Welcome, Ghosts

A few months ago, I downloaded a compilation from Insound that contained all kinds of new and up-and-coming hipster music. I bypassed most of the typical filler crap when I became fixated by the band, Explosions In The Sky. The name sounded familiar, but I couldn't put my finger on it. I played the MP3 and again thought to myself, "Where have I heard this before?" I then proceeded Yahoo! the band (boo Google) and remembered these were the dudes who did most of the score for the 2004 film, Friday Night Lights. I am very big on soundtracks, and I remember the Explosions songs (way back when) REALLY adding to drama of an already fantastic movie (quick aside: you mix football with movies and I'm hooked). As it turns out, this band was so crucial to the success of the film, that they were brought back to contribute a handful of their songs for the TV version of FNL (equally amazing, FYI).

Just a quick summary: Explosions In The Sky (below, right) is an Austin-based instrumental "post-rock" quartet known for their orchestrated guitars, cinematic arrangements. They've been around since 2000 and have since released four equally amazing studio albums. Normally, I'd recommend a starting point for this band, but you really can't go wrong with any of their releases. Borrowing a line from Bill Simmons, their songs are so epic that playing them in the background can pretty much turn any routine task into a life-changing experience. Without any lyrics, it is difficult to gauge what any of their songs are really about -- but I guess it is up to the listener to decide. Elaborate titles such as "The Birth and Death of the Day" and "With Tired Eyes, Tired Minds, Tired Souls, We Slept", only give away one thing: that these songs are supposed to be intense. Since discovering Explosions, the band has become a staple of my iPod. For those lucky enough to live in the NYC region, they will be playing a show at Terminal 5 in April.

Essential Explosions In The Sky:
"A Poor Man's Memory"
"Welcome Ghosts"
"It's Natural To Be Afraid"
"So Long Lonesome"
"Your Hand In Mine"
"First Breath After Come"
"A Slow dance"

The Grammys: The Pretender(s)

Although I'll admit that I couldn't force myself to watch the entire Grammy presentation last night, I did manage to catch most of the show. I stopped watching when I was forced to see the now annual Beyonce performance, and picked it back up when they started giving out some of the the big awards. Here are some of my afterthoughts:

1) They really need to stop pairing contemporary artists with "legends". Not only has this become absurdly cliched, it has just gotten more and more awkward to watch every year. Sure, I can see how a Beyonce/Tina Turner duet would work. Do I necessarily want to see this? That's a whole different story. The sad part is that this was the one pairing that even remotely worked. Kid Rock with supposed jazz crooner Keely Smith?!?. The poor woman didn't even know where she was, much less understand who that gangly hick fuck she was standing next to was. Next up, John Fogerty with Little Richard and Jerry Lee Lewis. Although Fogerty isn't exactly a spring chicken, standing to these two dinosaurs made him seem fresher than Will Smith. I literally thought Lewis was going to keel over and die on the stage.

2) Kanye West needs to shut up. We get it, Mr. West you are your biggest fan. Although I couldn't agree more that Graduation was deserving of album of the year, begging for it isn't going to help you win it. When he was accepting his Grammy for Rap Album of the Year, he felt the need to not once, but twice, tell the cue-in music stop as he delivering his sob story. When they were announcing the nominees for the evening's most coveted award, Kanye had his head down with his hands clasped together as he was praying to win. Come on dude, show some class. After seeing him do this, I couldn't have been more happy seeing Herbie Hancock win the big one. For the record, Kanye also looked ridiculous and really needs to lose the ironically cheesy sunglasses that he is so fond of. I can't wait for him to look back years from now and just be flat-out embarrassed.

3) What was that Will.I.Am performance all about? I have honestly seen more talented buskers/homeless men on the subway rap about god knows what. Who is this guy?

4) The Foo Fighters, really...? I couldn't believe that these guys were nominated for ANY awards for their most recent effort, much less a plethora -- including, of all things, album of the year. I mean, the Grammys are a massive joke, but still... And don't get me wrong, I have been the biggest Foo fan since I can remember and have loved most of their work....except Echoes, Patience, Silence, & Grace. I am very happy to see them get some recognition, but for them to be the sole representative in nearly every single rock category really makes me want to slash the collective tires of every single member of the Academy of Recording Arts and Sciences. At least their orchestra-infused performance of "The Pretender" was pretty amazing.

5) Amy Winehouse is the real deal. There is no denying that the pressure was on, and she was either going to sink or swim. I gotta say, despite the apparent affects of her substance abuse, she pulled an anti-Britney and nailed her performance. I was legitimately happy to see her nearly sweep the awards, but was still weirded out watching her attempt to form a sentence during her acceptance speeches. Who knows? Maybe this universal recognition will be the inspiration she needs to get herself better.

6) I could have done without the Feist performance. I understand that the darling of Broken Social Scene was shot into the mainstream thanks to her Apple ad. Last night was her chance to show off her talents and prove why she belongs there. I couldn't have been more disappointed. Not only were vocals too rangy and guitar playing too sloppy, her performance looked completely contrived and uninspired.

No Better Place

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Strange Currencies

I have always said my favorite year in music was 1994. I know this might sound absurd to many, because there is no denying that historically there have been more pivotal years for rock and roll (i.e. 1968, 1977). But for me, this was the year I started to truly appreciate music because this was the height of the alternative rock/grunge era and the triumphant return of songwriting. And it was HUGE! On pop stations you would hear "Today" by the Smashing Pumpkins and "Closer" by the Nine Inch Nails sharing song blocks with The Real McCoy, Mariah Carey, and TLC.

The other day I was reading about R.E.M.'s upcoming 14th studio release, Accelerate (which is already getting some rave reviews), and was then inspired to pop in their (highly underrated) 1994 album, Monster. People say that listening to a certain song or album can take you back to a particular time or place in your life. For me, Monster is the album that best exemplifies my favorite year in music. Although critics tended to agree that R.E.M. was past their prime when they released this record, I couldn't disagree more. Monster showed that R.E.M. held onto the rock lifeblood that was lacking in their two previous (extremely successful) efforts, Out of Time and Automatic For The People. The band proved that it hadn't gone completely soft, and in doing so redefined itself as an alt-rock mainstay. From the distorted glam sound of their first single, "What's The Frequency, Kenneth?" to the sensational 70's throwback "Tongue", the album certainly lived up to its title. What I remember most about this record is that half of its songs were singles and/or had videos -- and deservingly so. Unfortunately, this was the last time that R.E.M. was able to achieve multi-platinum success, despite owning the title as the most consistently prolific rock band of the last twenty years. Soon after Monster, drummer Bill Berry called it quits, and the band was just never the same.

If you ever get as nostalgic for good music as I do, and have the urge to be transported back to an era when mainstream rock did NOT consist of Maroon 5, Nickelback, Linkin Park, here is a good place to start -- I give you my '94 Alternative Rock Mix:

1. Stone Temple Pilots - "Interstate Love Song"
2. R.E.M. - "What's The Frequency, Kenneth?"
3. Green Day - "Basketcase"
4. Smashing Pumpkins - "Today"
5. Nine Inch Nails - "Hurt"
6. Pearl Jam - "Yellow Ledbetter"
7. Dinosaur Jr. - "Feel The Pain"
8. Beastie Boys - "Sabatoge"
9. The Cranberries - "Zombie"
10. Cracker - "Low"
11. Nirvana - "The Man Who Sold The World" (Unplugged)
12. Gin Blossoms - "I Found Out About You"
13. Green Day - "Longview"
14. Smashing Pumpkins - "Disarm"
15. Live - "Selling The Drama"
16. Pearl Jam - "Better Man"
17. Hole - "Doll Parts"
18. R.E.M. - "Bang & Blame"
19. Stone Temple Pilots - "Big Empty"
20. Nirvana - "About A Girl" (Unplugged)

Good Weekend

It looks like Led Zeppelin continues disappoint. A week after Jimmy Page put all rumors to bed about the possibility of an impending summer reunion tour, today we find out today that a one-off at Bonnaroo is not in the cards. Sure, you can check out Robert Plant (he'll be playing with Allison Krauss) but the closest you will get to rockin' that sweet air guitar to "Immigrant Song" will be during Lez Zeppelin's performance (an all-female tribute band who will, yes, be in attendance).

Despite the lack of LedZep, the lineup is still tempting enough to make that that long-ass drive to Manchester, TN. It looks like the official touted headliners are Pearl Jam (yay) and Metallica (nay), but these mainstream rock heavyweights are hardly an indication what the festival will sound like. A virtual who's who showcase of established and up-and-coming talent, the weekend (June 12-15) will feature everything from hip-hop (Kanye West, Lupe Fiasco, Talib Kweli), frat-boy faves (Allman Brothers Band, Phil Lesh, O.A.R.), inevitable showstealers (My Morning Jacket, M.I.A, Vampire Weekend) and the flat out weird (!!!, Gogol Bordello). Although it appears that Bonnaroo '08 will be without the now-expected "legendary band reunion" hype, this should not take away from the incredible lineup that will surely make this best music festival of the year.

Awesome: Pearl Jam, Kanye West, Sigur Ros, My Morning Jacket, Broken Social Scene, Drive-By Truckers, Sharon Jones, Jose Gonzalez

Ehhh... : Metallica, Jack Johnson, Iron & Wine, Rilo Kiley

Missing In Action: The Hold Steady, Kings of Leon, The Black Crowes, Justice

For the official promotion poster with complete lineup, click HERE.

The Good Life

Now, I'll be the first to admit that I know shit about hip-hop music. Sure, growing up I listened to The Fugees' The Score, and The Notorious B.I.G.'s Life After Death, but was never really motivated to dabble in anything that wasn't deemed playable by Z100 or the other top 40 stations. As friends (white and Jewish, oddly enough) picked up rap that was on the cusp of becoming huge in 1997 (i.e. Jay-Z and DMX), I quarantined myself to Pinkerton, Be Here Now and Mellon Collie and The Infinite Sadness. For whatever reason, I closed my mind to hip-hop probably because I considered it silly to think that I could possibly make a connection to whatever it was these guys were bitching about (my assumptions at the time: cash, money, hoes). I guess Billy Corgan's morose lyrics about drugs and suicide were more re appealing to an awkward suburban kid growing in the mid-to-late '90s than anthems about "Ruff Riderz".

Fast-forward a decade later, and I gotta say that I would love to give the 14-year old version of myself an atomic wedgie. These days, I am happy to say that literally everything us up for grabs. Hell, the other week alone, I bought albums by the Talking Heads and Talib Kweli. More on this later. So anyway, fresh off the Giants' orgasmic Super Bowl victory, I decided this morning on my way to work to sift through my iPod to find the appropriate celebration music. I happened to stumble upon Kanye West's "The Good Life", because a) the title seemed to fit my mood and b) I think I heard this on an episode of Entourage a few months back. Now, I know I am not exactly exploring the annals of the hip-hop underworld by allowing myself to be entertained by the one artist (in all of music) who nearly broke the first-week million sales mark in 2007. You'd have to live under a rock to not give Graduation a shot. Taking a hint from the rest of the outside world, I gave "The Good Life" its just due and listened carefully. The song is fucking brilliant. It's catchy, the tune's sample hook is infectious (and nostalgic), and Kanye does not let up lyrically. Pathetically, this is one of the rare times a rap song has been able to hit the nail so precisely on the head for me. After "The Good Life", I played the Daft-Punk infused "Stronger", the "ballad" "I Wonder"( all the while loving what I heard) and the rest of the record beginning to end. Mind-blowing shit, I gotta say. I never really bought into the hype, but today I was officially converted to Kanye West. I've determined that this is not only a great "hip-hop" record; it's a great record period.

And I realize that anyone from Rolling Stone, to Entertainment Weekly could have told me this five months ago -- it's flat-out ridiculous to state the obvious way after the fact. I guess my point is that I am happy to see that I am no longer classifying just rock records as amazing works of art. There has been some unbelievable hip-hop since the "Fugee" days, and I wish I could have been less musically closed-minded to see this as it was happening. According to Nas, hip-hop is dead, which I guess is unfortunate now that I am finally opening up. Hopefully it won't be too long before it becomes "undead" so I can really dig in.

Buildin' It Up And Tearin' It Down

I just heard word that one of my favorite NYC singer/songwriter/troubadours, Jesse Malin, is releasing a "covers" record in a couple of months, which according to his website, will span everything from "Elton John to The Hold Steady". I was lucky enough to catch Malin perform several times in last year, and gotta say that this dimunitive dude really knows how to pack a punch during his live shows. One of the recent staples of his setlist is his acoustic rendition of "You Can Make Him Like You," off of said Brooklyn rockers, The Hold Steady's most recent offering, Boys And Girls In America. I am REALLY hoping this one makes the cut, and if does you'll see why. Malin, the former front man of the pivotal (and underappreciated) '90's glam/punk band, D Generation, has softened in his day since releasing a trio of very well-received solo records, but this hardly means he has slowed down. Touring endlessly, and occasionally playing random one-off shows in his hometown, the singer has amassed a cult following which has been growing steadily since his debut, The Fine Art of Self-Destruction. I have always thought that this guy was one song away from breaking it big. Maybe his perseverance will finally pay off with this new covers project (hey, it's been working out for Cat Power), and Malin will finally get the mainstream recognition he deserves.


Essential Jesse Malin recordings: "Downliner", "Brooklyn", "Arrested", "Prisoners Of Paradise"