M.I.A., this Brooklyn-based songstress has a lot of people expecting big things. Does she pull this one off? Well, her first single "L.E.S. Artistes" may very well be the catchiest single you'll rarely hear. Because quite frankly, I don't know to classify it. Her penchant for freely experimenting with dub, new wave, punk, hip-hop, ska, and grime (sometimes all at once) is admirable, but this unfortunately may spread this NYC socialite too thin on her self-titled debut. And despite already having a slew of supporters south of Houston Street, Santogold bites the very hand that feeds on "Artistes" -- serving up a can of whoopass to the Lower East Side too-cool-for-school hipster class.

This is not to undermine Santogold's musical might, as this singer succeeds time and again on most of the tracks on her debut. With a voice that is one part Gwen and two parts M.I.A., she certainly has the pipes that allow her to span multiples genres. On the aptly titled "Shove It" Santogold puts on her reggae hat, yet spews out a chorus that is defiantly punk: "We think you're a joke/Shove your hope where it don't shine." Hold on to your seats, because this ride takes sharp turn that is markedly indie rock on "Lights Out," a tune that more Pixies-sounding than anything. But this is just the beginning for Ms. White, as straight-up hop makes its cameo on "Starstruck", while the beautiful "I'm A Lady" contains the infectious pop that might cross this starlet over into the mainstream. And while having friends in high places can certainly take her there, she proves that she's worthy of the mic on her genre-spanning debut.

My Rating: 7.5/10

"A Golden Prize" -- Apes & Androids @ Bowery Ballroom 5/30

At what will surely be branded the weirdest concert of the year, I was amongst the sold-out faithful in attendance Friday night to check out Brooklyn indie art-punks Apes & Androids do their thing at the Bowery Ballroom. And although I'm naturally inclined to show these guys some support (bandleaders David Tobias and Brian Jacobs went to the same high school as me), I can now understand what the local fuss is about. Because no joke, this band embodies showmanship on a level that is KISS-worthy. Even before A&A hit the stage, their setup of demon-eyed tiki-heads hinted the early birds what they were in store for. When the quintet finally appeared adorned in their Ziggy Stardust-esque makeup, headbands, and space-aged unitards, confetti cannons blasted as the robotic sound effects of "Blood Moon I" were played over the PA. After another dose of crowd confetti, the band prepped its instruments and segued into "Make Forever Last Forever" -- a tune that could have very well been the futuristic lovechild of Pink Floyd and Radiohead. Tobias and Jacobs played seamlessly off one another, breaking out an arsenal of tricks that included falsetto harmonizing, handclapping, and blazing guitar solos. The band continued with the synthesizer dance funk track "We Don't Understand You" before busting out the percussion on "Golden Prize" -- a tune that featured all five members simultaneously beating their own drums in sync with one another. If this wasn't enough, a plethora glowing beach balls and neon lightsticks were tossed into the crowd midway through the set, adding to the bizarre ambiance. The band played for just over an hour before climaxing with an ironic crowd-chanting cover of "Hey Jude". About thirty cape-wearing friends and family members then proceeded to join the band on stage (a la Polyphonic Spree) and two stilt wearing men costumed in Unicorn-Rat outfits made their way to front of the stage. The ceiling rained one final round of confetti before the band bid the crowd adieu.

In all honestly, a description does not do this show justice. You really had to be there to experience this futuristic circus. In an age when it is so hard for bands distinguish themselves in such a struggling industry, it really is those who are willing to be novel and groundbreaking that are going to shine through. Apes & Androids are a perfect example of this thinking. I wouldn't be surprised if these guys get huge one day. Click HERE for some dude's photos of the show.