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.