Built to Spill hover in time as one of those bands who, while everyone seems eager to acknowledge the acclaim of much of their work, never seem to have generated the excitement and passion that a rock band should. For instance, if per chance a conversation about the best album of 1997 were to arise, immediately three Radiohead fans (one having just popped out of the ceiling tile, another actually conjuring out of thin air) will be down your throat lauding the praises of 'OK Computer'. Meanwhile the Built to Spill fan will remain relaxing quietly in the corner, not because he has any doubts of 'Perfect From Now On's rightful claim to the throne, but simply because BtS's music is not the type to make any eyeballs immediately bug out of their sockets. It is undeniably rock, and yet comes from a meticulously calculated, carefully structured framework. It is music that rewards patience and calm, in almost direct antithesis to the whole aura of "rock". And yet, when that release occurs, there is hardly a better reward anywhere in the genre.
(Sidenote: Just to be fair and thorough, in the event of the aforementioned conversation occurring, Elliot Smith fans would start hunting around for sharp objects, Bjork fans would open a can of tofu, the three Yo La Tengo fans in the world would not be present, and the Spiritualized fans would do us all a favor and start taking the Radiohead zealots out.)
Take, for prime example, the third track of today's loved album (1999's 'Keep It Like A Secret'), entitled "Carry the Zero". Over six minutes the band lays down a solid tune, with good drive and a catchy enough melody. What is not as immediately apparent, and is characteristic of BtS, are the additional melodies being layered and dubbed through subsequent guitars throughout the piece. Each, in its own right, is subtle, and carefully weaved into the mix. By the climax of the song however, they all come together to achieve one of the most cathartic endings in rock and roll history. Most listeners dipping into the band for the first time would hear the tune for a minute or two, get a grasp of their sound, and then most likely notice the track length and skip, completely missing out on the whole grandeur that constitutes the genius of Doug Martsch.
A similar moment of quintessential musical bliss occurs in the introducing build-up of the song "Time Trap". The track begins with a cleanly fingered bass line, thick enough to nearly be palpable, before being saturated by a wash of distortion buzzing comfortably just over top. Out of the drone, the mesh of interlocking lines and melodies start to weave themselves together, ultimately achieving a soaring apex. From the heights however, on a beat it is all succinctly stripped back to a single snappy guitar, allowing the vocal melody to take over. In this way, the music of BtS often comes across as more of a composition rather than a traditional song. And the group does pay a toll for this. I rarely find myself humming a BtS tune, as even the poppiest of their work simply does not lend itself to casual listening. This said however, their music typically adheres too closely to conventional song structure, and is too reliant on vocals to toss the band off as more post rockers. BtS undeniably are a unique and treasured addition to the pantheon of American rock.
In the BtS catalog, 1994's 'There's Nothing Wrong With Love', and the aforementioned 'Perfect From Now On' and 'Keep It Like A Secret' are generally considered great works. Of the three, 'PFNO's eight lengthy tracks embody the spirit of the compositional nature of BtS's arrangements, while the slightly more ramshackle 'TNWWL' presents us with the closest thing to a pop based album the band has ever done (which, frankly, is not that close). On 'KILAS', recorded after both of these records, the band truly marries each of these musical components to perfection. Oftentimes even, within the scope of a single song ("The Plan", "Time Trap", "Temporarily Blind"). You still have your sweeping epics ("Broken Chairs") and your two minute pop ("Center Of The Universe"). To be found nowhere else in the BtS catalog is a track that approaches the gentle beauty of "Else". 'KILAS' is virtually an essay on balance, a tutorial on how to make an accessible record laced with genius.
As said however, it is not a genius that jumps out to greet you. It must be approached patiently and openly, and given the time and attention needed in order to let it's majesty unfold. If you can't understand why Doug Martsch's name is always in the conversation of great indie guitarists, its not because of sprawling and obvious solos. Rather, its because of what he does when most aren't listening, and the dividends that his work pays to those who are. It's not an easy secret to share, so most follow step and just keep on keeping it. Cats out of the bag now Doug.
Best Tracks: "Carry The Zero", "Time Trap", "You Were Right"
Wednesday, July 8, 2009
Monday, July 6, 2009
Live Review: The Copy Cat Theatre, 7/5/09, Baltimore MD
Huh? The Copy Cat Theatre in Baltimore? I had never heard of it either, and yet there it was, listed as the venue for a July 5th show on Madeline's web page. Further reading revealed a street address and apartment number; things were getting intriguing. Web searches yielded no more information as to what to expect, but according Google Earth there was parking. That pretty much sealed the deal. Nothing left to do now but hop in the car and drive to Baltimore.
My sister and I showed up just after 8, when the show was slated to begin, and after a moment spent figuring out the numbering system of the building found ourselves walking into the said loft, aka the Copy Cat Theatre. And wow. I wasn't quite sure what exactly I expected, but it wasn't this. To my left was a wall draped with hanging psychedelic murals, to the front a small but picturesque homemade stage, and to the rear a double row of rag-tag (but quite comfortable) couches, probably amassed out of grandmother's attics and Craig's list giveaways over the years. To the left and behind the stage was an obvious living space, tastefully shielded by curtains. The floors were covered with an assortment of thick rugs, which coupled with the playful art on the walls and natural lighting gave the loft a comforting warmth. We were met with smiles by a few of the proprietors (made up mainly of Baltimore art and music students) who, after expressing some amount of shock that anyone they didn't personally know had found their way to the show, described to us how they built the stage to then see if they could start bringing in acts. The first ever was roughly a week before and featured some sort of seven man circus (apparently they had a trapeze set up in the loft. How did I miss this?). This nights festivities were to feature two residents of the building (Lindsay and Sianna Plavin), Madeline, and the Ginger Envelope who tours with her out of Athens, GA. A PA mix-up delayed the start of the show until roughly 9:30, attendants slowly trickling in all the while. Time was comfortably passed, by some with tarot card readings and games of chess, by me simply through happily drinking in the atmosphere of it all.
The first to hit the small stage was Lindsay. By now roughly 20 to 25 friends and fellow performers had gathered, sitting on couches and sprawled on rugs, to listen. Her four song set was characterized by the deeply resonating reverb of her Danelectro guitar playing off the tones of her similarly deep and soulful voice (think Chan Marshall without the theatrics). The highlight of the set was a slowed down version of the Beatles "All My Loving", which allowed the songstress to show off a comfortable high register as well. Two originals were also played, the first a ukulele driven folksy gaunt which, propelled by some hand held percussion showed vision. The second was a playful spoken word collaboration. Amateur musicians should not be this talented, a little rehearsal could see Lindsay developing into a true performer.
The Ginger Envelope came on next with their indie tinged brand of alt-country. I was amazed by the quality of the mix the six man outfit got out of this set-up, a truly professional touring band. The vocals of the singer recalled Elf Power, and tended to be the focus as the group never tried to stretch it out for any instrumental heroics. This was appropriate for the ambiance of the venue however, and the 7-8 song set played out to be a huge success.
Sianna Plavin came on next, and was obviously who most of the 35 or so attendants had come to support. She, like Lindsay, filled the role of lone singer songstress, with an acoustic set of four songs about home. The music was warm and poignant. Plavin as a songwriter never makes the mistake of forgetting framework within her music. Any of her songs could have easily gotten lost in the depth of her voice, but her rhythmic guitar backing and hooky folk melodies made for compositionally very sound, and expertly performed music.
Unfortunately, the end of Plavin's set saw roughly half the audience head out before Madeline and her band came on. A part of me worried that playing a set to roughly 15 listeners for meager donations would result in a performance less than up to par. To my delight however Madeline took the stage with humility; expressing her thanks for being able to play, and her similar awe at the unique and cozy little theatre. What followed were 9-10 songs, mainly from 'White Flag' but with some 'Slow Bang' and new selections as well, played by a four piece outfit. I was surprised to not see the pedal steel or keyboard from Ginger Envelope reemerge, but it turned out that the set Madeline played was a much more muscular rather than folksy interpretation of the music. Songs like "1982" became full on rock songs, while others like "Dirty South" were treated with the strong delivery they deserve. "Lit Elephants" may have been the highlight of the night, played with the most restraint of any number in the set and featuring a pitch perfect harmony. Madeline's voice was as strong and unapologetic as ever right from the opening number, and closed the set similarly so on the anthemic "Good Houses". The singer was nice enough to exchange a few words with me after the set about some of the new songs and the upcoming record, and even sent me home with a little book of chords to many of her songs.
As all good things must come to an end, so did our roughly four hour stay at the cozy Copy Cat Theatre. It certainly doesn't get any closer to having the artist in your living room than this; I literally sat on a couch and watched four amazingly talented acts play and sing 15 feet in front of me. You dream about it; these Baltimore art students are living it. (Note to self: make artistic friends.) I don't know about you, but it definitely makes me feel a little better about the world knowing that people like this are out there.
My sister and I showed up just after 8, when the show was slated to begin, and after a moment spent figuring out the numbering system of the building found ourselves walking into the said loft, aka the Copy Cat Theatre. And wow. I wasn't quite sure what exactly I expected, but it wasn't this. To my left was a wall draped with hanging psychedelic murals, to the front a small but picturesque homemade stage, and to the rear a double row of rag-tag (but quite comfortable) couches, probably amassed out of grandmother's attics and Craig's list giveaways over the years. To the left and behind the stage was an obvious living space, tastefully shielded by curtains. The floors were covered with an assortment of thick rugs, which coupled with the playful art on the walls and natural lighting gave the loft a comforting warmth. We were met with smiles by a few of the proprietors (made up mainly of Baltimore art and music students) who, after expressing some amount of shock that anyone they didn't personally know had found their way to the show, described to us how they built the stage to then see if they could start bringing in acts. The first ever was roughly a week before and featured some sort of seven man circus (apparently they had a trapeze set up in the loft. How did I miss this?). This nights festivities were to feature two residents of the building (Lindsay and Sianna Plavin), Madeline, and the Ginger Envelope who tours with her out of Athens, GA. A PA mix-up delayed the start of the show until roughly 9:30, attendants slowly trickling in all the while. Time was comfortably passed, by some with tarot card readings and games of chess, by me simply through happily drinking in the atmosphere of it all.
The first to hit the small stage was Lindsay. By now roughly 20 to 25 friends and fellow performers had gathered, sitting on couches and sprawled on rugs, to listen. Her four song set was characterized by the deeply resonating reverb of her Danelectro guitar playing off the tones of her similarly deep and soulful voice (think Chan Marshall without the theatrics). The highlight of the set was a slowed down version of the Beatles "All My Loving", which allowed the songstress to show off a comfortable high register as well. Two originals were also played, the first a ukulele driven folksy gaunt which, propelled by some hand held percussion showed vision. The second was a playful spoken word collaboration. Amateur musicians should not be this talented, a little rehearsal could see Lindsay developing into a true performer.
The Ginger Envelope came on next with their indie tinged brand of alt-country. I was amazed by the quality of the mix the six man outfit got out of this set-up, a truly professional touring band. The vocals of the singer recalled Elf Power, and tended to be the focus as the group never tried to stretch it out for any instrumental heroics. This was appropriate for the ambiance of the venue however, and the 7-8 song set played out to be a huge success.
Sianna Plavin came on next, and was obviously who most of the 35 or so attendants had come to support. She, like Lindsay, filled the role of lone singer songstress, with an acoustic set of four songs about home. The music was warm and poignant. Plavin as a songwriter never makes the mistake of forgetting framework within her music. Any of her songs could have easily gotten lost in the depth of her voice, but her rhythmic guitar backing and hooky folk melodies made for compositionally very sound, and expertly performed music.
Unfortunately, the end of Plavin's set saw roughly half the audience head out before Madeline and her band came on. A part of me worried that playing a set to roughly 15 listeners for meager donations would result in a performance less than up to par. To my delight however Madeline took the stage with humility; expressing her thanks for being able to play, and her similar awe at the unique and cozy little theatre. What followed were 9-10 songs, mainly from 'White Flag' but with some 'Slow Bang' and new selections as well, played by a four piece outfit. I was surprised to not see the pedal steel or keyboard from Ginger Envelope reemerge, but it turned out that the set Madeline played was a much more muscular rather than folksy interpretation of the music. Songs like "1982" became full on rock songs, while others like "Dirty South" were treated with the strong delivery they deserve. "Lit Elephants" may have been the highlight of the night, played with the most restraint of any number in the set and featuring a pitch perfect harmony. Madeline's voice was as strong and unapologetic as ever right from the opening number, and closed the set similarly so on the anthemic "Good Houses". The singer was nice enough to exchange a few words with me after the set about some of the new songs and the upcoming record, and even sent me home with a little book of chords to many of her songs.
As all good things must come to an end, so did our roughly four hour stay at the cozy Copy Cat Theatre. It certainly doesn't get any closer to having the artist in your living room than this; I literally sat on a couch and watched four amazingly talented acts play and sing 15 feet in front of me. You dream about it; these Baltimore art students are living it. (Note to self: make artistic friends.) I don't know about you, but it definitely makes me feel a little better about the world knowing that people like this are out there.
Friday, July 3, 2009
Wilco (the Blog Post)
"Wilco the T-shirt. Wilco the lunchbox. Wilco the coloring book. Wilco... the flamethrower! Kids love it!" Altered Spaceballs quotes aside, yes, I'm being overly harsh here. Which is why I'm going to begin this post with a disclaimer: You can no longer believe anything anyone writes about Wilco ever again. Including me. They have touched too many fans in too many varying ways to take any sole person's opinion as an even remotely encompassing vision of the group. That being said, this is exactly what I am going to try to do. Take it with a grain of salt.
Wilco has indisputably become one of the most polarizing bands of the day. Throughout their large back catalogue they have roped in an enormous and fairly diverse fan base (right across the board from alt country rockers to your indie hipsters). Through putting on a great live show, fighting against the Warner/Reprise major label and winning, and putting out consistently great albums, this developed into a fiercely devoted fan base as well. If you didn't spot the title of this blog, now you know. With the release of 'Sky Blue Sky' in 2007 however they started doing some things to alienate portions of that fan base. Among these being making a record laced with the kind of songs your apt to hear playing in the produce aisle at your local grocery store, and selling half of the record off for Volkswagen commercials. This said, though a diversion from the two previous Wilco releases ('A Ghost Is Born' and 'Yankee Hotel Foxtrot'), 'Sky Blue Sky' was a pretty strong album with some trademark Wilco moments. Two years later with the release of 'Wilco (the Album)', those who were shaken at 'SBS' have jumped ship altogether, and a much larger contingent are similarly dissatisfied. Meanwhile, brand new fans flock to the record and many simply take no issue. These are the facts; lets take a look at why.
Wilco's musical progression can most easily be broken down into three periods: the beginning alt-country period, the middle experimental period, and the current adult alternative period. The alt-country phase was a natural progression after the breakup of Uncle Tupelo, and consisted of 1995's fairly forgettable 'AM', 1996's breakout 'Being There', and 1999's excellent 'Summerteeth'. The experimental phase followed with 2002's monumental 'Yankee Hotel Foxtrot' and its 2004 follow-up 'A Ghost Is Born'. Leaving the adult alternative period to naturally encompass 2007's aforementioned 'Sky Blue Sky' and the most recent 'Wilco (the Album)'. And before all of you excessively thorough enthusiasts start squirming in your seats, yes, the Mermaid Avenue collaborations fall within the alt-country period.
The three periods are very distinct in chronology and in the sound characterized within them. However, this is not to say there are not overlaps. We got our first glimpse into Jeff Tweedy's experimental future on 'Being There's somewhat out of place opener, "Misunderstood". 'Summerteeth' also proved a natural stair step into the experimental phase with hints to such being dropped on tracks like "A Shot In The Arm" and "In a Future Age". Likewise, within the experimental phase the band often hearkened back to its alt-country roots, most notably on 'Yankee Hotel Foxtrot's "I'm The Man Who Loves You" and within 'A Ghost Is Born' on tracks like "Hummingbird" and "The Late Greats". As much as I would like to point straight to the music as the source of the contempt Wilco has been generating with its adult alternative phase, these parallels we've been describing remain present; making these very distant dots difficult to to connect. For instance, the musical shift between 'AGIB' and 'SBS' can most easily be characterized by a return to a more conventional and roots based sound, which we all loved when it was being created back in the 90's (come on, I know you still shuffle "Forget the Flowers" regularly). Only the sound was not quite this simple anymore, as stronger elements of the experimental side of Wilco still lingered (the guitar breakdown in "Impossible Germany" and "Side With The Seeds"). Songs like "Walken" and "Hate It Here", while arduous in nature, are no larger of missteps than "Monday" off 'Being There'. For these reasons I think its only fair to meet the group halfway and acknowledge 'SBS' as just an applaudable effort as any of their releases from the alt-country period. To do the same for the newest release is not quite as easy, namely because the interesting experimental flair is largely absent (with exception of the questionable "Bull Black Nova"). This leaves an even dryer set of songs, but the fact is that they aren't terrible songs. The hordes of new Wilco fans being brought in can attest to that. "I'll Fight", "You Never Know", and Feist duet "You And I" stand with Wilco's best. Still, after fourteen years a bland, not bad, album should obviously not inspire such mutiny. So what exactly is it that with this release is leaving that bad taste in your mouth?
(Sidenote: Seriously Feist? You little concubine of indie rock you. How many collaborations can one person seriously do? Should we even try to count? Even if you set aside all the groups she is or was "in" (lets see, By Divine Right, Peaches, Broken Social Scene, Apostle of Hustle...) there are still almost too many to count. Off the top of my head, what've we got; Grizzly Bear, Kings of Convenience, Ben Gibbard, Chilly Gonzales, Mocky, Jane Birkin, Arthur H., The World Provider, Rubies, Jason Collet, I know I'm missing some, and now Wilco? Didn't you ever learn to say "no"? Is there no filter? What would your mother say? Point being, there was a time when it was cool to feature Feist on a track, but now it's about the most cliche ply for indie street cred you can hack.)
Back to bad taste. If anything Wilco related can cause it, it's Jay Bennett's death. Three weeks into a lawsuit against the group, and roughly four before the new release, one of the driving creative forces behind 'YHF' passed away due to overdose on pain pills. Now lets pretend you've never seen the "I Am Trying To Break Your Heart" documentary or read extensively about the the state of the band during the 'YHF' era. To the casual fan, here is the picture I see. Jeff Tweedy plays music for fifteen years to moderate success before recording his masterpiece, 'YHF'. A masterpiece that is largely in debt to the contributions of 8 year band member Jay Bennett. Bennett is dismissed under tension, and the lawsuit would suggest was not treated altogether fairly by the band. So here we are, with Jay Bennett at an all time low, popping pills and in debt, being treated poorly by the band he helped propell to wild success. Not only do his former band mates allow him to wallow, but on the eve of his death they release "Wilco (the Song)", which firmly pronounces that this, this sound, this line-up, is the definitive Wilco. Hardly showing respect to Bennett and his contributions. Not only that, but a rich and smiling Jeff Tweedy sings "Do you dabble in depression? Is someone twisting a knife in your back? Are you being attacked? Wilco will love you Baby." I'd say Bennett was dabbling in depression, did Wilco love him? I'm sure that I'm missing out on large parts of this picture, but you can see the hypocrisy that is beginning to emerge. When viewed in this light the glib tone of the song is almost disgusting to say the least.
Even when viewed separately from Bennett's death the tone is off putting to say the least. Of our three aforementioned periods, different Wilco fans are more or less attracted to one or another of these creative phases. To definitively say that this line-up and sound is Wilco, as "Wilco (the Song) and even 'Wilco (the Album)' seems to, is obviously inflammatory to those who are deeply attached to 'YHF', or those who yearn for more summery pop of 'Summerteeth' or truer country roots of 'Being There'. All of these fans are throwing there hands in the air saying, "Huh?" Personally, if Wilco were "loving me baby", they would mine more territory in the vein of 'AGIB'. It's almost as if Zeppelin were to come out announcing 'Physical Graffiti' as their definitive work. It was a good album, but I'd like to see the Zoso lovers react to it.
I would assume that most would jump to commercialization as the new off-putting factor, and while for some this may have an effect, I doubt it is so simple. Commercials have been a more effective outlet for indie bands to find an audience than radio certainly has been, and Wilco didn't debut on Billboard charts at anywhere near heights of Grizzly Bear (who everyone is currently harboring fuzzy feelings for). As stated before, musically there are plenty of parallels from former Wilco. The name Wilco must be derived from the military radio pro-word, meaning will comply. Maybe the album and song were just an effort to play off of this association, but it comes off as smug. And in the wake of the death of Jay Bennett, it comes off as hypocritical to say the least. Either way, there are undeniably bad feelings being created here, and even if some would like to claim so, they do not originate with the music. One thing is for sure, as usual, everyone will have eyes peeled for what Tweedy and crew do next.
Wilco has indisputably become one of the most polarizing bands of the day. Throughout their large back catalogue they have roped in an enormous and fairly diverse fan base (right across the board from alt country rockers to your indie hipsters). Through putting on a great live show, fighting against the Warner/Reprise major label and winning, and putting out consistently great albums, this developed into a fiercely devoted fan base as well. If you didn't spot the title of this blog, now you know. With the release of 'Sky Blue Sky' in 2007 however they started doing some things to alienate portions of that fan base. Among these being making a record laced with the kind of songs your apt to hear playing in the produce aisle at your local grocery store, and selling half of the record off for Volkswagen commercials. This said, though a diversion from the two previous Wilco releases ('A Ghost Is Born' and 'Yankee Hotel Foxtrot'), 'Sky Blue Sky' was a pretty strong album with some trademark Wilco moments. Two years later with the release of 'Wilco (the Album)', those who were shaken at 'SBS' have jumped ship altogether, and a much larger contingent are similarly dissatisfied. Meanwhile, brand new fans flock to the record and many simply take no issue. These are the facts; lets take a look at why.
Wilco's musical progression can most easily be broken down into three periods: the beginning alt-country period, the middle experimental period, and the current adult alternative period. The alt-country phase was a natural progression after the breakup of Uncle Tupelo, and consisted of 1995's fairly forgettable 'AM', 1996's breakout 'Being There', and 1999's excellent 'Summerteeth'. The experimental phase followed with 2002's monumental 'Yankee Hotel Foxtrot' and its 2004 follow-up 'A Ghost Is Born'. Leaving the adult alternative period to naturally encompass 2007's aforementioned 'Sky Blue Sky' and the most recent 'Wilco (the Album)'. And before all of you excessively thorough enthusiasts start squirming in your seats, yes, the Mermaid Avenue collaborations fall within the alt-country period.
The three periods are very distinct in chronology and in the sound characterized within them. However, this is not to say there are not overlaps. We got our first glimpse into Jeff Tweedy's experimental future on 'Being There's somewhat out of place opener, "Misunderstood". 'Summerteeth' also proved a natural stair step into the experimental phase with hints to such being dropped on tracks like "A Shot In The Arm" and "In a Future Age". Likewise, within the experimental phase the band often hearkened back to its alt-country roots, most notably on 'Yankee Hotel Foxtrot's "I'm The Man Who Loves You" and within 'A Ghost Is Born' on tracks like "Hummingbird" and "The Late Greats". As much as I would like to point straight to the music as the source of the contempt Wilco has been generating with its adult alternative phase, these parallels we've been describing remain present; making these very distant dots difficult to to connect. For instance, the musical shift between 'AGIB' and 'SBS' can most easily be characterized by a return to a more conventional and roots based sound, which we all loved when it was being created back in the 90's (come on, I know you still shuffle "Forget the Flowers" regularly). Only the sound was not quite this simple anymore, as stronger elements of the experimental side of Wilco still lingered (the guitar breakdown in "Impossible Germany" and "Side With The Seeds"). Songs like "Walken" and "Hate It Here", while arduous in nature, are no larger of missteps than "Monday" off 'Being There'. For these reasons I think its only fair to meet the group halfway and acknowledge 'SBS' as just an applaudable effort as any of their releases from the alt-country period. To do the same for the newest release is not quite as easy, namely because the interesting experimental flair is largely absent (with exception of the questionable "Bull Black Nova"). This leaves an even dryer set of songs, but the fact is that they aren't terrible songs. The hordes of new Wilco fans being brought in can attest to that. "I'll Fight", "You Never Know", and Feist duet "You And I" stand with Wilco's best. Still, after fourteen years a bland, not bad, album should obviously not inspire such mutiny. So what exactly is it that with this release is leaving that bad taste in your mouth?
(Sidenote: Seriously Feist? You little concubine of indie rock you. How many collaborations can one person seriously do? Should we even try to count? Even if you set aside all the groups she is or was "in" (lets see, By Divine Right, Peaches, Broken Social Scene, Apostle of Hustle...) there are still almost too many to count. Off the top of my head, what've we got; Grizzly Bear, Kings of Convenience, Ben Gibbard, Chilly Gonzales, Mocky, Jane Birkin, Arthur H., The World Provider, Rubies, Jason Collet, I know I'm missing some, and now Wilco? Didn't you ever learn to say "no"? Is there no filter? What would your mother say? Point being, there was a time when it was cool to feature Feist on a track, but now it's about the most cliche ply for indie street cred you can hack.)
Back to bad taste. If anything Wilco related can cause it, it's Jay Bennett's death. Three weeks into a lawsuit against the group, and roughly four before the new release, one of the driving creative forces behind 'YHF' passed away due to overdose on pain pills. Now lets pretend you've never seen the "I Am Trying To Break Your Heart" documentary or read extensively about the the state of the band during the 'YHF' era. To the casual fan, here is the picture I see. Jeff Tweedy plays music for fifteen years to moderate success before recording his masterpiece, 'YHF'. A masterpiece that is largely in debt to the contributions of 8 year band member Jay Bennett. Bennett is dismissed under tension, and the lawsuit would suggest was not treated altogether fairly by the band. So here we are, with Jay Bennett at an all time low, popping pills and in debt, being treated poorly by the band he helped propell to wild success. Not only do his former band mates allow him to wallow, but on the eve of his death they release "Wilco (the Song)", which firmly pronounces that this, this sound, this line-up, is the definitive Wilco. Hardly showing respect to Bennett and his contributions. Not only that, but a rich and smiling Jeff Tweedy sings "Do you dabble in depression? Is someone twisting a knife in your back? Are you being attacked? Wilco will love you Baby." I'd say Bennett was dabbling in depression, did Wilco love him? I'm sure that I'm missing out on large parts of this picture, but you can see the hypocrisy that is beginning to emerge. When viewed in this light the glib tone of the song is almost disgusting to say the least.
Even when viewed separately from Bennett's death the tone is off putting to say the least. Of our three aforementioned periods, different Wilco fans are more or less attracted to one or another of these creative phases. To definitively say that this line-up and sound is Wilco, as "Wilco (the Song) and even 'Wilco (the Album)' seems to, is obviously inflammatory to those who are deeply attached to 'YHF', or those who yearn for more summery pop of 'Summerteeth' or truer country roots of 'Being There'. All of these fans are throwing there hands in the air saying, "Huh?" Personally, if Wilco were "loving me baby", they would mine more territory in the vein of 'AGIB'. It's almost as if Zeppelin were to come out announcing 'Physical Graffiti' as their definitive work. It was a good album, but I'd like to see the Zoso lovers react to it.
I would assume that most would jump to commercialization as the new off-putting factor, and while for some this may have an effect, I doubt it is so simple. Commercials have been a more effective outlet for indie bands to find an audience than radio certainly has been, and Wilco didn't debut on Billboard charts at anywhere near heights of Grizzly Bear (who everyone is currently harboring fuzzy feelings for). As stated before, musically there are plenty of parallels from former Wilco. The name Wilco must be derived from the military radio pro-word, meaning will comply. Maybe the album and song were just an effort to play off of this association, but it comes off as smug. And in the wake of the death of Jay Bennett, it comes off as hypocritical to say the least. Either way, there are undeniably bad feelings being created here, and even if some would like to claim so, they do not originate with the music. One thing is for sure, as usual, everyone will have eyes peeled for what Tweedy and crew do next.
Thursday, July 2, 2009
Rap Battle: Hilltop Hoods vs. Mos Def
What better way to present hip-hop albums than in head to head competition? Todays bout pitches the Aussie MC's, Hilltop Hoods, 2009 release 'State of the Art' against Mos Def and his middle eastern tinged 'The Ecstatic'. I like to think of these albums as fairly underground in nature, but seeing as how 'SotA' debuted at #1 down under and Mos Def has an acting career in feature films and television, I guess that just goes to show that the use of the term 'underground' in the hip-hop community should be taken relatively. Perhaps it's nothing more than the complete lack of auto-tune on either outing that draws me to these two albums. Crank dat beat up- let's get this thing rolling:
Album Opener: We find both records hitting the ground running from the start. The Hoods fire off with "The Return", a guitar driven track that fills a void left empty since the break-up of Rage Against the Machine. This track is supposed to make a statement, and it does. Is 'incendiary' too high of praise? Thats certainly what their going for here and they pull it off pretty well. Mos Def's "Supermagic" is similiarly a high paced hard hitting, if a slightly less straightforward track. The song introduces the middle eastern flavors you will soon become accustomed to throughout the record, and couples them with a garage rock guitar riff. Think if 13th Floor Elevators had an MC. The track starts off with some socially conscious sampling, but pretty much drops that tone entirely to develop into a playful, fun, tune. Both tracks are excellent, but Mos Def's hits just a little harder in context of the entire album, and is inevitably more musically interesting.
Singles: Despite the records only debuting three days apart, Def has managed to release three singles to the Hoods one. To even the odds we'll throw out "Casa Bey", as we'll be discussing it later, and throw in "Chris Farley" from the Aussies. Both "Chris Farley" and MD's "Life In Marvelous Times" characterize the lone 'in the club' moments on either album. Meaning simply that its not too hard to picture the rappers in an obnoxious video, wearing Kanye sunglasses, and surrounded by women and bottles of Patron with these tracks backing. That said, "Life in Marvelous Times" is obviously tongue in cheek, and throws in some production flourish to good effect. The two superior singles, "Chase That Feeling" for HH and "Quiet Dog Bite Hard" from MD are undeniably excellent. MD's track is stripped almost bare for maximum impact. On "Chase That Feeling" however, the Hoods lay a clean, jazzy piano riff under a thick backbeat that harkens back to Henrik Schwartz, and is more immediately satisfying than anything else on either of these records. Tally one up for the Hoods.
The Filler: Here both albums make the mistake of supplying us with too much of the same. 50 minutes of Australians barking into your ear drums is, well, it can get a little old. When every song comes in like a car chase through your living room, eventually the adrenaline that should accompany this starts to fade, and you just get annoyed. The lyrics for the most part remain cocky, smart, and fun. At one point they even quote 'The Big Lebowski', which while some would present as an argument for why white guys shouldn't rap, never fails to put a smile on my face. Mos Def, throughout 'The Ecstatic', has the annoying habit of clipping his tracks at or under the two minute mark. The more interesting musical elements are a true strength of his record, but only really pay off when he fully develops them (as on "Auditorium", "Roses", or "Pretty Danger"). The rest of the time we are left with way too many half baked good ideas. This category is a wash.
Album Closer: This category goes over to Mos Def and the hypnotic "Casa Bey". The track is fun, playful lyrically and in production, musically muscular, and plays well off what is anything but a conventional hip-hop beat. HH with closer "Fifty in Five" offer one of the most chilled out numbers on their record, this time stretched out to five and a half minutes. The lyrics are overtly political in nature; don't worry though, nothing on bills to protect the kangaroo or boomerang exports. The Hoods actually have just as much to say about American and world politics as anyone else. As is typical, they establish a substantial groove and ride it adeptly, but in the end "Casa Bey" and its unique sounds take the cake.
Album Opener: We find both records hitting the ground running from the start. The Hoods fire off with "The Return", a guitar driven track that fills a void left empty since the break-up of Rage Against the Machine. This track is supposed to make a statement, and it does. Is 'incendiary' too high of praise? Thats certainly what their going for here and they pull it off pretty well. Mos Def's "Supermagic" is similiarly a high paced hard hitting, if a slightly less straightforward track. The song introduces the middle eastern flavors you will soon become accustomed to throughout the record, and couples them with a garage rock guitar riff. Think if 13th Floor Elevators had an MC. The track starts off with some socially conscious sampling, but pretty much drops that tone entirely to develop into a playful, fun, tune. Both tracks are excellent, but Mos Def's hits just a little harder in context of the entire album, and is inevitably more musically interesting.
Singles: Despite the records only debuting three days apart, Def has managed to release three singles to the Hoods one. To even the odds we'll throw out "Casa Bey", as we'll be discussing it later, and throw in "Chris Farley" from the Aussies. Both "Chris Farley" and MD's "Life In Marvelous Times" characterize the lone 'in the club' moments on either album. Meaning simply that its not too hard to picture the rappers in an obnoxious video, wearing Kanye sunglasses, and surrounded by women and bottles of Patron with these tracks backing. That said, "Life in Marvelous Times" is obviously tongue in cheek, and throws in some production flourish to good effect. The two superior singles, "Chase That Feeling" for HH and "Quiet Dog Bite Hard" from MD are undeniably excellent. MD's track is stripped almost bare for maximum impact. On "Chase That Feeling" however, the Hoods lay a clean, jazzy piano riff under a thick backbeat that harkens back to Henrik Schwartz, and is more immediately satisfying than anything else on either of these records. Tally one up for the Hoods.
The Filler: Here both albums make the mistake of supplying us with too much of the same. 50 minutes of Australians barking into your ear drums is, well, it can get a little old. When every song comes in like a car chase through your living room, eventually the adrenaline that should accompany this starts to fade, and you just get annoyed. The lyrics for the most part remain cocky, smart, and fun. At one point they even quote 'The Big Lebowski', which while some would present as an argument for why white guys shouldn't rap, never fails to put a smile on my face. Mos Def, throughout 'The Ecstatic', has the annoying habit of clipping his tracks at or under the two minute mark. The more interesting musical elements are a true strength of his record, but only really pay off when he fully develops them (as on "Auditorium", "Roses", or "Pretty Danger"). The rest of the time we are left with way too many half baked good ideas. This category is a wash.
Album Closer: This category goes over to Mos Def and the hypnotic "Casa Bey". The track is fun, playful lyrically and in production, musically muscular, and plays well off what is anything but a conventional hip-hop beat. HH with closer "Fifty in Five" offer one of the most chilled out numbers on their record, this time stretched out to five and a half minutes. The lyrics are overtly political in nature; don't worry though, nothing on bills to protect the kangaroo or boomerang exports. The Hoods actually have just as much to say about American and world politics as anyone else. As is typical, they establish a substantial groove and ride it adeptly, but in the end "Casa Bey" and its unique sounds take the cake.
Production: It's hard to imagine two albums from the same genre coming from such completely separate places in terms of production. Where 'SotA' is clean to a fine polish, 'The Ecstatic' is certainly not lo-fi, but content to let authenticity hum away on the background of many of its tracks. Where 'SotA' tends to always throw one more sample into the mix 'The Ecstatic' lets its world-bent backings pretty much stand alone. As a result, 'The Ecstatic' breathes a little more easliy as an album, and thus will easily lend itself to repeat listens. Don't get me wrong, a number of tracks off 'SotA' will remain on your work-out playlist for time to come, but to get through the record in one sitting takes a whole separate kind of stamina.
Well folks, its been a doozy, and for a while there I didn't know who was gonna take it- the Hilltop Hoods with their spitfire lyrics and unrelenting sonic energy or Mos Def with his Thievery Corporation inspired ethnic cool. The first rap battle of 2009 however goes to 'The Ecstatic'. In the end what we have here are two pretty good albums from two of the best in the biz. Do yourself a favor and check em both out.
'State of the Art'- Hilltop Hoods
Best Tracks: "The Return", "Chase That Feeling"
'The Ecstatic'- Mos Def
Best Tracks: "Supermagic", "Auditorium", "Quiet Dog Bite Hard"
Tuesday, June 30, 2009
Review: Madeline- White Flag
Roughly three and a half months ago, March 10th 2009, Athens GA native Madeline Adams released her third record, 'White Flag', on the Orange Twin label. If you don't remember hearing the tracks off Hype Machine, reading the rave blog reveiws, or seeing the interview on Pitchfork, thats probably because, well, none of those things ever happened. In fact, Madeline doesn't even have a Wikipedia page. Seriously now, you don't even need a publicist to get that one right. An Allmusic.com search will yield an almost completely undeveloped page where one of her albums (unreviewed) shares space with the soundtrack to the children's cartoon (not by her). So you may ask how, in a time when the indie community seems so starved to drench their young starlets in attention, does she go so completely unnoticed?
Possibly it has to do with the scene she is struggling to emerge from. Though Athens will forever be an anomaly, a phenomenom if you will in terms of its musical output, those hailing from will forever be tied, at least subconciously, to the Elephant 6 collective. Recording for Orange Twin doesn't help, a label run by members of Elf Power, one of the cheesier outfits of the collective. So is she being tossed off as yet another among a zillion revivalist popsters? Unlikely, as one listen to her music reveals a smart, sharp, embittered yet empathetic writer, of americana folk tunes.
What possibly, do those idolized "starlets" posess that poor Madeline lacks? Feist, Jenny Lewis, Neko Case, St. Vincent... None are particularly better looking, and certainly none are better songwriters or musicians. But wait; Broken Social Scene, Rilo Kiley, The New Pornographers, Sufjan Stevens... Do I dare go so far as to say that one must first sing for an independently accomplished rock group before it is possible to be accepted as a legitamate solo artist in the indie community? Even Cat Power did collaborations with members of Sonic Youth and The Dirty Three. Either that, or I suppose she should take up the harp...
The only other thing that could possibly be holding poor Madeline back is the quality of her music, which at last brings us to our review of her most recent record. You've probably already guessed it by now. The record is great. Granted however, this is not the first time around the block for the songstress. In 2002 she self released her first full length, 'Kissing and Dancing'. Playful, laced with tin can percussion, joyful harmony, and that small town America school girl self conciousness, Madeline had given us a highly enjoyable if unpolished album. Five years later she followed it up on Orange Twin with 'The Slow Bang'; a short, nine song outing. This release differed in that it was completely stripped bare, almost hauntingly so, but amazingly poignant. 'White Flag' boasts the cleanest and fullest production of the three, but not at the expense of the emotion her music has always been capable of.
"Sorry" opens the album with possibly the only time Madeline has been apologetic. It is a soft note to start on, and segways neatly into "Telephone Daydream", the first pop tune she's penned in 7 years. There is not a low point to be found on the album. "Lit Elephants" continues with tender charm, "This Train" uses the peculiarity of Madelines voice as a hook in itself, and "Shotgun Wedding" pairs a bare bones arrangement with the singers typically tough sensibilities to tell a tale of the South. At this point we encounter the albums two soaring highlights, "Jive Talking" and "White Flag". On the former she croons a tale of disenchantment, and on the latter lets her voice soar in a tune of resolution, as if the two are intentionally intertwined. The rest of the album follows along similiar lines while avoiding the pitfalls of overt repitition. "Rain, Fire and Brimstone" is as tough a tune as she's ever written, even more so than the like minded "You Can't Break My Heart". "Mountain Heart" gives outlet to the most straightforward folk tune on the record, harkening back to early Iron and Wine, before "Black Out" ties things off.
Your typical female singer/songwriter honestly doesn't get much better than this. Jenny Lewis and Zooey Deschanel would probably give their big toe to have penned some of these tunes. I would think that the "indie community" would be starving to drink up this talent and claim it as one of its beloved own, as opposed to leaving poor Madeline with the anonymity she now possesses. Here is what I propose: Madeline Adams, Nina Nastasia, and Courtney Kaiser all form a post punk New York girl group and go on tour with The Arcade Fire; as heinous as this would be, maybe then these fine artists and their work will get the exposure and recognition deserved.
Best Tracks: "Jive Talkin", "White Flag", "Rain, Fire, and Brimstone"
Rating: 9/10
Possibly it has to do with the scene she is struggling to emerge from. Though Athens will forever be an anomaly, a phenomenom if you will in terms of its musical output, those hailing from will forever be tied, at least subconciously, to the Elephant 6 collective. Recording for Orange Twin doesn't help, a label run by members of Elf Power, one of the cheesier outfits of the collective. So is she being tossed off as yet another among a zillion revivalist popsters? Unlikely, as one listen to her music reveals a smart, sharp, embittered yet empathetic writer, of americana folk tunes.
What possibly, do those idolized "starlets" posess that poor Madeline lacks? Feist, Jenny Lewis, Neko Case, St. Vincent... None are particularly better looking, and certainly none are better songwriters or musicians. But wait; Broken Social Scene, Rilo Kiley, The New Pornographers, Sufjan Stevens... Do I dare go so far as to say that one must first sing for an independently accomplished rock group before it is possible to be accepted as a legitamate solo artist in the indie community? Even Cat Power did collaborations with members of Sonic Youth and The Dirty Three. Either that, or I suppose she should take up the harp...
The only other thing that could possibly be holding poor Madeline back is the quality of her music, which at last brings us to our review of her most recent record. You've probably already guessed it by now. The record is great. Granted however, this is not the first time around the block for the songstress. In 2002 she self released her first full length, 'Kissing and Dancing'. Playful, laced with tin can percussion, joyful harmony, and that small town America school girl self conciousness, Madeline had given us a highly enjoyable if unpolished album. Five years later she followed it up on Orange Twin with 'The Slow Bang'; a short, nine song outing. This release differed in that it was completely stripped bare, almost hauntingly so, but amazingly poignant. 'White Flag' boasts the cleanest and fullest production of the three, but not at the expense of the emotion her music has always been capable of.
"Sorry" opens the album with possibly the only time Madeline has been apologetic. It is a soft note to start on, and segways neatly into "Telephone Daydream", the first pop tune she's penned in 7 years. There is not a low point to be found on the album. "Lit Elephants" continues with tender charm, "This Train" uses the peculiarity of Madelines voice as a hook in itself, and "Shotgun Wedding" pairs a bare bones arrangement with the singers typically tough sensibilities to tell a tale of the South. At this point we encounter the albums two soaring highlights, "Jive Talking" and "White Flag". On the former she croons a tale of disenchantment, and on the latter lets her voice soar in a tune of resolution, as if the two are intentionally intertwined. The rest of the album follows along similiar lines while avoiding the pitfalls of overt repitition. "Rain, Fire and Brimstone" is as tough a tune as she's ever written, even more so than the like minded "You Can't Break My Heart". "Mountain Heart" gives outlet to the most straightforward folk tune on the record, harkening back to early Iron and Wine, before "Black Out" ties things off.
Your typical female singer/songwriter honestly doesn't get much better than this. Jenny Lewis and Zooey Deschanel would probably give their big toe to have penned some of these tunes. I would think that the "indie community" would be starving to drink up this talent and claim it as one of its beloved own, as opposed to leaving poor Madeline with the anonymity she now possesses. Here is what I propose: Madeline Adams, Nina Nastasia, and Courtney Kaiser all form a post punk New York girl group and go on tour with The Arcade Fire; as heinous as this would be, maybe then these fine artists and their work will get the exposure and recognition deserved.
Best Tracks: "Jive Talkin", "White Flag", "Rain, Fire, and Brimstone"
Rating: 9/10
Monday, June 29, 2009
Albums I Love: The Slider
I always thought it would be cool to have a radio show entitled 'Albums I Love', where I would pick a given album (that I love of course), talk about it for five or six minutes, play the whole record uninterrupted, and then discuss the music and its relevance etc. with callers for the rest of the hour. Well I don't have a radio show, but I do have a blog! So here it is, the now regular installment 'Albums I Love'. This week we will be focusing on T. Rex's 1972 release, 'The Slider'.
If you live in the UK, then you have no idea why I would choose to present such a monumental album as an out-of-the-way gem that listeners may have missed, but here in the US that's exactly what it is. Walk into any US record store- I can almost guarantee that under 'T. Rex' you will find three copies of big brother 'Electric Warrior' and no trace of, the in many ways more accomplished album, 'The Slider'. This could probably be most easily explained by the fact that the only T. Rex single to chart in the US came off 'EW'; but hold on a second, now lets mozy on down the aisle to Led Zeppelin. Woah look at this! Here's all their albums, not only 'Zeppelin II' (host of "Whole Lotta Love", the only Zeppelin tune to break the US Top Ten). The fact is that T. Rex doesn't get one tenth of the respect they deserve from the rock'n'roll pantheon. Marc Bolan singlehandedly defined sexy, sleazy, glam, pop rock (think The Kills forty years ago with just as much attitude). Bowie didn't come close to anything like this. Not to mention giving outlet to one of the most distinctive guitar players of an era. And yet we relegate T. Rex to the obscurity of history. This injustice can not stand.
Thanks to my fathers record collection I grew up with 'Electric Warrior' as a favorite. And though on the internet I would read about 'The Slider', see the excellent reveiws, not only was my father barely aware of its existence, but for literally years I remained unable to find it anywhere with the exception of Amazon for a hefty price of about 25 bucks. Alas, this led me to dismiss the album as an obscurity, a collectors item, some fluke release that ultimately must not have been too important. A few long years later, while unlocking the spoils of the internet, I finally got my first listen to the record and all such notions were shattered.
The record opens with "Metal Guru", the boldest, slickest, most in your face track the band has ever done. It pops with cascading harmonies, a du-wop vibe, and as always that crunchy, reverb drenched backbeat holding it all together. The record never lets up from there. The title track comes in cool and collected, working a slick groove with a few simple chords like only Bolan ever could. It goes down smooth and is only a taste of whats to come. Tracks like "Mystic Lady" and "Spaceball Ricochet" continue pleasantly down a road where "Cosmic Dancer" left off. This album is heavier than its predecessor ("Buick Mackane"), more highly produced ("Rabbit Fighter"), and every bit as catchy and hypnotic ("Telegram Sam").
As a guitarist, Bolan is a breath of fresh air in a era that seemed to favor simply throwing as many notes as possible at any and every song possible. Bolan understood using the guitar as a means to an end, as opposed to playing the guitar as an end in itself. So no, nothing as heinous as Page's "Heartbreaker" solo is to be found here. And yet he's not as minimalist as a Robby Krieger. He understands that he's playing sloppy fun rock music, and that the guitar has to slosh around in the sleaze just as much, and it does. Never excessive, always satisfying, Bolan deserves much more credit than he will ever receive for his chops and vision on a so oft abused instrument.
This is classic rock, but not in the old tired fashion your used to hearing it as endlessly replayed on your local radio. Musically it holds up amazingly well to anything coming out today. Expand your horizons, reach back, go out and buy... well, maybe better off to just download, 'The Slider' today!
Best Tracks: "Mystic Lady", "The Slider", "Telegram Sam"
If you live in the UK, then you have no idea why I would choose to present such a monumental album as an out-of-the-way gem that listeners may have missed, but here in the US that's exactly what it is. Walk into any US record store- I can almost guarantee that under 'T. Rex' you will find three copies of big brother 'Electric Warrior' and no trace of, the in many ways more accomplished album, 'The Slider'. This could probably be most easily explained by the fact that the only T. Rex single to chart in the US came off 'EW'; but hold on a second, now lets mozy on down the aisle to Led Zeppelin. Woah look at this! Here's all their albums, not only 'Zeppelin II' (host of "Whole Lotta Love", the only Zeppelin tune to break the US Top Ten). The fact is that T. Rex doesn't get one tenth of the respect they deserve from the rock'n'roll pantheon. Marc Bolan singlehandedly defined sexy, sleazy, glam, pop rock (think The Kills forty years ago with just as much attitude). Bowie didn't come close to anything like this. Not to mention giving outlet to one of the most distinctive guitar players of an era. And yet we relegate T. Rex to the obscurity of history. This injustice can not stand.
Thanks to my fathers record collection I grew up with 'Electric Warrior' as a favorite. And though on the internet I would read about 'The Slider', see the excellent reveiws, not only was my father barely aware of its existence, but for literally years I remained unable to find it anywhere with the exception of Amazon for a hefty price of about 25 bucks. Alas, this led me to dismiss the album as an obscurity, a collectors item, some fluke release that ultimately must not have been too important. A few long years later, while unlocking the spoils of the internet, I finally got my first listen to the record and all such notions were shattered.
The record opens with "Metal Guru", the boldest, slickest, most in your face track the band has ever done. It pops with cascading harmonies, a du-wop vibe, and as always that crunchy, reverb drenched backbeat holding it all together. The record never lets up from there. The title track comes in cool and collected, working a slick groove with a few simple chords like only Bolan ever could. It goes down smooth and is only a taste of whats to come. Tracks like "Mystic Lady" and "Spaceball Ricochet" continue pleasantly down a road where "Cosmic Dancer" left off. This album is heavier than its predecessor ("Buick Mackane"), more highly produced ("Rabbit Fighter"), and every bit as catchy and hypnotic ("Telegram Sam").
As a guitarist, Bolan is a breath of fresh air in a era that seemed to favor simply throwing as many notes as possible at any and every song possible. Bolan understood using the guitar as a means to an end, as opposed to playing the guitar as an end in itself. So no, nothing as heinous as Page's "Heartbreaker" solo is to be found here. And yet he's not as minimalist as a Robby Krieger. He understands that he's playing sloppy fun rock music, and that the guitar has to slosh around in the sleaze just as much, and it does. Never excessive, always satisfying, Bolan deserves much more credit than he will ever receive for his chops and vision on a so oft abused instrument.
This is classic rock, but not in the old tired fashion your used to hearing it as endlessly replayed on your local radio. Musically it holds up amazingly well to anything coming out today. Expand your horizons, reach back, go out and buy... well, maybe better off to just download, 'The Slider' today!
Best Tracks: "Mystic Lady", "The Slider", "Telegram Sam"
Friday, June 26, 2009
Alexi Murdoch Update
Alexi Murdoch, who after making possibly the most tantalizing EP in history made fans wait four full years for the subsequent long player, has, after almost that length of time again, graced us at last with more musical blessings. 'Toward the Sun' is a limited release, only 5000 were pressed, and is available at his shows or by order through his website (a site which still advertises 'Time Without Consequence' as "The New Album". Apparently he takes his album titles quite literally...). I came across my copy by the grace of my sister, who I talked into attending one of his shows. A live experience which, in my opinion, is unparalelled in terms of intimacy and beauty.
As much as I love the guy, Murdoch has kind of put himself between a rock and a hard place here. When the 'Four Songs' EP became the number one selling record in CDbaby.com history, expectations were already high for the album to follow. By allowing four years to then pass in the making, one of two things was bound to happen for any given fan: they would forget about him, or they would come to expect an album of pure perfection. Needless to say, he delivered on pure perfection; ensuring that no one will make the mistake of forgetting about him again. And thus, here we are another four years later, expectations raging.
(Sidenote: Honestly has there ever been a better EP than 'Four Songs'? I still listen to it completely seperate from the album. Frusciante's DC EP? Lazy Line Painter Jane? Does the Fiery Furnaces EP even count? Yes, 'Sun Giant' is pretty great, but nothing touches 'Four Songs'.)
It is hard to categorize exactly what 'Toward the Sun' is meant to be. At 7 songs and 37 minutes, it is about 20 minutes longer than AM's EP and about 20 minutes shorter than the album. I have heard rumors that this is something of a demo for the album to come, and based on the production that could very well be true. While 'TWC' was very slick, with sometimes dozens of instruments skillfully woven into lush backing mixes, 'TtS' is consistently much simpler and more straightforward, with usually no more than a few acoustic guitars and a drum. 'TtS' also differs in that it has a much warmer feel, as if everything on the album was mic'd and digital processing was kept to a minimum. As a result there is nothing here that goes down quite as smooth as "All My Days" or "Blue Mind", and the warmer nature only ensures, as if they haven't already, that the Nick Drake comparisons will further abound. It will be interesting to see if these changes carry on into the official release or if they are for the sake of the "demo" only. Another interesting observation: a chief difference between 'FS' and 'TWC' was the presence of female harmony on the EP, and almost no harmony whatsoever on the album. It may be inconsequential, but on the chorus of 'TtS's "Some Day Soon" there is a very soft, almost barely audible in fact, female unison...
Lyrically, Murdoch is in much the same vein as we found him before. Verses regurlarly concerning family, dreaming, light/dark, metaphorical burdens, shining, and kindness. (Sample lyric, off "Her Hands Were Leaves": "See my brother he is walking in the sun/His back is bare he carries no burden for anyone/See the island, the silver line/Brother how you shine".) Murdoch still isn't the type to turn a phrase sharp enough to find its way onto your facebook page, but his lyrics remain the vital part of his music. With many acts, you will find yourself analyzing the lyrical quality seperate from the musical quality. With Murdoch however they are one in the same. His lyrics and voice are so natural, so simple, and yet bear such honest truth, that their slow, steady and gentle cadence, seem to eminate from a purer place than any contrived human mind. They seem to eminate from the same place that the musical notes themselves do, making the relationship of the guitar to his words inseperable. On "Through The Dark" he sings "You need someone to hear you when you sigh/Someone to wipe away those tears you cry/Someone to hold you 'neath the darkened sky/Someone to love you more than I". He gets recalls Dylan again on highlight "Some Day Soon" when he sings, "I love my father and I love him well/I hope to see him someday soon/And in the morning I'll be gone/Where for to cannot be told".
When closer, the 9 minute "Crinian Wood" comes on, naturally everyone is expecting the next "Orange Sky". Unfortunately these are promises that are most likely impossible to deliver on. 'TtS' is a solid batch of well written, performed, and distinctly Murdoch tunes, but whether they meet or surpass those that have come before them will have to be to the listeners discretion. I hate to say to "expect more of the same" because of the connotations it carries, but essentially thats what we have here. Luckily "the same" is this good. When you first dip into these tunes however, don't expect your life to be changed all over again for a second time. As of yet no one can say for sure whether this is what we'll be hearing from Murdoch come release time, or whether it will be in completely different form. Either way it sure has me excited.
As much as I love the guy, Murdoch has kind of put himself between a rock and a hard place here. When the 'Four Songs' EP became the number one selling record in CDbaby.com history, expectations were already high for the album to follow. By allowing four years to then pass in the making, one of two things was bound to happen for any given fan: they would forget about him, or they would come to expect an album of pure perfection. Needless to say, he delivered on pure perfection; ensuring that no one will make the mistake of forgetting about him again. And thus, here we are another four years later, expectations raging.
(Sidenote: Honestly has there ever been a better EP than 'Four Songs'? I still listen to it completely seperate from the album. Frusciante's DC EP? Lazy Line Painter Jane? Does the Fiery Furnaces EP even count? Yes, 'Sun Giant' is pretty great, but nothing touches 'Four Songs'.)
It is hard to categorize exactly what 'Toward the Sun' is meant to be. At 7 songs and 37 minutes, it is about 20 minutes longer than AM's EP and about 20 minutes shorter than the album. I have heard rumors that this is something of a demo for the album to come, and based on the production that could very well be true. While 'TWC' was very slick, with sometimes dozens of instruments skillfully woven into lush backing mixes, 'TtS' is consistently much simpler and more straightforward, with usually no more than a few acoustic guitars and a drum. 'TtS' also differs in that it has a much warmer feel, as if everything on the album was mic'd and digital processing was kept to a minimum. As a result there is nothing here that goes down quite as smooth as "All My Days" or "Blue Mind", and the warmer nature only ensures, as if they haven't already, that the Nick Drake comparisons will further abound. It will be interesting to see if these changes carry on into the official release or if they are for the sake of the "demo" only. Another interesting observation: a chief difference between 'FS' and 'TWC' was the presence of female harmony on the EP, and almost no harmony whatsoever on the album. It may be inconsequential, but on the chorus of 'TtS's "Some Day Soon" there is a very soft, almost barely audible in fact, female unison...
Lyrically, Murdoch is in much the same vein as we found him before. Verses regurlarly concerning family, dreaming, light/dark, metaphorical burdens, shining, and kindness. (Sample lyric, off "Her Hands Were Leaves": "See my brother he is walking in the sun/His back is bare he carries no burden for anyone/See the island, the silver line/Brother how you shine".) Murdoch still isn't the type to turn a phrase sharp enough to find its way onto your facebook page, but his lyrics remain the vital part of his music. With many acts, you will find yourself analyzing the lyrical quality seperate from the musical quality. With Murdoch however they are one in the same. His lyrics and voice are so natural, so simple, and yet bear such honest truth, that their slow, steady and gentle cadence, seem to eminate from a purer place than any contrived human mind. They seem to eminate from the same place that the musical notes themselves do, making the relationship of the guitar to his words inseperable. On "Through The Dark" he sings "You need someone to hear you when you sigh/Someone to wipe away those tears you cry/Someone to hold you 'neath the darkened sky/Someone to love you more than I". He gets recalls Dylan again on highlight "Some Day Soon" when he sings, "I love my father and I love him well/I hope to see him someday soon/And in the morning I'll be gone/Where for to cannot be told".
When closer, the 9 minute "Crinian Wood" comes on, naturally everyone is expecting the next "Orange Sky". Unfortunately these are promises that are most likely impossible to deliver on. 'TtS' is a solid batch of well written, performed, and distinctly Murdoch tunes, but whether they meet or surpass those that have come before them will have to be to the listeners discretion. I hate to say to "expect more of the same" because of the connotations it carries, but essentially thats what we have here. Luckily "the same" is this good. When you first dip into these tunes however, don't expect your life to be changed all over again for a second time. As of yet no one can say for sure whether this is what we'll be hearing from Murdoch come release time, or whether it will be in completely different form. Either way it sure has me excited.
Thursday, June 25, 2009
Catching Up...
For a period of about 29 days just a bit ago, due to fairly ridiculous circumstances, I was completely cut off from the world. Internet, music, everything. Since re-entering reality I've been in a frenzy to get caught up on all the new releases, and having done so, now feel obligated to spout a few opinions off about them. It is worth noting that I only do full up reviews on albums that I feel may have slipped under the radar, or that I think I may have a unique perspective on. Every now and again though you might catch me doing a rough and tumble round up, kind of like what we have here:
Phoenix: Wolfgang Amadeus Phoenix
A straight up pop record; a medium of which I'm a huge fan of. This is definitely more of heartbreak, yearning type pop however than your joyous release type stuff. On a first listen I thought of the Kooks, but drenched in a slick glaze of cool, for lack of a better way to describe it. It is smoother, more direct, and has a more uniquely interesting production. The great downfall of this album is all the songs (particularly on the second half) sounding much the same. When "Love Like A Sunset" comes on, your ears prick up, hoping that this is the point where the album will take a sudden turn into the interesting and unexplored. On the next track however they sink right back into the tedium.
Rating: 6.5/10
Best Tracks: "Lisztomania", "Lasso"
Grizzly Bear: Veckatimest
Did you enjoy 'Yellow House'? This record is, on the face, very much the same as the one that preceded it. The production hovers in about the same place, and the songwriting remains only sometimes immediately rewarding, and otherwise challengingly gorgeous. I doubt this will rope in new Grizzly Bear fans, as it is merely a progression along the same path as before, but it will certainly solidify old ones. The arrangements are endlessly complex, but subtle enough to never distract. The replay value from this record is almost ridiculous.
Rating: 8.5/10
Best Tracks: "Two Weeks", "Cheerleader", "About Face"
Dirty Projectors: Bitte Orca
A band with possibly the most challenging discography I can think of, somehow found a way to release an immediately accessible and enjoyable record without sacrificing any of the nuance that at one time made them so frustrating. As usual, the voices, arrangements and guitar playing are virtuosic. Only here, the strength of the songwriting equals the talents of the players. Still quirky and interesting at many points, but always endlessly rewarding.
Rating: 9/10
Best Tracks: "Temecula Sunrise", "The Bride", "Useful Chamber"
God Help The Girl: God Help The Girl
Basic summary: Stuart Murdoch makes a Belle & Sebastian album under a different name with mainly girl singers. This is basically your typical B&S, especially as far as the wordplay is concerned. The instrumentation however often takes on a much more classic, timeless feel, which sometimes make it sound more like something out of your Mom's record collection than an indie record; and thats not necessarily a bad thing. The variety of female vocals are a nice change up, as all the singers boast strong voices, and each bring a unique personality to a songwriter who we've all become more than accustomed too.
Rating: 7/10
Best Tracks: "God Help The Girl", "Pretty Eve In The Tub", "If You Could Speak"
Dinosaur Jr.: Farm
J. Mascis must have found the mythical fountain of street cred or something, cause no matter what these guys do it just always feels legit. I mean, how many bands after 20 years of recording are still pumping out albums as un-polished as Farm? And yet thats exactly how it has to be. To me, this is what bands like Nickelback and Daughtry or whatever should sound like. Playing straight ahead, gritty hard rock. And yet despite trying to come off this way, the majority of their fans end up being teenage girls. I guess thats what happens when you spend your time in a make-up booth instead of learning to rip like J. Regarding the album, to me it never quite hit the highs or acheived the energy of 'Beyond'. The longer numbers run a little long, and because the softer numbers are so nice there probably could have been more of them. That said however, this album rocks. "See You" is among the best work they've ever done.
Rating: 7.5/10
Best Tracks: "I Want You To Know", "Over It", "See You"
Phoenix: Wolfgang Amadeus Phoenix
A straight up pop record; a medium of which I'm a huge fan of. This is definitely more of heartbreak, yearning type pop however than your joyous release type stuff. On a first listen I thought of the Kooks, but drenched in a slick glaze of cool, for lack of a better way to describe it. It is smoother, more direct, and has a more uniquely interesting production. The great downfall of this album is all the songs (particularly on the second half) sounding much the same. When "Love Like A Sunset" comes on, your ears prick up, hoping that this is the point where the album will take a sudden turn into the interesting and unexplored. On the next track however they sink right back into the tedium.
Rating: 6.5/10
Best Tracks: "Lisztomania", "Lasso"
Grizzly Bear: Veckatimest
Did you enjoy 'Yellow House'? This record is, on the face, very much the same as the one that preceded it. The production hovers in about the same place, and the songwriting remains only sometimes immediately rewarding, and otherwise challengingly gorgeous. I doubt this will rope in new Grizzly Bear fans, as it is merely a progression along the same path as before, but it will certainly solidify old ones. The arrangements are endlessly complex, but subtle enough to never distract. The replay value from this record is almost ridiculous.
Rating: 8.5/10
Best Tracks: "Two Weeks", "Cheerleader", "About Face"
Dirty Projectors: Bitte Orca
A band with possibly the most challenging discography I can think of, somehow found a way to release an immediately accessible and enjoyable record without sacrificing any of the nuance that at one time made them so frustrating. As usual, the voices, arrangements and guitar playing are virtuosic. Only here, the strength of the songwriting equals the talents of the players. Still quirky and interesting at many points, but always endlessly rewarding.
Rating: 9/10
Best Tracks: "Temecula Sunrise", "The Bride", "Useful Chamber"
God Help The Girl: God Help The Girl
Basic summary: Stuart Murdoch makes a Belle & Sebastian album under a different name with mainly girl singers. This is basically your typical B&S, especially as far as the wordplay is concerned. The instrumentation however often takes on a much more classic, timeless feel, which sometimes make it sound more like something out of your Mom's record collection than an indie record; and thats not necessarily a bad thing. The variety of female vocals are a nice change up, as all the singers boast strong voices, and each bring a unique personality to a songwriter who we've all become more than accustomed too.
Rating: 7/10
Best Tracks: "God Help The Girl", "Pretty Eve In The Tub", "If You Could Speak"
Dinosaur Jr.: Farm
J. Mascis must have found the mythical fountain of street cred or something, cause no matter what these guys do it just always feels legit. I mean, how many bands after 20 years of recording are still pumping out albums as un-polished as Farm? And yet thats exactly how it has to be. To me, this is what bands like Nickelback and Daughtry or whatever should sound like. Playing straight ahead, gritty hard rock. And yet despite trying to come off this way, the majority of their fans end up being teenage girls. I guess thats what happens when you spend your time in a make-up booth instead of learning to rip like J. Regarding the album, to me it never quite hit the highs or acheived the energy of 'Beyond'. The longer numbers run a little long, and because the softer numbers are so nice there probably could have been more of them. That said however, this album rocks. "See You" is among the best work they've ever done.
Rating: 7.5/10
Best Tracks: "I Want You To Know", "Over It", "See You"
Wednesday, June 24, 2009
Review: Sunset Rubdown- Dragonslayer
This album can probably best be analyzed in relationship to two of leader Spencer Krug's more recent outings, 2007's last Sunset Rubdown release 'Random Spirit Lover' and Wolf Parade's 2008 'At Mount Zoomer'. Strikingly, this record comes off as much more WP than it does SR. There are many macroscopic similarities right from the get go, the number of tracks (9 vs. 8) and the ten minute closer being most apparent. Anyone who actually gave more than one listen to 'Random Spirit Lover' (bravo) is probably expecting more of the same frenetic, quirky, fantasy laden, sprawling instrumental and melodic excess of that release; especially from a record titled 'Dragonslayer'. This is hardly the case however, as the album sticks to straight ahead (albeit progressive in nature) rock songs all the way through; even offering up a bonafide pop track with "Paper Lace". Alas, there is nothing here as oddly fascinating as "The Courtesan Has Sung", or as head scratchingly compelling as "Up On Your Leopard, Upon The End of Your Feral Days". Throw in a little of Boeckner's edge to temper Krug's fantasy and we would have another grade A WP release on our hands here.
The album begins with possibly the two most straightforward songs from anywhere in Krug's catalog with "Silver Moons" and "Idiot Heart". While both are flawlessly executed and enjoyable listens, I still find myself wishing that they had some of that flair and eccentricity to make them more distuingashably Krug. "Black Swan" anchors the albums middle in much the way "California Dreamer" did on 'AMZ', slow burning with powerful bursts of energy erupting throughout. From there we a find a curiousity on "Paper Lace", a track found on the 2009 release 'Enemy Mine' from another amongst Krug's myriad musical projects, Swan Lake. On the SL record the track was done acoustically, with a tentative, probing feel, providing a breath of fresh air amidst often challenging experimentation. Here, again it is a breath of fresh air, but instead in the sense that it is a synth heavy pop tune amidst a batch of much more serious progressive rockers (again recalling 'AMZ', "The Grey Estates"). The grand finale, the ten minute twenty seven second title track-ish "Dragon's Lair" (ala "Kissing The Beehive", also originally meant as a title track...), is one of the only true dings I give this album. It carries a solid melody, makes nice use of female harmony, and acheives the difficult feat of not boring the listener over such a long period. However, as much as I do in fact like this song, after the hard hitting album that 'Dragonslayer' is, you just come to expect more punch from the supposedly epic finale. It boasts some fine guitar playing and a semi-build up towards the end, but never quite erupts in the way you are hoping it will.
All in all, 'Dragonslayer' is consistently terrific. I can't help but feel however that they were holding something back, playing it safe if you will for this release. Krug found a near perfect formula with 'AMZ', and apparently he's sticking with it. The fact is though that this is Sunset Rubdown, not Wolf Parade, and its fans have come to expect and love the 'everything and the kitchen sink' mentality that have graced there previous releases. Still, how can you really complain about an album as great as 'Dragonslayer'? Though in my heart I'll be waiting for more of the random spirit loving music I know these guys are cabaple of, on my face the smile will be just as wide as long as the quality remains this good.
Rating: 8.5/10
Best Tracks: "Black Swan", "Paper Lace", "You Go On Ahead (Trumpet Trumpet II)"
The album begins with possibly the two most straightforward songs from anywhere in Krug's catalog with "Silver Moons" and "Idiot Heart". While both are flawlessly executed and enjoyable listens, I still find myself wishing that they had some of that flair and eccentricity to make them more distuingashably Krug. "Black Swan" anchors the albums middle in much the way "California Dreamer" did on 'AMZ', slow burning with powerful bursts of energy erupting throughout. From there we a find a curiousity on "Paper Lace", a track found on the 2009 release 'Enemy Mine' from another amongst Krug's myriad musical projects, Swan Lake. On the SL record the track was done acoustically, with a tentative, probing feel, providing a breath of fresh air amidst often challenging experimentation. Here, again it is a breath of fresh air, but instead in the sense that it is a synth heavy pop tune amidst a batch of much more serious progressive rockers (again recalling 'AMZ', "The Grey Estates"). The grand finale, the ten minute twenty seven second title track-ish "Dragon's Lair" (ala "Kissing The Beehive", also originally meant as a title track...), is one of the only true dings I give this album. It carries a solid melody, makes nice use of female harmony, and acheives the difficult feat of not boring the listener over such a long period. However, as much as I do in fact like this song, after the hard hitting album that 'Dragonslayer' is, you just come to expect more punch from the supposedly epic finale. It boasts some fine guitar playing and a semi-build up towards the end, but never quite erupts in the way you are hoping it will.
All in all, 'Dragonslayer' is consistently terrific. I can't help but feel however that they were holding something back, playing it safe if you will for this release. Krug found a near perfect formula with 'AMZ', and apparently he's sticking with it. The fact is though that this is Sunset Rubdown, not Wolf Parade, and its fans have come to expect and love the 'everything and the kitchen sink' mentality that have graced there previous releases. Still, how can you really complain about an album as great as 'Dragonslayer'? Though in my heart I'll be waiting for more of the random spirit loving music I know these guys are cabaple of, on my face the smile will be just as wide as long as the quality remains this good.
Rating: 8.5/10
Best Tracks: "Black Swan", "Paper Lace", "You Go On Ahead (Trumpet Trumpet II)"
Sunday, June 21, 2009
The Great Lollapalooza Schedule Debate
This summer I'm finally taking the plunge and roadtripping it to Chicago for Lollapalooza for the first time. By the grace of some amiable higher being, somehow the time, money and means amassed, and I am not one to defy fate. Granted, I was signifigantly more attracted to the headliners at the Pitchfork festival in July, but the dates didn't work out and first year festivals often have plenty of there own issues. I am more than happy to drink in the Lolla culture and enjoy a pretty impressive, if not jaw dropping line-up.
Friday is already shaping up to possibly be the best of the three. Bon Iver, Fleet Foxes, and Andrew Bird all back to back on the same stage. Hopefully Bird has already started on his beard for the occasion. This more than makes up for a weak morning, but also presents the inevitable festival conundrum- having to miss certain sets to see others. At this moment I am likely to forego Of Montreal to see Bird, but its hardly an easy decision and may flip several times depending on what I'm listening to at any given moment. But lets at least try to consider this from an intellectual standpoint. The most recent releases from each never got more than a couple spins from me, as I failed to really connect with more than one or two songs on either. OM boasts a much larger and better back catalogue (nothing against all those bluegrass albums, just not my thing) yet I doubt they will dip into most of it as they seem to be committed to their post-Elephant 6 reinvention. And though it is easy to say that Barnes will put on a much more entertaining show, I am equally interested in witnessing Bird's calculated looping techniques and the subtle ways he builds large soundscapes on the stage, as opposed to the constant excesses of OM. Not having to physically move from one stage to another may be what wins this one for Bird in the end (especially if I'm already in prime position), but OM finishing their set slightly earlier provides the advantage of leaving a little more time to elbow to the front for headliners Kings of Leon (I would have been more excited for this one before 'Only By The Night' but am nonetheless pretty pumped). Peter Bjorn and John and Thievery Corporation, it would have been fun, but it just wasn't meant to be.
Saturday is a fairly 'meh' day for me. I'd like to catch Ezra Furman in the morning and probably the Constantines. Then I suppose Los Campesinos, mainly out of Arts and Crafts loyalty though. From there I'm sure my buddies will wanna see Gomez (sorry Chairlift, but your album put me to sleep and then gave me those half awake not fully enjoyable awkward type dreams...) after which No Age is a must. The debate here comes down to Lykke Li vs. TV On The Radio. In the the blue corner, a beautiful Swede who probably has the cutest nose that side of the Atlantic, and sings self concious minimalist crooning pop ballads, which even though she hasn't realized it yet, are all secretly about me. In the red the over hyped, vaguely intelectually compelling band that I always felt obligated to listen to but never quite connected with, maybe because the music was just so in touch with "the climate of the times" (whatever the hell thats supposed to mean). KO. Get psychedelic with a little Animal Collective, and of course we'll top it all off with some Beastie Boys.
Sunday again brings up a smattering of acts I am interested but not diehard committed to see. In many ways this makes sorting through them all the more difficult. We'll probably begin the day with Ra Ra Riot, followed by the Raveonettes (sorry Gang Gang Dance) and then Vampire Weekend. In deciding Cold War Kids or Dan Auerbach, I think that CWK take it on the strength of the first album alone. I still don't understand why someone in a two piece blues outfit feels the need to make a solo blues record, but if for some reason the Keys show up instead count me in. As much as I love The Velvet Underground, Deerhunter on the heels of 'Microcastles' sweeps an aged Lou Reed, with time enough to scamper over to catch Band of Horses. I don't know why we couldn't squeeze them in on that Friday Bud stage as well, but I'm not complaining. For the headliner, I've already seen the Killers and they honestly weren't bad. I may just hand that one completely over to my compatriots as to whther they or Janes Addiction get the final nod.
All in all, after a lot furrowed eyebrows, sweat, and calculated reason, I think my Lollapalooza schedule is pretty much set. Am I wildly offbase anywhere here? I think not. Now there's nothing left to do but sit and let the anticipation build. See ya at Lolla.
Friday is already shaping up to possibly be the best of the three. Bon Iver, Fleet Foxes, and Andrew Bird all back to back on the same stage. Hopefully Bird has already started on his beard for the occasion. This more than makes up for a weak morning, but also presents the inevitable festival conundrum- having to miss certain sets to see others. At this moment I am likely to forego Of Montreal to see Bird, but its hardly an easy decision and may flip several times depending on what I'm listening to at any given moment. But lets at least try to consider this from an intellectual standpoint. The most recent releases from each never got more than a couple spins from me, as I failed to really connect with more than one or two songs on either. OM boasts a much larger and better back catalogue (nothing against all those bluegrass albums, just not my thing) yet I doubt they will dip into most of it as they seem to be committed to their post-Elephant 6 reinvention. And though it is easy to say that Barnes will put on a much more entertaining show, I am equally interested in witnessing Bird's calculated looping techniques and the subtle ways he builds large soundscapes on the stage, as opposed to the constant excesses of OM. Not having to physically move from one stage to another may be what wins this one for Bird in the end (especially if I'm already in prime position), but OM finishing their set slightly earlier provides the advantage of leaving a little more time to elbow to the front for headliners Kings of Leon (I would have been more excited for this one before 'Only By The Night' but am nonetheless pretty pumped). Peter Bjorn and John and Thievery Corporation, it would have been fun, but it just wasn't meant to be.
Saturday is a fairly 'meh' day for me. I'd like to catch Ezra Furman in the morning and probably the Constantines. Then I suppose Los Campesinos, mainly out of Arts and Crafts loyalty though. From there I'm sure my buddies will wanna see Gomez (sorry Chairlift, but your album put me to sleep and then gave me those half awake not fully enjoyable awkward type dreams...) after which No Age is a must. The debate here comes down to Lykke Li vs. TV On The Radio. In the the blue corner, a beautiful Swede who probably has the cutest nose that side of the Atlantic, and sings self concious minimalist crooning pop ballads, which even though she hasn't realized it yet, are all secretly about me. In the red the over hyped, vaguely intelectually compelling band that I always felt obligated to listen to but never quite connected with, maybe because the music was just so in touch with "the climate of the times" (whatever the hell thats supposed to mean). KO. Get psychedelic with a little Animal Collective, and of course we'll top it all off with some Beastie Boys.
Sunday again brings up a smattering of acts I am interested but not diehard committed to see. In many ways this makes sorting through them all the more difficult. We'll probably begin the day with Ra Ra Riot, followed by the Raveonettes (sorry Gang Gang Dance) and then Vampire Weekend. In deciding Cold War Kids or Dan Auerbach, I think that CWK take it on the strength of the first album alone. I still don't understand why someone in a two piece blues outfit feels the need to make a solo blues record, but if for some reason the Keys show up instead count me in. As much as I love The Velvet Underground, Deerhunter on the heels of 'Microcastles' sweeps an aged Lou Reed, with time enough to scamper over to catch Band of Horses. I don't know why we couldn't squeeze them in on that Friday Bud stage as well, but I'm not complaining. For the headliner, I've already seen the Killers and they honestly weren't bad. I may just hand that one completely over to my compatriots as to whther they or Janes Addiction get the final nod.
All in all, after a lot furrowed eyebrows, sweat, and calculated reason, I think my Lollapalooza schedule is pretty much set. Am I wildly offbase anywhere here? I think not. Now there's nothing left to do but sit and let the anticipation build. See ya at Lolla.
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