Alright, I can't keep putting this off anymore. I know, I know. I'm over a month past due on this one, but... I needed to take some time with it. You see, faithful reader(s), this is the 4th time I've done one of these Top 10 Albums lists, having started with 2005's. However, I ran into a bit of an obstacle this year. I was in a bit of a dry spell in 2008, musically speaking, and I only just managed to squeak by with exactly 10 albums over these past 12 months. Exactly 10... and 3 or 4 of them were acquired in the last few days of December. And I'm sorry, dear reader(s), but it took me just over a month to get through them all and organize them into any meaningful order.
On the whole, I found this past year's music to be a bit lackluster. There are a few very, very important exceptions, but for the most part, I'm a little eh about my 2008 acquisitions. One of them I haven't even listened to all the way through yet. Another one I purchased in March and didn't even open until mid January -- as I started writing this little list. But then again, there are a couple I waited for, a couple I have listened to over and over again. Once again, I did pretty good on staying current in the music scene (well, at least by acquiring albums actually released in the past year), but that doesn't stop me from loving some of the previously released stuff on this list. You know what I always say: If I haven't heard it, it's new to me!
So without further ado, I give you:
The Top 10 (Purchased or Otherwise Acquired) Albums of 2008
10) City and Colour, Bring Me Your Love (Vagrant Records 2008) – When pandora.com recommended to me a City and Colour song, I knew I stumbled upon something interesting. I must confess that I haven't even listened to this one all the way through yet, but the snippets that I have heard... not gonna lie: I can dig it. Unfortunately, this is one of the albums that I "otherwise acquired" and the source from which I "otherwise acquired" this album has since shut its doors forever, so I cannot even go back to try to listen to any of them. So, since I cannot provide you with any other description besides "it's kind of emo-y, but in a nice way," I have no choice but to leave this at #10. Better look next year, City and Colour.
Recommended Tracks: I wish I knew...
9) Nick Drake, Five Leaves Left (2003) -- I'm not sure what compelled me to purchase this album way back in March 2008 anymore, and regretfully I don't think I've once listened to it all the way through. Having pushed play on it 2 minutes and 15 seconds ago, I kind of wish I had done it sooner. To my knowledge, I first heard Drake's voice on the Garden State Soundtrack three years ago. It was a great moving, heartbreaking song, and perhaps reminded me of a few people I know. I loved it. I'm sorry I don't have much to say about Five Leaves Left, as I'm not very familiar with it or Nick Drake for that matter. According to everyone's favorite unreliable research engine, Five Leaves Left is Drake's debut album, released in 1969. And unlike his other albums, this one features no Drake solos, as he is accompanied by British folk-rock group Fairport Convention. Huh. Interesting. Maybe that's why I liked that other song better. Even so, this album still has some beautiful folky songs on it. I probably won't listen to it for another five years, but at least I know it's there, and it's good.
Recommended Tracks: #3 Three Hours; #5 Day Is Done; #6 Cello Song
8) Radiohead, In Rainbows (Ato Records 2008) -- I'll be the first one to admit that I'm not very Radiohead-savvy. In fact, I purchased this album back in March, but didn't even listen to it (or open it) until a few days ago. I heard it playing over the sound system in a record store and thought perhaps it was worth a listen. So I found it on sale (having missed the boat on the whole naming your price online thing), but then left it unopened on my desk for about 10 months. Historically speaking, I suppose this album could be pretty important seeing as its creators decided to forego any intial hardcopy release, instead releasing it solely online at prices set by buyers and fans. How much do you think this album is worth? Really, the $10 I actually paid for it, isn't bad, but to me, it seems a bit different than other Radiohead albums to date, less experimental, and yet also less catchy. As I dozed off to it, a couple of the tracks caught my fancy, but nothing really screamed "radio-ready." The very first track is pretty great, but it reminds me of that song by Bloc Party that came out a few years ago -- "The Prayer" -- for about a minute before it goes back to a vintage Radiohead sound. And why does "Bodysnatchers" remind me of U2 for a second? Don't get me wrong, I do like the bulk of these tracks, and I will recommend you some in a second, but over all, In Rainbows leaves me more marginally entertained than impressed.
Recommended Tracks: #1 15 Steps; #4 Weird Fishes/Arpeggio; #7 Reckoner
7) Jack Johnson, Sleep Through the Static (Brushfire Records 2008) – I had to review this album for my school’s newspaper, but turns out, I actually ended up liking it. As I said in my review, “From beginning to end, Jack Johnson’s fourth album... is a journey along a much darker path than any of his fans or casual listeners are used to.” You see, instead of the familiar acoustic of his previous albums, here Johnson totes an electric. Over all the songs are a bit darker, but they still have the same charming honesty that’s indicative of his “older” stuff. His voice is calm and cool as it floats of deeper lyrics, and “All At Once” and the title track show a musical maturation that has the power to attract old fans as well as new. Though I don’t listen to it much, I honestly did enjoy it enough to actually buy it.
Recommended Tracks: #1 All At Once; #2 Sleep Through The Static; #6 If I Had Eyes
6) Ray LaMontagne, Gossip in the Grain (RCA Victor 2008) -- Ray LaMontagne's newest album begins with a song I surely thought was not his own. It sounded too old, from an earlier decade, from an earlier time. But as I listened, I was delighted to notice LaMontagne's brand of soul with which I'm quickly becoming acquainted. Though "mass" popularity has pretty much eluded LaMontagne in previous albums, a bigger sound courteousy of more pieces in the backing band/orchestra, makes it fee like he's starting to get a bit closer with this album. The songs now, to my ears, span more genres while still maintaining that undeniable LaMontagne flavor, complete with trademark soft, airy vocals. "You Are the Best Thing" is jazzy lounge-singery, "Hey Me, Hey Mama" could fit in nicely playing over the speakers of Alice's Restaurant, and "Meg White" is a heavier, late-Beatles-esque (see also the beginning of "Henry Nearly Killed Me," the rest of which would fit in well in the cab of an 18-wheeler, heh) tribute to the White Stripes' Meg White, all of which tell their own stories with the sighed lyrics that could only be written and sung by LaMontagne. Though it's not for every day listening (not for me, at least), it is quite an astonishing album, all things considered.
Recommended Tracks: #1 You Are the Best Thing; #4 I Still Care For You; #6 Meg White; #8 Henry Nearly Killed Me
5) The Killers, Day & Age (Island Records 2008) – The Killers got a bad wrap when their last album was released. It wasn’t by any means the great piece of mastery that everyone was expecting. But when your first album receives as many accolades as Hot Fuss did, how can you stand up to that? However, for this one, I had no expectations. A couple months before the end of 2008, I couldn’t listen to the radio without hearing the first single, “Human,” no matter what station I was listening to. And listening to the rest of the album now, I’m totally amused. Something about “Joy Ride” reminds me of The Clash’s “Rock the Casbah,” or maybe something by Peter Gabriel. It’s fun and artful. And though it’s shaping up to be one of my favorites of the past year, there’s nothing inherently different about it from their previous albums. After a superficial listen, these new songs are almost danceable, with that occasional familiar hint of urgency, as per usual. And damn those lyrics for being so catchy. The songs don’t seem as fresh and new as perhaps you would expect from The Killers, but perhaps it’s just the signs of musical maturity. I’d say it’s a solid effort. I’m definitely going to listen to this one more. And you know what? You should too.
Recommended Tracks: #2 Human; #6 This Is Your Life; #9 The World We Live In
4) Coldplay, Prospekts March (Capitol 2008) -- I know that technically this is an EP and not an album, but, like I said, 2008 was a relatively dry year for me, musically speaking. However, my initial reaction upon listening to these 8 tracks was that I had to include it. Sure, what originally drew me in was the "prospekt" of having yet another version of "Lost" and a version of "Life in Technicolor" that actually had words to it. As you will read in a minute, "Life in Technicolor" is... well, quite frankly, it's my shit, but I seriously underestimated its potential beauty. The songs here continue the heaviness of Viva La Vida, but somehow manage to expand upon its upbeat mood. During my first listening of track #5, I thought "wow, this song reminds me of a sunny day" -- come to find out, it is titled "Rainy Day.” The lyrics are sweet as nectar in the honeyed music I have become accustomed to from Coldplay. I'll admit, featuring Jay-Z on the new version of "Lost!" (titled "Lost+") definitely threw me but I was intrigued. However, I had a hard time understanding what that guy was saying what with the too-hard articulation of words like "Jesus" and "Judas" (among others) and that way his rap doesn't quite seem to fit the rhythm of the song. Unfortunately for the album, I guess, that one time I listened to "Lost+" will probably be the last. But luckily, for the most part, it's an entirely pleasing album; well worth the listen. But definitely check out "Lost!" and "Lost?" first. Ugh, *shudder*
Recommended Tracks: #1 Life In Technicolor ii; #2 Postcards From Far Away; #4 Rainy Day; #7 Now My Feet Won’t Touch The Ground
3) Ray LaMontagne, Till the Sun Turns Black (RCA 2006) -- At 6am on a chilly December morning in Florida, I pushed play on this otherwise acquired album for the first time. Maybe it was the way the sun was just barely creeping its way over the horizon; maybe it was the gentle rocking of the car going up 95 North; or maybe it was just the gentle, harmonious call-and-response between acoustic guitar and piano, but at that moment, the very first track of this album, "Be Here Now" was the most beautiful thing I'd ever heard. I can't be sure if I'd ever heard the song before, but there was something familiar and friendly about it, even in its slightly somber tone. And as seems to be Ray LaMontagne's style, the rest of the album carried the same mood. Definitely an album for a rainy day spent sipping coffee or tee, or making sweet, gentle love throughout the afternoon. Or both. You know how it is. While I didn't get much time to listen to this (or most albums on this list) before the beginning of 2009, LaMontagne's knack for penning beautiful songs (no matter the subject or story) is evident from the very first listen. And the fact that each song has a different style than the song before it makes the album that much more interesting and entertaining (though personally I don't listen much to the jazzier tunes like "You Can Bring Me Flowers").
Recommended Tracks: #1 Be Here Now; #2 Empty; #4 Three More Days; #5 Can I Stay; #8 Lesson Learned
2) Ray LaMontagne, Trouble (RCA 2004) -- This album was a long time coming for my collection. I first got my hands on a sampler CD of two of the songs on this album, "Trouble" and "Narrow Escape," back in March of 2005. I liked the songs, but they didn't quite touch me. I listened to them every now and again during the next couple of years, but never really paid them much attention. Then one day, they just hit me. You know how some singers just have that kind of voice that exude pain, loneliness and love? Ray LaMontagne's is one of them. As a debut album, Trouble is entirely decent, complete with beautiful acoustics and a heavy, soulful voice. That man can write a hell of a love song. But as other tracks show, he can also write the crap out of depressing songs too. Let's face it, Ray LaMontagne is a hell of a songwriter, period. Each song is a story told so beautifully, one time through isn't nearly enough. They have to experienced over and over again until they have become as familiar as a well-worn paperback. Listening to it right now... damn, why had I never purchased or otherwise acquired this before? Fuck me. Thank God for Ray LaMontagne.
Recommended Tracks: #1 Trouble; #4 Narrow Escape; #6 Forever My Friend; #7 Hannah; #8 How Come
1) Coldplay, Viva La Vida (Capitol 2008) – Every time Coldplay comes out with a new album, it seems to be a little bit bigger, a little bit more expansive. The overall sound that emanates from my speakers is always just a little bit more epic. And with Viva La Vida, this is clear from the very first track. Driven by a bouncing guitar melody, this lyricless song develops, growing in volume and intensity until it becomes a dynamic wall of sound which continues throughout the album. Though it has a much heavier sound than their previous albums, with many of the songs weighed down with bass drums, the boys still skillfully manage to infuse the degree of lightness they’re all so good at into each track. Of course, some fans may find it a bit far off the beaten Coldplay path of radio-friendly hits, but I give it two thumbs up for adventurousness. Initially wary of how this long-awaited album would turn out, I am not disappointed. Those radio hits are still there; they’re just dressed a little differently (in Revolution-style uniforms, apparently).
Recommended Tracks: #1 Life in Technicolor; #3 Lost!; #5 Lovers in Japan; #7 Viva La Vida; #8 Violet Hill; #10 Death and All His Friends
Tuesday, February 10, 2009
Wednesday, January 02, 2008
Top 10 (Purchased or Otherwise Acquired) Albums of 2007
Well, kiddies, it's time once again for my Top 10 list, possibly read by tens or elevens of people. Started in 2006 as a way for me to share what I like to call "quality music," it chronicles the best 10 albums I have purchased or otherwise acquired in the past year. This year, I did pretty well and included a lot of albums actually released in 2007. I'm typically behind the times when it comes to music (for whatever reason), but this year I managed to only fall back by a couple months. There are 3 albums on the list from previous years, but we won't fault me for that, now, will we?
This year, there were a lot of unexpected discoveries. There are artists I expect good work from, and there are some artists I'm surprised I even gave a chance. And, boy, am I glad I did this year. There are barely-legal soul-artists, Indie-rock gods, smarty-pants rockers, and even a female vocalist, something I can't typically get myself to listen to. And here I am, praising all these releases as some of the best new work I've heard all year. And though I may have been a little slow on the uptake (even if by a few months) on some of this stuff, it's like I always say: If I haven't heard it, it's new to me. And thus I give you
The Top 10 (Purchased Or Otherwise Acquired) Albums of 2007
10. James Morrison, Undiscovered (Interscope 2007) -- I honestly haven't listened to this one much, but what I have heard is stellar. Morrison's voice is smooth and airy as it croons over the soulful bass lines that lead each bouncing song. It's a damn good debut, each song pretty head-bobable, but for much of the album, it feels as if there's something missing. Perhaps that's why I didn't listen to it more in 2007. However, upon second/third/fourth listening, I can identify some X factor there making it worth listening to that third/fourth/fifth time. Don't write it off yet; there's something there lurking under the surface.
Recommended Tracks: #1 Under the Influence; #8 Call the Police; #9 This Boy
9. Cold War Kids, Robbers & Cowards (Downtown 2006) -- I've had this album for a couple months, but honestly only started listening to it recently. I listened to a few songs when I first got it, but got distracted, and sort of threw it to the side. But I picked it up again and wow. I wish I had given it more attention at the beginning. Driven by loud bass, metallic electric guitars, poorly-tuned pianos and sometimes closed-throated vocals (all to its benefit, believe me), the songs are like a dream. Especially if that dream was directed or at least influenced by Michel Gondry. The lyrics are simple but not too much so to be trite. A fun listen, a good listen. I think I need some giant hands.
Recommended Tracks: #1 We Used to Vacation, #2 Hang Me Up to Dry, #5 Passing the Hat, #8 Hospital Beds
8. Sara Bareilles, Little Voice (Epic 2007) -- I don't know why, but I can't typically listen to female singers. It's just this weird thing I have. I don't typically like them. Sara Bareilles, however, is one of the minority who actually entertain me. The songs have enthusiastic tempos, pushing you through the album, while the whisper-ragged, yet gentle vocals caress your ears as you make your way. The piano can be both pop-y and sinister, the words sweet, but with just a pinch of darkness, which if you can believe it, is a bit reminiscent of Damien Rice (see track #5). This album falls into the "otherwise acquired" category, but all its provocative qualities will drive me to purchase it for myself. Perhaps even in the near future. I can't believe I'm going to say this, but "Damn. Sing it, girl!"
Recommended Tracks: #1 Love Song, #5 Come Round Soon
7. Josh Rouse, The Smooth Sounds of Josh Rouse (Rykodisc 2004) -- Besides the fact that the DVD is entertaining to watch, even if you're not already a Josh Rouse fan, the rarities CD that came along with it is an added pleasure. It's a compilation of B-sides and rarities, including a cover of The Kinks' "A Well Respected Man." Like all Rouse works, the songs are tranquil but upbeat. His gentle but raspy voice coupled with the soft guitar definitely make his sound "smooth." His music has a calm about it, yet contains so much soul. He can energize you or soothingly lull you to sleep. There's something about Rouse that's timeless; he could be from anywhen, and his music invites you to relax and listen, or perhaps reflect back on another time. Can you dig it?
Recommended Tracks: #3 Knights of Loneliness, #5 A Well Respected Man, #7 Pittsburgh, #8 Me Gusta Dormir
6. Josh Rouse, Bedroom Classics Vol. 2 (Bedroom Classics 2006) -- Released after Rouse made the move to Spain, this album of 5 songs was supposedly inspired by Rouse's love of movie scores. All the songs are a little different from his other works. The album starts off with the distant sounds of a train station, complete with screeching breaks, the clatter of train over track, and the hydraulics of opening doors. The melody is carried by a strongly plucked guitar, mimicked a minute in by the soft cooing of Rouse himself. It's perfect, relaxing ambient sound. And the rest of the album is the same, though the next 3 tracks do have lyrics. But, really, it's the groove that'll get you.
Recommended Tracks: #1 Neighbor-Hoods; #3 Oh, I Need All The Love
5. Paolo Nutini, These Streets (Atlantic/Wea 2007) -- Now, this album was a bit unexpected. Paste magazine, in all its wisdom, put the single "New Shoes" on one of their sampler CDs somewhere near the 2006/2007 switch. I knew there was something interesting about the song, so I purchased the full album shortly thereafter. An earnest mix of upbeat and relaxed songs, this album is full of soul. This skinny young Scot (with an Italian name) has a strong, passionate though rough voice and the enthralling ability to tell coherent stories with his lyrics. Another great quality: this album can be listened to repeatedly without getting old. Truly one of the best finds of the year.
Recommended Tracks: #1 Jenny Don't Be Hasty; #3 Rewind; #6 New Shoes; #10 Alloway Grove
4. Modest Mouse, We Were Dead Before The Ship Even Sank (Sony 2007) -- I fell in love with the single "Dashboard" and figured I had to give the rest of the album a try, seeing as every Indie outlet I turned to seemed to be hailing it as the best album of the year as early as March or April. I popped it into the stereo and was greeted by a squeaky accordion sound and creepy French laugh. After getting over my perturbation, I realized this is actually pretty entertaining. Progressive, provocative. I mean, they have electric guitars mimicking the sounds of a "fly trapped in a jar." Never having really been a big Modest Mouse listener, I wasn't sure what to expect, but I was definitely pleasantly surprised. The melodies are novel, but have a familiar quality about them. And has an Indie-rock album ever made you want to dance? If not, this one will. It's just all-around enjoyable.
Recommended Tracks: #2 Dashboard; #6 Missed the Boat; #13 People As Places As People
3. Arcade Fire, Neon Bible (Merge 2007) -- This is definitely the year of unexpectedness. I tried to listen to Arcade Fire's last album, but was never quite turned on by it. However, after hearing 3 songs off this album, my heart was opened to them. And just even more so as I took in the rest of the album. Arcade Fire definitely have an intelligence about them. Maybe it's the pipe organs or full orchestra. Maybe it's the lyrics, insightful, deep and slightly menacing. Perhaps it's the way the musical landscape seems epic. It's one of those albums that, after hearing, you think "God, I'm glad I didn't miss this."
Recommended Tracks: #2 Keep the Car Running; #4 Intervention; #8 Antichrist Television Blues; #10 No Cars Go
2. Editors, And End Has A Start (Fader 2007) -- I love Editors. I'll say it. Their debut album, The Back Room, was sensational, and I expected nothing less for their sophomore effort. And that's what I got. Heartfelt and visceral, this album, like its predecessor, is almost haunting. Though a little more settled than some of the other albums on this list, Editors' sound is expansive, and translates extremely well to live shows, during which lead singer, Tom Smith tends to gesticulate a lot and stumble-dance around the stage. The energy is palpable, no different from what you get on the albums. Here, the guitars are almost urgent, the drum beat driving each song. It puts on a somber tone, but therein lies the beauty.
Recommended Tracks: #1 Smothers Outside the Hospital Door; #4 Bones; #7 Push Your Head Towards the Air; #8 Escape the Nest
1. Bain Mattox and Shot From Guns, Bird in the Hand (Swim Recordings 2007) -- There's something to be said of being with a band (almost) from its beginnings. I came on to the Bain Mattox scene about a year or so in, but I have since acquired all albums and seen them live approximately 8 times. In all that time, I have been able to witness growth. Not just in changing band members (and band name), but also maturity levels. Bird in the Hand is Mattox's third album (technically fourth, but the first, Technicolor Episode, was mostly rerecorded for the debut Bain Mattox), and was released on his own imprint, Swim Recordings. Still present is the ever appreciated and loved eclectic instrumentation like the accordion, banjo and mandolin, though it's all unplugged, a definite difference from their last album, Prizefighter. And though Mattox, somewhere around 25 or 26, has always been a skilled songwriter, the lyrics on this one are more introspective and incendiary than those featured on albums past, a quality that seems to be true of every subsequent album he produces. And though the songs are a tad slower and a bit more strophic, they never lose a spec of sincerity.
Recommended Tracks: #2 Sleight of Hand; #3 Anchor; #4 One and Only; #6 Guitar Song
Other Worthy Tracks of 2007
1. "Bird Never Flies" -- Ari Hest
2. "Hey There, Delilah" -- Plain White T's
3. "Cupid's Chokehold" -- Gym Class Heroes
4. "Satellite" -- Guster
5. "Movies of Antarctica" -- Stars of Track and Field
This year, there were a lot of unexpected discoveries. There are artists I expect good work from, and there are some artists I'm surprised I even gave a chance. And, boy, am I glad I did this year. There are barely-legal soul-artists, Indie-rock gods, smarty-pants rockers, and even a female vocalist, something I can't typically get myself to listen to. And here I am, praising all these releases as some of the best new work I've heard all year. And though I may have been a little slow on the uptake (even if by a few months) on some of this stuff, it's like I always say: If I haven't heard it, it's new to me. And thus I give you
The Top 10 (Purchased Or Otherwise Acquired) Albums of 2007
10. James Morrison, Undiscovered (Interscope 2007) -- I honestly haven't listened to this one much, but what I have heard is stellar. Morrison's voice is smooth and airy as it croons over the soulful bass lines that lead each bouncing song. It's a damn good debut, each song pretty head-bobable, but for much of the album, it feels as if there's something missing. Perhaps that's why I didn't listen to it more in 2007. However, upon second/third/fourth listening, I can identify some X factor there making it worth listening to that third/fourth/fifth time. Don't write it off yet; there's something there lurking under the surface.
Recommended Tracks: #1 Under the Influence; #8 Call the Police; #9 This Boy
9. Cold War Kids, Robbers & Cowards (Downtown 2006) -- I've had this album for a couple months, but honestly only started listening to it recently. I listened to a few songs when I first got it, but got distracted, and sort of threw it to the side. But I picked it up again and wow. I wish I had given it more attention at the beginning. Driven by loud bass, metallic electric guitars, poorly-tuned pianos and sometimes closed-throated vocals (all to its benefit, believe me), the songs are like a dream. Especially if that dream was directed or at least influenced by Michel Gondry. The lyrics are simple but not too much so to be trite. A fun listen, a good listen. I think I need some giant hands.
Recommended Tracks: #1 We Used to Vacation, #2 Hang Me Up to Dry, #5 Passing the Hat, #8 Hospital Beds
8. Sara Bareilles, Little Voice (Epic 2007) -- I don't know why, but I can't typically listen to female singers. It's just this weird thing I have. I don't typically like them. Sara Bareilles, however, is one of the minority who actually entertain me. The songs have enthusiastic tempos, pushing you through the album, while the whisper-ragged, yet gentle vocals caress your ears as you make your way. The piano can be both pop-y and sinister, the words sweet, but with just a pinch of darkness, which if you can believe it, is a bit reminiscent of Damien Rice (see track #5). This album falls into the "otherwise acquired" category, but all its provocative qualities will drive me to purchase it for myself. Perhaps even in the near future. I can't believe I'm going to say this, but "Damn. Sing it, girl!"
Recommended Tracks: #1 Love Song, #5 Come Round Soon
7. Josh Rouse, The Smooth Sounds of Josh Rouse (Rykodisc 2004) -- Besides the fact that the DVD is entertaining to watch, even if you're not already a Josh Rouse fan, the rarities CD that came along with it is an added pleasure. It's a compilation of B-sides and rarities, including a cover of The Kinks' "A Well Respected Man." Like all Rouse works, the songs are tranquil but upbeat. His gentle but raspy voice coupled with the soft guitar definitely make his sound "smooth." His music has a calm about it, yet contains so much soul. He can energize you or soothingly lull you to sleep. There's something about Rouse that's timeless; he could be from anywhen, and his music invites you to relax and listen, or perhaps reflect back on another time. Can you dig it?
Recommended Tracks: #3 Knights of Loneliness, #5 A Well Respected Man, #7 Pittsburgh, #8 Me Gusta Dormir
6. Josh Rouse, Bedroom Classics Vol. 2 (Bedroom Classics 2006) -- Released after Rouse made the move to Spain, this album of 5 songs was supposedly inspired by Rouse's love of movie scores. All the songs are a little different from his other works. The album starts off with the distant sounds of a train station, complete with screeching breaks, the clatter of train over track, and the hydraulics of opening doors. The melody is carried by a strongly plucked guitar, mimicked a minute in by the soft cooing of Rouse himself. It's perfect, relaxing ambient sound. And the rest of the album is the same, though the next 3 tracks do have lyrics. But, really, it's the groove that'll get you.
Recommended Tracks: #1 Neighbor-Hoods; #3 Oh, I Need All The Love
5. Paolo Nutini, These Streets (Atlantic/Wea 2007) -- Now, this album was a bit unexpected. Paste magazine, in all its wisdom, put the single "New Shoes" on one of their sampler CDs somewhere near the 2006/2007 switch. I knew there was something interesting about the song, so I purchased the full album shortly thereafter. An earnest mix of upbeat and relaxed songs, this album is full of soul. This skinny young Scot (with an Italian name) has a strong, passionate though rough voice and the enthralling ability to tell coherent stories with his lyrics. Another great quality: this album can be listened to repeatedly without getting old. Truly one of the best finds of the year.
Recommended Tracks: #1 Jenny Don't Be Hasty; #3 Rewind; #6 New Shoes; #10 Alloway Grove
4. Modest Mouse, We Were Dead Before The Ship Even Sank (Sony 2007) -- I fell in love with the single "Dashboard" and figured I had to give the rest of the album a try, seeing as every Indie outlet I turned to seemed to be hailing it as the best album of the year as early as March or April. I popped it into the stereo and was greeted by a squeaky accordion sound and creepy French laugh. After getting over my perturbation, I realized this is actually pretty entertaining. Progressive, provocative. I mean, they have electric guitars mimicking the sounds of a "fly trapped in a jar." Never having really been a big Modest Mouse listener, I wasn't sure what to expect, but I was definitely pleasantly surprised. The melodies are novel, but have a familiar quality about them. And has an Indie-rock album ever made you want to dance? If not, this one will. It's just all-around enjoyable.
Recommended Tracks: #2 Dashboard; #6 Missed the Boat; #13 People As Places As People
3. Arcade Fire, Neon Bible (Merge 2007) -- This is definitely the year of unexpectedness. I tried to listen to Arcade Fire's last album, but was never quite turned on by it. However, after hearing 3 songs off this album, my heart was opened to them. And just even more so as I took in the rest of the album. Arcade Fire definitely have an intelligence about them. Maybe it's the pipe organs or full orchestra. Maybe it's the lyrics, insightful, deep and slightly menacing. Perhaps it's the way the musical landscape seems epic. It's one of those albums that, after hearing, you think "God, I'm glad I didn't miss this."
Recommended Tracks: #2 Keep the Car Running; #4 Intervention; #8 Antichrist Television Blues; #10 No Cars Go
2. Editors, And End Has A Start (Fader 2007) -- I love Editors. I'll say it. Their debut album, The Back Room, was sensational, and I expected nothing less for their sophomore effort. And that's what I got. Heartfelt and visceral, this album, like its predecessor, is almost haunting. Though a little more settled than some of the other albums on this list, Editors' sound is expansive, and translates extremely well to live shows, during which lead singer, Tom Smith tends to gesticulate a lot and stumble-dance around the stage. The energy is palpable, no different from what you get on the albums. Here, the guitars are almost urgent, the drum beat driving each song. It puts on a somber tone, but therein lies the beauty.
Recommended Tracks: #1 Smothers Outside the Hospital Door; #4 Bones; #7 Push Your Head Towards the Air; #8 Escape the Nest
1. Bain Mattox and Shot From Guns, Bird in the Hand (Swim Recordings 2007) -- There's something to be said of being with a band (almost) from its beginnings. I came on to the Bain Mattox scene about a year or so in, but I have since acquired all albums and seen them live approximately 8 times. In all that time, I have been able to witness growth. Not just in changing band members (and band name), but also maturity levels. Bird in the Hand is Mattox's third album (technically fourth, but the first, Technicolor Episode, was mostly rerecorded for the debut Bain Mattox), and was released on his own imprint, Swim Recordings. Still present is the ever appreciated and loved eclectic instrumentation like the accordion, banjo and mandolin, though it's all unplugged, a definite difference from their last album, Prizefighter. And though Mattox, somewhere around 25 or 26, has always been a skilled songwriter, the lyrics on this one are more introspective and incendiary than those featured on albums past, a quality that seems to be true of every subsequent album he produces. And though the songs are a tad slower and a bit more strophic, they never lose a spec of sincerity.
Recommended Tracks: #2 Sleight of Hand; #3 Anchor; #4 One and Only; #6 Guitar Song
Other Worthy Tracks of 2007
1. "Bird Never Flies" -- Ari Hest
2. "Hey There, Delilah" -- Plain White T's
3. "Cupid's Chokehold" -- Gym Class Heroes
4. "Satellite" -- Guster
5. "Movies of Antarctica" -- Stars of Track and Field
Monday, September 10, 2007
Break a Sweat and Enjoy Yourself
In my last post, I spoke of engaged audiences and how they can make a live show that much more enjoyable. Well, I experienced one of those audiences on Friday, September 7, 2007.
To be fair, it wasn't just the audience that made British rock band Editors' show at Webster Hall in New York City so enjoyable. The band itself put on a show so filled with energy, much of the crowd was sweaty and tired by the end. I had never seen an Editors show before, but judging by the way the music screams through the speakers of a stereo, the high energy of the live show came at no surprise.
Song after song, the urgency of the electric guitars shrieked out the melodies, the guitarists' arms furiously strumming the rhythms of almost every song on their new album An End Has a Start (and a lot of songs from their first album too). Tom Smith, the lead singer, soon drenched with sweat, moved around the stage with ease, making wild gestures with his arms. He is probably one of the most animated singers I've ever seen. He worked the stage, even climbing atop his piano at one point. And while trying to make their last song their best, he twisted his body wildly, and almost toppled over, but gracefully righted himself and continued his feverish playing, never missing a beat.
And neither did the crowd. The floor bounced with every movement of the audience. Two young men with thick British accents (or perhaps Scottish judging by their enthusiasm for opening band Biffy Clyro) jumped in place, pumping their arms up and down above their heads toward the front of the tightly packed crowd. Those standing near the barricade, not six feet from the stage, struggled to keep their personal space, but sang along with every song nonetheless.
And after every song came waves of applause and cheers. Smith's hair went from fluffy to slicked back with sweat in a matter of minutes, but so did the audience's. They danced and jumped from beginning to end, completely immersed in the experience of the show at the stage-end of the ballroom filled with Asian decor.
But that's the only way to experience a show like that: forget there are people in front of you; forget there are people behind you. Forget where you are and just dive in. Become completely engaged and enjoy yourself. That's the kind of show I love.
The audience was fun, the opening bands were great. Editors were phenomenal. And the experience I had, I would definitely want again. And the merch wasn't overpriced either!
Also, the video I took for your viewing pleasure!
To be fair, it wasn't just the audience that made British rock band Editors' show at Webster Hall in New York City so enjoyable. The band itself put on a show so filled with energy, much of the crowd was sweaty and tired by the end. I had never seen an Editors show before, but judging by the way the music screams through the speakers of a stereo, the high energy of the live show came at no surprise.
Song after song, the urgency of the electric guitars shrieked out the melodies, the guitarists' arms furiously strumming the rhythms of almost every song on their new album An End Has a Start (and a lot of songs from their first album too). Tom Smith, the lead singer, soon drenched with sweat, moved around the stage with ease, making wild gestures with his arms. He is probably one of the most animated singers I've ever seen. He worked the stage, even climbing atop his piano at one point. And while trying to make their last song their best, he twisted his body wildly, and almost toppled over, but gracefully righted himself and continued his feverish playing, never missing a beat.
And neither did the crowd. The floor bounced with every movement of the audience. Two young men with thick British accents (or perhaps Scottish judging by their enthusiasm for opening band Biffy Clyro) jumped in place, pumping their arms up and down above their heads toward the front of the tightly packed crowd. Those standing near the barricade, not six feet from the stage, struggled to keep their personal space, but sang along with every song nonetheless.
And after every song came waves of applause and cheers. Smith's hair went from fluffy to slicked back with sweat in a matter of minutes, but so did the audience's. They danced and jumped from beginning to end, completely immersed in the experience of the show at the stage-end of the ballroom filled with Asian decor.
But that's the only way to experience a show like that: forget there are people in front of you; forget there are people behind you. Forget where you are and just dive in. Become completely engaged and enjoy yourself. That's the kind of show I love.
The audience was fun, the opening bands were great. Editors were phenomenal. And the experience I had, I would definitely want again. And the merch wasn't overpriced either!
Also, the video I took for your viewing pleasure!
Monday, August 13, 2007
Engaging Audiences
There's something phenomenal in experiencing a live performance. Seeing the intensity on a singer's face, seeing the speed of strumming, the speed of drumming, the beads of sweat developing under the hot lights. Seeing the emotion first hand is always an enlightening experience. But I find that there's another quality that makes a live show that much more amazing: an involved audience.
An audience that really seems to give a shit, I think, is one of the most amazing things you will ever find. When you find a group of people who are all actively engaged in a musician's work, you know you are in good company. The energy becomes palpable and contagious and moving. It sometimes gives me goosebumps to hear my fellow concert patrons chanting the words back at whoever is chanting them toward us.
I've experienced this a few times. The first time I conciously experienced it was during a Third Eye Blind show in October of 2005. It was at a university, so much of the audience was growing up during the peak of TEB's popularity. We all knew their songs. Most of the songs anyway. A few of the hits were played, but everyone was waiting for the same song: "How's It Going To Be."
Huddled together in a mass in the university's field house, a thousand-odd college kids jumped and cheered as those familiar starting notes rang through the air. "How's it going to be/ when there's no one there to talk to/ between you and me/ 'cause I don't care," the lead singer belts out. "How's it going to be?" chants back every single member of the mob. At one point, lead singer Stephan Jenkins had stopped singing altogether, but the crowd carried on the entire chorus, a thousand voices mingling together to deliver the words.
You know that's gotta make him feel good. I was able to record one of these moments on my phone, and though it's a crappy recording, you can still hear the crowd distinct from the band. It still gives me goosebumps when I listen to it. To know that so many people were sharing the same moment with the same (or at least similar) emotion is thrilling.
But perhaps the best example of when this happens is during a Dashboard Confessional show. Now don't put down the Dashboard. Chris Carrabba has an amazing ability to write a song, to write lyrics that connect with so many people. Yeah, so a lot of them are teenage girls. There's still a connection. And the live performance results are heart-melting and chill-inducing at the same time.
I also experienced this first hand. He probably didn't even have to sing. The crowd could have, and did, do it for him. He played and the crowd chanting his words back at him. Sometimes he couldn't even be heard. Amplified by a speakers, he was still the same volume as the hundreds of college kids who came out to see him that same October 2005 (some of who had driven in from the next state over just to see him... *cough cough*).
Perhaps the true test of popularity and "making it" is being able to play a show and end up not really having to be there. Everyone else is so willing to do it for you, you're the one who's singing with them. They're your words, but eveyone else knows them by heart too. They cared enough to learn them. And they enjoy them enough to sing them back at you, sometimes louder than you do, sometimes at the top of their lungs.
Examples for you listening pleasure:
This isn't the show I went to, but the set looks the same. The crowd is acting the same way, too.
Also not the show I went to. But it's one of the songs I heard. And this is what it was like to hear it.
An audience that really seems to give a shit, I think, is one of the most amazing things you will ever find. When you find a group of people who are all actively engaged in a musician's work, you know you are in good company. The energy becomes palpable and contagious and moving. It sometimes gives me goosebumps to hear my fellow concert patrons chanting the words back at whoever is chanting them toward us.
I've experienced this a few times. The first time I conciously experienced it was during a Third Eye Blind show in October of 2005. It was at a university, so much of the audience was growing up during the peak of TEB's popularity. We all knew their songs. Most of the songs anyway. A few of the hits were played, but everyone was waiting for the same song: "How's It Going To Be."
Huddled together in a mass in the university's field house, a thousand-odd college kids jumped and cheered as those familiar starting notes rang through the air. "How's it going to be/ when there's no one there to talk to/ between you and me/ 'cause I don't care," the lead singer belts out. "How's it going to be?" chants back every single member of the mob. At one point, lead singer Stephan Jenkins had stopped singing altogether, but the crowd carried on the entire chorus, a thousand voices mingling together to deliver the words.
You know that's gotta make him feel good. I was able to record one of these moments on my phone, and though it's a crappy recording, you can still hear the crowd distinct from the band. It still gives me goosebumps when I listen to it. To know that so many people were sharing the same moment with the same (or at least similar) emotion is thrilling.
But perhaps the best example of when this happens is during a Dashboard Confessional show. Now don't put down the Dashboard. Chris Carrabba has an amazing ability to write a song, to write lyrics that connect with so many people. Yeah, so a lot of them are teenage girls. There's still a connection. And the live performance results are heart-melting and chill-inducing at the same time.
I also experienced this first hand. He probably didn't even have to sing. The crowd could have, and did, do it for him. He played and the crowd chanting his words back at him. Sometimes he couldn't even be heard. Amplified by a speakers, he was still the same volume as the hundreds of college kids who came out to see him that same October 2005 (some of who had driven in from the next state over just to see him... *cough cough*).
Perhaps the true test of popularity and "making it" is being able to play a show and end up not really having to be there. Everyone else is so willing to do it for you, you're the one who's singing with them. They're your words, but eveyone else knows them by heart too. They cared enough to learn them. And they enjoy them enough to sing them back at you, sometimes louder than you do, sometimes at the top of their lungs.
Examples for you listening pleasure:
This isn't the show I went to, but the set looks the same. The crowd is acting the same way, too.
Also not the show I went to. But it's one of the songs I heard. And this is what it was like to hear it.
Sunday, July 15, 2007
Dear Ari Hest,
I think I have fallen in love with your new song "Bird Never Flies" from your most recent album, The Break-In. I heard it in a sampler CD in the 5th Anniversary issue of Paste, a cool little magazine which features awesome music, nifty movies, and fun artifacts of our present culture. It's really a publications gem.
Anyway, either last issue or the issue before, I saw an add for your 2006 project, The Green Room Sessions. I was intrigued 1) by your name and 2) by the cover, which features you, a fairly good looking man playing a guitar and sitting on a chair near a window. I was intrigued, but I'll admit I did nothing about it.
So, then I purchased the most recent issue of Paste. I put the sampler CD straight into my car's CD playing and listened. Eventually I was distracted by a deep, commanding voice. It was your song (a live recording from the Paste party back in February).
It starts with moving, driving acoustic guitar. The lower notes drive the pulse of the song, the higher notes plinking away, creating an interesting syncopation with the bass notes. Then your booming voice comes in. There's something familiar about it, but I can't quite label it. There's something comforting about it, the vibrations of it, the way your deep voice rolls and vibrates over the verses. There's something phenomenally alluring about the way your voice is so present and clear one second, but gets raspy on higher notes.
And talk about catchy-as-hell love song: "Darling, don't cry/ don't you know/ I won't give you up/ this bird never flies" and then the heartstrings-pulling repetition of the line "I won't give you up" toward the end.
Even though I haven't heard the studio recording of this song, I think I like it. The guitar, the voice, the lyrics, the emotion it evokes. It's one song definitely worth a listen.
I may have to buy the whole album. Score for the Adult Alternative Artists!
Love,
Christina
Anyway, either last issue or the issue before, I saw an add for your 2006 project, The Green Room Sessions. I was intrigued 1) by your name and 2) by the cover, which features you, a fairly good looking man playing a guitar and sitting on a chair near a window. I was intrigued, but I'll admit I did nothing about it.
So, then I purchased the most recent issue of Paste. I put the sampler CD straight into my car's CD playing and listened. Eventually I was distracted by a deep, commanding voice. It was your song (a live recording from the Paste party back in February).
It starts with moving, driving acoustic guitar. The lower notes drive the pulse of the song, the higher notes plinking away, creating an interesting syncopation with the bass notes. Then your booming voice comes in. There's something familiar about it, but I can't quite label it. There's something comforting about it, the vibrations of it, the way your deep voice rolls and vibrates over the verses. There's something phenomenally alluring about the way your voice is so present and clear one second, but gets raspy on higher notes.
And talk about catchy-as-hell love song: "Darling, don't cry/ don't you know/ I won't give you up/ this bird never flies" and then the heartstrings-pulling repetition of the line "I won't give you up" toward the end.
Even though I haven't heard the studio recording of this song, I think I like it. The guitar, the voice, the lyrics, the emotion it evokes. It's one song definitely worth a listen.
I may have to buy the whole album. Score for the Adult Alternative Artists!
Love,
Christina
Thursday, July 12, 2007
It's been a while since I posted a new installment of this series, but the music industry seemed to have taken a break from doing things that really annoy me. However, they are back at it again. But, really, who is surprised?
As you may have heard, seventies band The Rubinoos have accused Avril Lavigne of ripping off one of their songs entitled "I Wanna Be Your Boyfriend." Can you guess what Avril song has the very similar refrain? In case you're not familiar with the Rubinoos song, you can listen here (along with the comparison to "Girlfriend").
Well, that's not all. Now there's suspicion that one of her songs called "I Don't Have To Try" is a rip-off of Canadian band Peaches. The comparison of their song, "I'm the Kinda" and Avril's can be seen/heard here.
Listen for yourself and see just how similar both songs are. This is disgusting. She's stealing these people's music. That's just tacky and uncalled for. As gossip champion Perez Hilton pointed out on his website, Avril is trying to defend stealing the Rubinoos song by saying that she's never heard it. But Hilton pointed out that there's no defending stealing the Peaches song, as InStyle magazine did a feature on some music celeb's lists of "most influential" songs, and that same Peaches song was Avril's #1.
There's no defending that.
At it doesn't end here. Check Perez Hilton's page to read on (scroll down a bit to find the Avril stuff... though there's some other tasty celebrity gossip there too).
I'm too disgusted to talk about it anymore. I was never that big a fan of Avril Lavigne's anyway. I liked maybe one song. "Complicated" annoyed me. Don't get me started on "Skater Boi" or whatever it was. I'm glad that I don't have to be a disenfranchised fan -- because really, no amount of loyalty should be able to stand behind this kind of action (unless of course you're 9 and don't know any better... which most of her fans may be anyway).
Of all the awful things that happen in the world of the celebrities and music and hollywood, this is probably the lowest you can go. Never steal anyone else's artistic hard work. Disgusting.
It's one thing that will make NOT <3 Rock Stars...
As you may have heard, seventies band The Rubinoos have accused Avril Lavigne of ripping off one of their songs entitled "I Wanna Be Your Boyfriend." Can you guess what Avril song has the very similar refrain? In case you're not familiar with the Rubinoos song, you can listen here (along with the comparison to "Girlfriend").
Well, that's not all. Now there's suspicion that one of her songs called "I Don't Have To Try" is a rip-off of Canadian band Peaches. The comparison of their song, "I'm the Kinda" and Avril's can be seen/heard here.
Listen for yourself and see just how similar both songs are. This is disgusting. She's stealing these people's music. That's just tacky and uncalled for. As gossip champion Perez Hilton pointed out on his website, Avril is trying to defend stealing the Rubinoos song by saying that she's never heard it. But Hilton pointed out that there's no defending stealing the Peaches song, as InStyle magazine did a feature on some music celeb's lists of "most influential" songs, and that same Peaches song was Avril's #1.
There's no defending that.
At it doesn't end here. Check Perez Hilton's page to read on (scroll down a bit to find the Avril stuff... though there's some other tasty celebrity gossip there too).
I'm too disgusted to talk about it anymore. I was never that big a fan of Avril Lavigne's anyway. I liked maybe one song. "Complicated" annoyed me. Don't get me started on "Skater Boi" or whatever it was. I'm glad that I don't have to be a disenfranchised fan -- because really, no amount of loyalty should be able to stand behind this kind of action (unless of course you're 9 and don't know any better... which most of her fans may be anyway).
Of all the awful things that happen in the world of the celebrities and music and hollywood, this is probably the lowest you can go. Never steal anyone else's artistic hard work. Disgusting.
It's one thing that will make NOT <3 Rock Stars...
Saturday, July 07, 2007
"Amateur" by Lasse Gjertsen
I guess this technically constitutes music. It's really just some Norwegian kid playing random stuff on a drumset and a piano, and then he used a pretty cool editing technique to put it all together.
I thought it was a pretty significant YouTube find, and thus I am sharing it with you. I wish I could play half as well as this kid can edit, haha.
Apparently, he can't play the piano or the drums, which I find amazing. He can't play, and yet he's composed something beautiful out of randomness. Now, that's talent. Norwegians are awesome.
You can find some more videos by Lasse on YouTube.com.
I thought it was a pretty significant YouTube find, and thus I am sharing it with you. I wish I could play half as well as this kid can edit, haha.
Apparently, he can't play the piano or the drums, which I find amazing. He can't play, and yet he's composed something beautiful out of randomness. Now, that's talent. Norwegians are awesome.
You can find some more videos by Lasse on YouTube.com.
Wednesday, July 04, 2007
Just the Beginning: "An End Has a Start"
A couple days ago in my other blog, I mentioned the new(ish) Arcade Fire album Neon Bible. I bought it about a week and a half ago, and it's pretty good. And though I listened to it a lot those first few days, and generally approved, I haven't been listening to it lately. I need to get back into it, as it actually is very good. But I haven't been listening to Arcade Fire these past few days because I've been preoccupied with another band.
Now, this is a band that I've talked about before, and if you look in the archives, you'll find a review of their first album. So this band isn't a new find. But for about a week now, UK rockers Editors have been occupying my time.
I listen to them every once in a while, when I remember them, and I always enjoy them. Their first album was pretty top notch (as I described a few months ago). But something brought them up a couple weeks ago, and I haven't been able to get them out of my mind. I started listening to their first album, The Back Room, a lot, and, naturally, that led to my looking them up online.
I knew they had a new album coming out (An End Has a Start), but it hadn't been released in the US yet (release date is set for July 17, 2007). But I really wanted to hear this new creation. I considered downloading it from UK sites, but the conversion rate is a bitch, and I don't know if I trust overseas buying with my credit card (especially since I don't even like to use the card here in the US). But so after much mental debate I got a friend to find it for me. I know, I really hate this kind of stuff, but I'll make it up and actually buy the album when it comes out.
Because, really -- Holy Jesus. I'm listening to this song called "Escape The Nest" right now. It's track number 8 on the new album, if my data is correct, and my God this stuff is great. If you're a loyal reader, which I suspect you either 1) are, because why else would you be reading this?; or 2) are not, because why else would you be reading this?, you'll remember that in my first Editors review, I called their music something along the lines of "rock the way it's supposed to be."
Pretty much. It's hard, it's heavy, it's moving, it's even got screaming guitars. This urgency, this whimsical yet tough feel that this song oozes is... magnificent. I can't think of any other word to describe this sound (though, in my defense, it is 2:15am). It's exciting and even has a guitar shrieking out eight notes (and then, Sweet Jesus, are those sixteenth notes? My ears cannot discern). It has the kind of beat that infects your body. Your brain can't ignore it, and you find yourself two notches away from stomping your foot along with it.
Of course, it's not all fast paced; Editors have depth, too. The song just before this one is slower, calmer, more tender. "Don't drown in your tears, babe/ push your head towards the air/ now don't drown in your tears, babe/ I will always be there" lead singer Tom Smith (a nice young, almost baby face with an impossibly deep, brooding voice) croons over an dreamlike pulsing piano and strumming guitar in the track aptly named "Push Your Head Towards the Air." So far, it's my favorite track on the album. Silly sounding name aside, the steady rocking of the beat, the words flow to meet the tempo is almost enough to produce tears. Now, I'm not saying it's the most beautiful song in the world, or even the best, but I still think it's pretty damn good. It's definitely worth a listen or 50.
As is the entire album. When this thing hits the US in 13 days, I suggest you go pick yourself up a copy. I don't think you'll be disappointed. I wasn't.
And I can be hard to please.
Notable Tracks: #1 "Smokers Outside The Hospital Doors"; #2 "An End Has A Start"; #7 "Push Your Head Towards The Air"; #8 "Escape The Nest".
(Author's note: also in that first review, I mentioned the level of energy emenating from the songs. I mentioned that I can only imagine what the live shows are like. Well, turns out I will find out Sept. 7, 2007.)
Now, this is a band that I've talked about before, and if you look in the archives, you'll find a review of their first album. So this band isn't a new find. But for about a week now, UK rockers Editors have been occupying my time.
I listen to them every once in a while, when I remember them, and I always enjoy them. Their first album was pretty top notch (as I described a few months ago). But something brought them up a couple weeks ago, and I haven't been able to get them out of my mind. I started listening to their first album, The Back Room, a lot, and, naturally, that led to my looking them up online.
I knew they had a new album coming out (An End Has a Start), but it hadn't been released in the US yet (release date is set for July 17, 2007). But I really wanted to hear this new creation. I considered downloading it from UK sites, but the conversion rate is a bitch, and I don't know if I trust overseas buying with my credit card (especially since I don't even like to use the card here in the US). But so after much mental debate I got a friend to find it for me. I know, I really hate this kind of stuff, but I'll make it up and actually buy the album when it comes out.
Because, really -- Holy Jesus. I'm listening to this song called "Escape The Nest" right now. It's track number 8 on the new album, if my data is correct, and my God this stuff is great. If you're a loyal reader, which I suspect you either 1) are, because why else would you be reading this?; or 2) are not, because why else would you be reading this?, you'll remember that in my first Editors review, I called their music something along the lines of "rock the way it's supposed to be."
Pretty much. It's hard, it's heavy, it's moving, it's even got screaming guitars. This urgency, this whimsical yet tough feel that this song oozes is... magnificent. I can't think of any other word to describe this sound (though, in my defense, it is 2:15am). It's exciting and even has a guitar shrieking out eight notes (and then, Sweet Jesus, are those sixteenth notes? My ears cannot discern). It has the kind of beat that infects your body. Your brain can't ignore it, and you find yourself two notches away from stomping your foot along with it.
Of course, it's not all fast paced; Editors have depth, too. The song just before this one is slower, calmer, more tender. "Don't drown in your tears, babe/ push your head towards the air/ now don't drown in your tears, babe/ I will always be there" lead singer Tom Smith (a nice young, almost baby face with an impossibly deep, brooding voice) croons over an dreamlike pulsing piano and strumming guitar in the track aptly named "Push Your Head Towards the Air." So far, it's my favorite track on the album. Silly sounding name aside, the steady rocking of the beat, the words flow to meet the tempo is almost enough to produce tears. Now, I'm not saying it's the most beautiful song in the world, or even the best, but I still think it's pretty damn good. It's definitely worth a listen or 50.
As is the entire album. When this thing hits the US in 13 days, I suggest you go pick yourself up a copy. I don't think you'll be disappointed. I wasn't.
And I can be hard to please.
Notable Tracks: #1 "Smokers Outside The Hospital Doors"; #2 "An End Has A Start"; #7 "Push Your Head Towards The Air"; #8 "Escape The Nest".
(Author's note: also in that first review, I mentioned the level of energy emenating from the songs. I mentioned that I can only imagine what the live shows are like. Well, turns out I will find out Sept. 7, 2007.)
Wednesday, January 31, 2007
Pandora.com Is My Hero
I am proud to announce a new feature on "Play Your Stereo Loud" aptly called "Bookmarked Songs." It seems a simple name, seeing as that's what it says at the top of the feature, but it describes it well. It's located just to the left, under the profile.
What the feature does is list 10 of my bookmarked songs from Pandora.com, the Music Genome Project that takes music that you like and suggests new music you've perhaps never heard of that share qualities of the music you named. This innovation is amazing. It's introduced me several new artists who have made their way into my favorites radar (like Editors). So, thus by sharing my favorites with you, perhaps you will listen and find favorites of your own. And don't forget to set up your own Pandora account! I promise you won't be disappointed.
What the feature does is list 10 of my bookmarked songs from Pandora.com, the Music Genome Project that takes music that you like and suggests new music you've perhaps never heard of that share qualities of the music you named. This innovation is amazing. It's introduced me several new artists who have made their way into my favorites radar (like Editors). So, thus by sharing my favorites with you, perhaps you will listen and find favorites of your own. And don't forget to set up your own Pandora account! I promise you won't be disappointed.
Monday, January 22, 2007
Dear Yusuf (formerly Cat Stevens),
I eat my last words from that last entry. I kinda dig your new song "Maybe There's a World." It starts out with a nice acoustic strum, and your voice is solid and deep. It has this rough feel to it, and I love it. Vibrations, right? Haha. The beat of the song is nice too. Almost like a walking beat. Parts of the song seem a little confusing as there are voices on off-beats, but actually, when you stop to think about it, it's pretty darn cool sounding. I caught myself bobbing my head along to the music. And I didn't even know that it was your song (you're lucky I'm listening to Paste Sampler 27 - the free CD inside the new issue of Paste Magazine). And then when I found out it was you, I was surprised that I kinda dug it, haha. I guess I gotta admit. Your song is pretty good.
So I'm sorry I said I would never listen to your music. That was perhaps a little hasty. I dig that one song at least. We'll see if I feel like getting your whole album ;)
Love,
Christina
So I'm sorry I said I would never listen to your music. That was perhaps a little hasty. I dig that one song at least. We'll see if I feel like getting your whole album ;)
Love,
Christina
Monday, January 15, 2007
Good Vibrations
By Christina R.
I was just reading Paste, a cool new magazine that I discovered back in November. On the cover of every issue, it says: “Signs of Life in Music, Film & Culture.” Now, this is my kind of magazine! I’m thinking of getting a subscription. But anyway, in the process of reading it cover to cover – as I am occasionally wont to do – I turned to an article about the recently socially reintegrated artist formally known at Cat Stevens.
Now known as Yusuf, he has just come out with a new album that seeks to bring Muslims understanding of the West, and the West understanding of Islam. This wasn’t necessarily surprising, as I already knew that this was the kind of person Cat Stevens/Yusuf is. But then he said something that blew my mind.
“The closest you can get to a person, I think, is listening to the vibrations of their voice.”
In and of itself, it is not all that astonishing a comment. And it didn’t strike me as such the first time I read it either. I nodded and said “hmm” to myself. Like “good point, Yusuf. Well done.” But then I read it again. “Wow,” I thought this time, “I agree. Those words are exactly what I’ve been thinking for the past few years.”
I always liked music; listening to cassettes and CDs was always one of my favorite pastimes. But a few years ago, my obsession began. Listening became my therapy for whatever was wrong. Depression? I have an album or song for that. Feeling anxious? I have some good calming music for that too. Over the past five or so years, Music has become my cure-all.
But trying to describe what I love about music often just brings me odd looks. I am in love with voices. Good music and good lyrics are wonderful. You can’t have a good album or song or whatever without them. But a good voice is like the end-all be-all for me. A good voice can send me to my happy place and make me forget about everything that’s wrong with my life and the world.
Emotion in a voice makes the muscles in my neck weak. The timbre of a singer’s voice can send me over the edge. Just listening to a song, the voice streaming through the air, emoting over the singer’s own laments or joys makes me almost sick to my stomach. You can kind of get the gist of what someone is feeling by the words that they write, and the music can typically add to it, but you don’t understand until you can hear their voice straining to make them understood. If you can hear the pain, you can feel it too. And there is nothing sexier than a voice ripping across lyrics, raw and honest.
So well done, Yusuf. In passing, you said something that I have been trying to put into words for years. Finally someone else gets it! And that’s awesome.
(It probably won't get me to start listening to your music though. Sorry.)
I was just reading Paste, a cool new magazine that I discovered back in November. On the cover of every issue, it says: “Signs of Life in Music, Film & Culture.” Now, this is my kind of magazine! I’m thinking of getting a subscription. But anyway, in the process of reading it cover to cover – as I am occasionally wont to do – I turned to an article about the recently socially reintegrated artist formally known at Cat Stevens.
Now known as Yusuf, he has just come out with a new album that seeks to bring Muslims understanding of the West, and the West understanding of Islam. This wasn’t necessarily surprising, as I already knew that this was the kind of person Cat Stevens/Yusuf is. But then he said something that blew my mind.
“The closest you can get to a person, I think, is listening to the vibrations of their voice.”
In and of itself, it is not all that astonishing a comment. And it didn’t strike me as such the first time I read it either. I nodded and said “hmm” to myself. Like “good point, Yusuf. Well done.” But then I read it again. “Wow,” I thought this time, “I agree. Those words are exactly what I’ve been thinking for the past few years.”
I always liked music; listening to cassettes and CDs was always one of my favorite pastimes. But a few years ago, my obsession began. Listening became my therapy for whatever was wrong. Depression? I have an album or song for that. Feeling anxious? I have some good calming music for that too. Over the past five or so years, Music has become my cure-all.
But trying to describe what I love about music often just brings me odd looks. I am in love with voices. Good music and good lyrics are wonderful. You can’t have a good album or song or whatever without them. But a good voice is like the end-all be-all for me. A good voice can send me to my happy place and make me forget about everything that’s wrong with my life and the world.
Emotion in a voice makes the muscles in my neck weak. The timbre of a singer’s voice can send me over the edge. Just listening to a song, the voice streaming through the air, emoting over the singer’s own laments or joys makes me almost sick to my stomach. You can kind of get the gist of what someone is feeling by the words that they write, and the music can typically add to it, but you don’t understand until you can hear their voice straining to make them understood. If you can hear the pain, you can feel it too. And there is nothing sexier than a voice ripping across lyrics, raw and honest.
So well done, Yusuf. In passing, you said something that I have been trying to put into words for years. Finally someone else gets it! And that’s awesome.
(It probably won't get me to start listening to your music though. Sorry.)
Wednesday, January 10, 2007
50 CENT EXPANDS HIS MERCH EMPIRE TO INCLUDE JIMMY HATS
Just days after announcing a G-UNIT book line, 50 CENT has added condoms to his growing line of gangsta rap tie-ins. What's next for Fiddy? We've got our money on a line of feminine hygiene products with the tagline "Get fresh or die trying."
I didn't know how to word that any other way (the last line especially. Hilarious!). That was in a Rock Daily email from Rolling Stone sometime last week. At first I couldn't figure out what they were talking about. But then I realized, and oh my God. That's hilarious. How ridiculous. How stupid.
How genius. Because you know people are going to buy them. People have to ensure, after all, that their g-units are hip too.
And the fact that Fiddy came up with this idea astonishes me (if he, in fact, was the one who came up with it). This is incredible. I don't even know what to say. Fiddy, I salute you. The fact that he can play on his pseudo-macho bullshit image (then again, he was shot 9 times... and lived) to get people to spend (probably) more money than necessary, amazes me. But at least he's promoting safe sex, right? We don't need any more Fiddy in this world. Incredible idea, really. This... this is why I <3 Rock Stars (and rap ones too, I guess).
Just days after announcing a G-UNIT book line, 50 CENT has added condoms to his growing line of gangsta rap tie-ins. What's next for Fiddy? We've got our money on a line of feminine hygiene products with the tagline "Get fresh or die trying."
I didn't know how to word that any other way (the last line especially. Hilarious!). That was in a Rock Daily email from Rolling Stone sometime last week. At first I couldn't figure out what they were talking about. But then I realized, and oh my God. That's hilarious. How ridiculous. How stupid.
How genius. Because you know people are going to buy them. People have to ensure, after all, that their g-units are hip too.
And the fact that Fiddy came up with this idea astonishes me (if he, in fact, was the one who came up with it). This is incredible. I don't even know what to say. Fiddy, I salute you. The fact that he can play on his pseudo-macho bullshit image (then again, he was shot 9 times... and lived) to get people to spend (probably) more money than necessary, amazes me. But at least he's promoting safe sex, right? We don't need any more Fiddy in this world. Incredible idea, really. This... this is why I <3 Rock Stars (and rap ones too, I guess).
Tuesday, January 02, 2007
Top 10 (Purchased or Otherwise Acquired) Albums of 2006
It's time once again for my (un)famous Top 10 list. Started last year, it compiles the Top 10 albums I purchased or otherwise acquired during the year. I don't always buy a lot of newly released albums, and somehow find myself behind the curve buying old ones. So, I have a good mix of old and new for the whole year. Because, as I always say, if I haven't heard it, it's new to me.
This year I purchased or otherwise acqured about 37 albums. Trying to narrow down the list was hard, but I think I finally managed. Admittedly, three of the albums on the list are by the same artist, but sometimes that happens, and I apologize for the, perhaps, lack of variety. But, just a thought, the albums do offer variety. It's why they're on the list. So without further ado, I give you the
Top 10 (Purchased or Otherwise Acquired) Albums of 2006
10. Augustana, All the Stars and Boulevards, (Sony 2005) – This album was added to my collection a few days before the end of 2006, and I’ve only given it a few listens, but I can tell that it’s actually a very decent album. It’s kind of pop-y but still maintains some semblance of rock (something that seemed to be lacking this year). Actually, they sort of sound like the Fray. Or the Fray sounds like them. They actually both came out around the same time. Decent lyrics, decent guitars, fun plinky pianos. It’s good. Better than a lot of what I found this year. Recommended Tracks: #4 Boston; #5 Stars and Boulevards; #9 Sunday Best.
9. Under the Influence of Giants, Under the Influence of Giants, (Island 2006) – This little gem was sort of found by accident. I won a Best Week Ever CD from Old Navy over the summer featuring UTIOG’s first single “Mama’s Room.” It was… different. It was rock, but it had this funky disco feel. It was great, refreshing. And when I purchased the album, I found out that all of their songs are the same way. The tracks on this album are new and fun. The lyrics are, at times, a little irking (like talking about having sex in your mother’s room, and enjoying the effects of the morning-after pill), but looking beyond that, you have a pretty kick-ass record. They’re also pretty cool guys (the bassist especially, haha). Recommended Tracks: #1 Ah Ha; # 2 Got Nothing; #5 Mama’s Room.
8. Radiohead, The Bends, (Capitol 1995) – Okay, I remember some of these songs. Nostalgia always plays a part in liking something. But that’s not the whole case with this album. Having always been a so-so fan of Radiohead, this album actually showed me what I was missing. The sound really does embody what I remember of the 90s, heh. The mellow but rock sound mixed with the always intriguing lyrics of Mr. Thom Yorke create an enjoyable musical experience. Great for just hanging out or driving around town. Recommended Tracks: #3 High And Dry; #4 Fake Plastic Trees; #8 My Iron Lung.
7. Travis, 12 Memories, (Sony 2003) – Another album found by accident. Browsing through the depressingly small rock collection at the local library, I came across an album by a band whom I had heard of but had never heard. Listening to it on the way home, I was reminded of the words of Chuck Klosterman (an intriguing music and pop-culture writer) when he said that Travis was just a mediocre copy of Radiohead. And that Coldplay was a mediocre copy of Travis. Well, he may be correct, but being a fan of both other bands already, Travis was a good find. The guitars are almost haunting, as are the vocals, throughout the entire album. The music provides for an almost enlightening experience. Every subsequent track seems to fit like a puzzle piece. Recommended Tracks: #1 Quicksand; # 4 Peace The Fuck Out; #10 Happy Hang Around; #11 Walking Down the Hill/Some Sad Song.
6. Editors, The Back Room, (Kitchenware 2005) – A few words come to mind when trying to describe the sound of this album. Taunting and haunting are two. Rhyming aside, these two words only begin to paint the picture that is The Back Room, the band’s debut album. And for a first effort, it is not at all disappointing. I’ve said it before, and I’ll say it again, it’s rock the way rock should be. The music is hard and fast, loud and fervent. And the lyrics are the same. Their sound is similar to that of Doves, and perhaps even the Killers (maybe), and maybe even Radiohead (and the likes), but Editors are somehow refreshingly rock. It’s definitely an album I was glad to find (listen to the first few lines of “Munich.” My sentiments exactly). Recommended Tracks: #2 Munich; #3 Blood; #4 Fall; #7 Fingers in the Factories; #8 Bullets.
5. Josh Rouse, Subtitulo (Nettwerk Records 2006) – This is another album that barely made the cut-off. Though I had heard of Rouse in years previous, and I had heard and liked one song (not on this album), I was not too familiar with him when this album was released. After listening to a few other records, I finally decided that I was ready for the most recent, post-Rouse-moves-to-Spain album. I wasn’t really sure what I was expecting, but this wasn’t it. This is so much better. The sound is more like 2003’s 1972 than 2005’s Nashville, which makes sense seeing as Rouse now lives in Spain, where soul is in the water. The music is funky and moving, and the words are, as always, delightfully simple but incredibly insightful. Even the instrumental track gets you humming along. Recommended Tracks: #1 Quiet Town; #3 It Looks Like Love; #4 La Costa Blanca; #6 His Majesty Rides; #9 The Man Who…
4. Josh Rouse, 1972 (Rykodisc 2003) – This album was actually semi-recommended by my favorite Manifest employee. After discussing Rouse a bit and listening to some of his songs, (and being the only used Rouse CD in the joint at the time) I decided to purchase it. An outstanding mix of rock and soul, this album instantly become one of my favorites. It’s perfect for that afternoon, or late night, of just relaxing. The music is funky and mellow all at the same time, while the lyrics suggest something deeper. Metaphors of love lost and detached loneliness are worded in ways that make you think “damn, I wish I thought of that.” Recommended Tracks: #4 James; #5 Slaveship; #6 Comeback (Light Therapy); #9 Sparrows Over Birmingham; #10 Rise.
3. Damien Rice, 9, (Heffa/Vector/Warner Bros. 2006) – This album was the brilliant follow-up to Rice’s 2003 album O (#1 on last year’s list). As expected, Rice delivered with his unique brand of heartwrenching melodies and lyrics. Rice’s vocals are perfectly complimented by Lisa Hannigan’s again on this album. Together their voices are too haunting to not leave an impression. Perfection in an album, is what this is. Though most of the songs are quiet and calm, mellow, like with O, there are a few songs featured on this album that provide just a little more life, with just as astonishingly sad lyrics. Depressing is too strong a word, but sometimes that feeling is needed. And this album gives it like no other (except maybe O). Recommended Tracks: #1 9 Crimes; #3 Elephant; #4 Rootless Tree; #5 Dogs; #7 Me, My Yoke, And I.
2. Chris Whitley, Dirt Floor, (Messenger Records 1998) – Another recommendation from the record store employee (so helpful!). He handed it to me and I headed over to the little listening station set up in the store. Now this album was different. The very first track on this album starts with a twang of strings that is way more country than anything I own. But surprisingly, it’s enjoyable. Whitley’s deep voice, mostly soft and smooth, with the ever so slight rough inflection seriously cascades over the melodies. And the liner notes actually include “foot stomp” with “vocals, guitar, banjo” as Whitley’s contributions to the album. How can you not like the foot stomp? Probably one of the most enlightening albums I’ve ever heard. The lyrics, the music. Overall, and enjoyable album. I can hardly find the words. Recommended Tracks: #1 Scrapyard Lullaby; #2 Indian Summer; #5 Ballpeen Hammer; #8 Dirt Floor.
1. Josh Rouse, Nashville, (Rykodisc 2005) – What can I say about this album? I purchased a lot of Rouse albums this year (four), but this has definitely got to be my favorite. I bought it sometime in August, and it’s January of 2007 now, and I still have not grown tired of it. iTunes labels it as country, and you can definitely hear sounds indicative of the album’s namesake, but the overall sound of the album strays away from that stigma. Rouse’s sweet, but slightly raspy voice floats over the upbeat melodies. It’s the last album he recorded as a resident of the United States (though released after he had moved), and those sort of end-but-beginning emotions can be felt throughout. Though more solidly rock (and country, I suppose) than the albums previous (1972) and after (Subititulo), Nashville is invigorating while still being able to maintain a tranquil tone. It’s great music that makes you happy you’re alive to hear it. Recommended Tracks: #1 It’s The Nighttime; #3 Streelights; #4 Carolina; #6 My Love Has Gone; #8 Sad Eyes.
Honorable mentions include both Cary Brothers EPs – All the Rage and Waiting for Your Letter; Built to Spill, You In Reverse; Snow Patrol, Eyes Open.
This year I purchased or otherwise acqured about 37 albums. Trying to narrow down the list was hard, but I think I finally managed. Admittedly, three of the albums on the list are by the same artist, but sometimes that happens, and I apologize for the, perhaps, lack of variety. But, just a thought, the albums do offer variety. It's why they're on the list. So without further ado, I give you the
Top 10 (Purchased or Otherwise Acquired) Albums of 2006
10. Augustana, All the Stars and Boulevards, (Sony 2005) – This album was added to my collection a few days before the end of 2006, and I’ve only given it a few listens, but I can tell that it’s actually a very decent album. It’s kind of pop-y but still maintains some semblance of rock (something that seemed to be lacking this year). Actually, they sort of sound like the Fray. Or the Fray sounds like them. They actually both came out around the same time. Decent lyrics, decent guitars, fun plinky pianos. It’s good. Better than a lot of what I found this year. Recommended Tracks: #4 Boston; #5 Stars and Boulevards; #9 Sunday Best.
9. Under the Influence of Giants, Under the Influence of Giants, (Island 2006) – This little gem was sort of found by accident. I won a Best Week Ever CD from Old Navy over the summer featuring UTIOG’s first single “Mama’s Room.” It was… different. It was rock, but it had this funky disco feel. It was great, refreshing. And when I purchased the album, I found out that all of their songs are the same way. The tracks on this album are new and fun. The lyrics are, at times, a little irking (like talking about having sex in your mother’s room, and enjoying the effects of the morning-after pill), but looking beyond that, you have a pretty kick-ass record. They’re also pretty cool guys (the bassist especially, haha). Recommended Tracks: #1 Ah Ha; # 2 Got Nothing; #5 Mama’s Room.
8. Radiohead, The Bends, (Capitol 1995) – Okay, I remember some of these songs. Nostalgia always plays a part in liking something. But that’s not the whole case with this album. Having always been a so-so fan of Radiohead, this album actually showed me what I was missing. The sound really does embody what I remember of the 90s, heh. The mellow but rock sound mixed with the always intriguing lyrics of Mr. Thom Yorke create an enjoyable musical experience. Great for just hanging out or driving around town. Recommended Tracks: #3 High And Dry; #4 Fake Plastic Trees; #8 My Iron Lung.
7. Travis, 12 Memories, (Sony 2003) – Another album found by accident. Browsing through the depressingly small rock collection at the local library, I came across an album by a band whom I had heard of but had never heard. Listening to it on the way home, I was reminded of the words of Chuck Klosterman (an intriguing music and pop-culture writer) when he said that Travis was just a mediocre copy of Radiohead. And that Coldplay was a mediocre copy of Travis. Well, he may be correct, but being a fan of both other bands already, Travis was a good find. The guitars are almost haunting, as are the vocals, throughout the entire album. The music provides for an almost enlightening experience. Every subsequent track seems to fit like a puzzle piece. Recommended Tracks: #1 Quicksand; # 4 Peace The Fuck Out; #10 Happy Hang Around; #11 Walking Down the Hill/Some Sad Song.
6. Editors, The Back Room, (Kitchenware 2005) – A few words come to mind when trying to describe the sound of this album. Taunting and haunting are two. Rhyming aside, these two words only begin to paint the picture that is The Back Room, the band’s debut album. And for a first effort, it is not at all disappointing. I’ve said it before, and I’ll say it again, it’s rock the way rock should be. The music is hard and fast, loud and fervent. And the lyrics are the same. Their sound is similar to that of Doves, and perhaps even the Killers (maybe), and maybe even Radiohead (and the likes), but Editors are somehow refreshingly rock. It’s definitely an album I was glad to find (listen to the first few lines of “Munich.” My sentiments exactly). Recommended Tracks: #2 Munich; #3 Blood; #4 Fall; #7 Fingers in the Factories; #8 Bullets.
5. Josh Rouse, Subtitulo (Nettwerk Records 2006) – This is another album that barely made the cut-off. Though I had heard of Rouse in years previous, and I had heard and liked one song (not on this album), I was not too familiar with him when this album was released. After listening to a few other records, I finally decided that I was ready for the most recent, post-Rouse-moves-to-Spain album. I wasn’t really sure what I was expecting, but this wasn’t it. This is so much better. The sound is more like 2003’s 1972 than 2005’s Nashville, which makes sense seeing as Rouse now lives in Spain, where soul is in the water. The music is funky and moving, and the words are, as always, delightfully simple but incredibly insightful. Even the instrumental track gets you humming along. Recommended Tracks: #1 Quiet Town; #3 It Looks Like Love; #4 La Costa Blanca; #6 His Majesty Rides; #9 The Man Who…
4. Josh Rouse, 1972 (Rykodisc 2003) – This album was actually semi-recommended by my favorite Manifest employee. After discussing Rouse a bit and listening to some of his songs, (and being the only used Rouse CD in the joint at the time) I decided to purchase it. An outstanding mix of rock and soul, this album instantly become one of my favorites. It’s perfect for that afternoon, or late night, of just relaxing. The music is funky and mellow all at the same time, while the lyrics suggest something deeper. Metaphors of love lost and detached loneliness are worded in ways that make you think “damn, I wish I thought of that.” Recommended Tracks: #4 James; #5 Slaveship; #6 Comeback (Light Therapy); #9 Sparrows Over Birmingham; #10 Rise.
3. Damien Rice, 9, (Heffa/Vector/Warner Bros. 2006) – This album was the brilliant follow-up to Rice’s 2003 album O (#1 on last year’s list). As expected, Rice delivered with his unique brand of heartwrenching melodies and lyrics. Rice’s vocals are perfectly complimented by Lisa Hannigan’s again on this album. Together their voices are too haunting to not leave an impression. Perfection in an album, is what this is. Though most of the songs are quiet and calm, mellow, like with O, there are a few songs featured on this album that provide just a little more life, with just as astonishingly sad lyrics. Depressing is too strong a word, but sometimes that feeling is needed. And this album gives it like no other (except maybe O). Recommended Tracks: #1 9 Crimes; #3 Elephant; #4 Rootless Tree; #5 Dogs; #7 Me, My Yoke, And I.
2. Chris Whitley, Dirt Floor, (Messenger Records 1998) – Another recommendation from the record store employee (so helpful!). He handed it to me and I headed over to the little listening station set up in the store. Now this album was different. The very first track on this album starts with a twang of strings that is way more country than anything I own. But surprisingly, it’s enjoyable. Whitley’s deep voice, mostly soft and smooth, with the ever so slight rough inflection seriously cascades over the melodies. And the liner notes actually include “foot stomp” with “vocals, guitar, banjo” as Whitley’s contributions to the album. How can you not like the foot stomp? Probably one of the most enlightening albums I’ve ever heard. The lyrics, the music. Overall, and enjoyable album. I can hardly find the words. Recommended Tracks: #1 Scrapyard Lullaby; #2 Indian Summer; #5 Ballpeen Hammer; #8 Dirt Floor.
1. Josh Rouse, Nashville, (Rykodisc 2005) – What can I say about this album? I purchased a lot of Rouse albums this year (four), but this has definitely got to be my favorite. I bought it sometime in August, and it’s January of 2007 now, and I still have not grown tired of it. iTunes labels it as country, and you can definitely hear sounds indicative of the album’s namesake, but the overall sound of the album strays away from that stigma. Rouse’s sweet, but slightly raspy voice floats over the upbeat melodies. It’s the last album he recorded as a resident of the United States (though released after he had moved), and those sort of end-but-beginning emotions can be felt throughout. Though more solidly rock (and country, I suppose) than the albums previous (1972) and after (Subititulo), Nashville is invigorating while still being able to maintain a tranquil tone. It’s great music that makes you happy you’re alive to hear it. Recommended Tracks: #1 It’s The Nighttime; #3 Streelights; #4 Carolina; #6 My Love Has Gone; #8 Sad Eyes.
Honorable mentions include both Cary Brothers EPs – All the Rage and Waiting for Your Letter; Built to Spill, You In Reverse; Snow Patrol, Eyes Open.
Monday, December 04, 2006
How well do you know music?
We all get tired of reading every once in a while, so in lieu of a review, I found something fun. How well do you know music? Could you name songs through visual representations? Test yourself with this video courtesy of Virgin Digital:
Or perhaps you're better with band names, in which case, see if you can name all 80 bands in this picture (also from Virgin Digital):
(click for bigger image)
I can name maybe about 70ish of them. Can you find them all? Have fun with these music themed games!
Or perhaps you're better with band names, in which case, see if you can name all 80 bands in this picture (also from Virgin Digital):
(click for bigger image)
I can name maybe about 70ish of them. Can you find them all? Have fun with these music themed games!
Monday, November 27, 2006
Oh, I could not stay away from this.
Following weeks of rumors that Michael Jackson would perform for the first time in nine years at the World Music Awards last week, Wacko Jacko showed up to the show and announced that he would not perform.
Perhaps, though, he realized that might not have been a great move, because toward the end, Jacko jumped on stage with a gospel choir and sang “a few shaky lines from ‘We Are the World’” a Rolling Stone Daily email from last week said.
That, slightly unpredictably, did not turn out so well. The stunt provoked the half-full arena to hiss like a bunch of snakes. Oh, man, I wish I had been there. Way to piss off all your fans, Psycho.
And to perhaps add insult to injury, he collected his two awards (the Diamond Award and Guinness World Record Award for “Thriller”) from Beyonce with the following words [read in high pitched voice]: “I’m greatly humbled by this award. It was my dream that ‘Thriller’ would become the biggest selling album ever. I thank God and you for its success... I love all my fans from the bottom of my creepy little heart.”
Okay, so he didn’t say that exactly, but he did thank all his fans from the bottom of his heart. And then he has sex with a boy on stage.
Okay, that didn’t happen either, but it wouldn’t have surprised me. What a weirdo.
But, seriously, really? Really, Jacko? You’re going to lie to everyone by not performing and then you’re going to thank them. Bahrain can have you. We don’t need your creepiness here anymore.
You piss me off, Jacko, but boy does your weirdness remind me why it is that I <3 rock stars…
Following weeks of rumors that Michael Jackson would perform for the first time in nine years at the World Music Awards last week, Wacko Jacko showed up to the show and announced that he would not perform.
Perhaps, though, he realized that might not have been a great move, because toward the end, Jacko jumped on stage with a gospel choir and sang “a few shaky lines from ‘We Are the World’” a Rolling Stone Daily email from last week said.
That, slightly unpredictably, did not turn out so well. The stunt provoked the half-full arena to hiss like a bunch of snakes. Oh, man, I wish I had been there. Way to piss off all your fans, Psycho.
And to perhaps add insult to injury, he collected his two awards (the Diamond Award and Guinness World Record Award for “Thriller”) from Beyonce with the following words [read in high pitched voice]: “I’m greatly humbled by this award. It was my dream that ‘Thriller’ would become the biggest selling album ever. I thank God and you for its success... I love all my fans from the bottom of my creepy little heart.”
Okay, so he didn’t say that exactly, but he did thank all his fans from the bottom of his heart. And then he has sex with a boy on stage.
Okay, that didn’t happen either, but it wouldn’t have surprised me. What a weirdo.
But, seriously, really? Really, Jacko? You’re going to lie to everyone by not performing and then you’re going to thank them. Bahrain can have you. We don’t need your creepiness here anymore.
You piss me off, Jacko, but boy does your weirdness remind me why it is that I <3 rock stars…
Monday, November 20, 2006
"She was feelin' 1972..."
By Christina R.
Different moods call for different music. If you’re feeling angry or excited, perhaps a more upbeat album will suit your cause. But, for my money, there’s nothing more fitting for a day or night of chillin’ than Josh Rouse’s 1972.
It was the first Josh Rouse album I purchased, and it quickly became one of my favorite albums in my collection. A mix of rock and soul, with perhaps the slightest disco inflection, this album offers 10 tracks of toe-tapping fun. Alliteration aside, each track has the perfect blend of funk and cleverly worded lyrics to make anyone just sit back, relax, groove just a little and take it all in.
The album, released in 2003, presents ideas of relationships and life in clever, almost silly songs. Take for instance, track five, “Comback (Light Therapy)”. Over a funky walking bass line, Rouse declares “I miss my serotonin / my days are goin’ nowhere fast,” and that “Maybe if the sun would shine / It’d bring my happy back.” In another track, he claims himself to be “such a pretty boy.”
They’re lines that’ll bring a smile to your face; but upon a closer listen, the songs could really just be deep, albeit silly, metaphors for a lost love and detached loneliness. Rouse uses semi-unconventional ways to reach these conventional themes. It’s definitely worth a listen or two.
And you feel like toning it down just a little more, look no further than the last two tracks on the album. The rhythmic acoustic led “Sparrows Over Birmingham” stands as a gospel rock tribute to old memories, which leads right into the lighter “Rise” that makes you start tapping your foot all over again, as Rouse laments being crazy in love. “Think they’re gonna come and carry me away,” he repeats over and over again. “Think they’re gonna come and carry me away / from you.”
If you got an extra $15 bucks lying around, and you’re really itching to chillax, go get yourself a copy of Josh Rouse’s 1972. Then sit back, relax, groove just a little and take it all in.
Different moods call for different music. If you’re feeling angry or excited, perhaps a more upbeat album will suit your cause. But, for my money, there’s nothing more fitting for a day or night of chillin’ than Josh Rouse’s 1972.
It was the first Josh Rouse album I purchased, and it quickly became one of my favorite albums in my collection. A mix of rock and soul, with perhaps the slightest disco inflection, this album offers 10 tracks of toe-tapping fun. Alliteration aside, each track has the perfect blend of funk and cleverly worded lyrics to make anyone just sit back, relax, groove just a little and take it all in.
The album, released in 2003, presents ideas of relationships and life in clever, almost silly songs. Take for instance, track five, “Comback (Light Therapy)”. Over a funky walking bass line, Rouse declares “I miss my serotonin / my days are goin’ nowhere fast,” and that “Maybe if the sun would shine / It’d bring my happy back.” In another track, he claims himself to be “such a pretty boy.”
They’re lines that’ll bring a smile to your face; but upon a closer listen, the songs could really just be deep, albeit silly, metaphors for a lost love and detached loneliness. Rouse uses semi-unconventional ways to reach these conventional themes. It’s definitely worth a listen or two.
And you feel like toning it down just a little more, look no further than the last two tracks on the album. The rhythmic acoustic led “Sparrows Over Birmingham” stands as a gospel rock tribute to old memories, which leads right into the lighter “Rise” that makes you start tapping your foot all over again, as Rouse laments being crazy in love. “Think they’re gonna come and carry me away,” he repeats over and over again. “Think they’re gonna come and carry me away / from you.”
If you got an extra $15 bucks lying around, and you’re really itching to chillax, go get yourself a copy of Josh Rouse’s 1972. Then sit back, relax, groove just a little and take it all in.
Monday, November 13, 2006
Britney and K-Fed. K-Fed and Britney. Who knew that such a perfect love match would crumble for no apparent reason? It was just a matter of time really.
Britney suddenly filed for divorce last week after reportedly finding another woman in his hotel room. It may not have been the immediate cause, but it apparently aggravated the already strained relationship.
But that’s not even the crazy news!
One day after Brit-Brit filed for divorce, her “rapper” husband submitted his own papers requesting child support and custody of the couple’s two children, Sean Preston and Jayden James.
“Kevin is prepared to go the distance in order to do what he feels is necessary to protect and safeguard the children and will not be intimidated or dissuaded from pursuit of those goals,” said K-Fed’s attorney in a statement.
Do you think K-Fed knows what half those words mean? Furthermore, do you really believe that crap? If K-Fed was so concerned with safeguarding his children, where the hell was he when little Sean Preston fell ON HIS HEAD? Or when Mommy Britney took him for a drive?
K-Fed won’t get custody, but can you imagine? Just what the word needs: two little kids with pudding for brains running around shouting “popozao.” Great. That’s what I look forward to.
But what really makes me giggle is the fact that the freeloading rapper wannabe really thinks that it’ll all work out for him in the end. What is he going to do with all those kids anyway? Start up a franchise? Maybe. Stranger things have happened.
And what makes me giggle harder is the fact that he thinks that once he gets that severance package from Britney, he’ll be okay. Hey, Brain-dead, you really think that money is going to last you the rest of your life? Because your career sure won’t.
Way to go K-Fed. You really make me smile in a “God what a stupid asshole” type of way. But it’s a smile nonetheless. Much love yo.
You make me remember why it is that I <3 rock stars.
Britney suddenly filed for divorce last week after reportedly finding another woman in his hotel room. It may not have been the immediate cause, but it apparently aggravated the already strained relationship.
But that’s not even the crazy news!
One day after Brit-Brit filed for divorce, her “rapper” husband submitted his own papers requesting child support and custody of the couple’s two children, Sean Preston and Jayden James.
“Kevin is prepared to go the distance in order to do what he feels is necessary to protect and safeguard the children and will not be intimidated or dissuaded from pursuit of those goals,” said K-Fed’s attorney in a statement.
Do you think K-Fed knows what half those words mean? Furthermore, do you really believe that crap? If K-Fed was so concerned with safeguarding his children, where the hell was he when little Sean Preston fell ON HIS HEAD? Or when Mommy Britney took him for a drive?
K-Fed won’t get custody, but can you imagine? Just what the word needs: two little kids with pudding for brains running around shouting “popozao.” Great. That’s what I look forward to.
But what really makes me giggle is the fact that the freeloading rapper wannabe really thinks that it’ll all work out for him in the end. What is he going to do with all those kids anyway? Start up a franchise? Maybe. Stranger things have happened.
And what makes me giggle harder is the fact that he thinks that once he gets that severance package from Britney, he’ll be okay. Hey, Brain-dead, you really think that money is going to last you the rest of your life? Because your career sure won’t.
Way to go K-Fed. You really make me smile in a “God what a stupid asshole” type of way. But it’s a smile nonetheless. Much love yo.
You make me remember why it is that I <3 rock stars.
Monday, November 06, 2006
Monday, October 30, 2006
Life just isn’t working out for Madonna lately. Her recent tour has brought numerous negative comments about the part of the show where she crucifies herself while wearing a crown of thorns. Cities have publicly chastised her and network television refuses to air the now infamous part of her show. But just to add to her public humiliation, there is now drama surrounding her attempted adoption of Malawian boy David Banda.
A couple weeks ago the Malawi government said that the adoption should not be allowed because they don’t let just anyone adopt their babies. There’s a lot more to it than just providing material things (pun intended?). They also have to be assured that the child will be brought up in a nice, moral household. They actually said “moral.” Oh, and something about not letting non-Malawian people adopt their babies. Moral. Hah!
However, the plot thickens for good ol’ Madonna. Now, Yohane Banda, the birth father of little David said he thought the material girl was going to adopt the baby on his behalf (like not permanently). He said that had they told him that she wanted to adopt his son for the sole purpose of making him her son, he would not have allowed it.
“It would have been better for him to continue staying at the orphanage because I see no reason why my child should be given away forever when I can feed him,” Banda told Reuters. However, Madonna and her hubby, Guy Ritchie currently have temporary rights and already have little David in their home in London.
Wow, what a way to be a kidnapper, Madonna. You should stop trying to be like Angelina Jolie, who has apparently made it cool to adopt children from foreign countries. You’ll never be as cool as her. You’re over the hill. You were once cool, but you stopped after you picked up that British accent after what, like a week?
Also, way to go breaking that poor Malawian father’s heart. Way to steal his child. I’m proud of you.
But why am I the only person who notices that? Damn, I wish I was a rock star. Then maybe I could get away with crazy, heartless shit. Damn. I <3 Rock Stars.
A couple weeks ago the Malawi government said that the adoption should not be allowed because they don’t let just anyone adopt their babies. There’s a lot more to it than just providing material things (pun intended?). They also have to be assured that the child will be brought up in a nice, moral household. They actually said “moral.” Oh, and something about not letting non-Malawian people adopt their babies. Moral. Hah!
However, the plot thickens for good ol’ Madonna. Now, Yohane Banda, the birth father of little David said he thought the material girl was going to adopt the baby on his behalf (like not permanently). He said that had they told him that she wanted to adopt his son for the sole purpose of making him her son, he would not have allowed it.
“It would have been better for him to continue staying at the orphanage because I see no reason why my child should be given away forever when I can feed him,” Banda told Reuters. However, Madonna and her hubby, Guy Ritchie currently have temporary rights and already have little David in their home in London.
Wow, what a way to be a kidnapper, Madonna. You should stop trying to be like Angelina Jolie, who has apparently made it cool to adopt children from foreign countries. You’ll never be as cool as her. You’re over the hill. You were once cool, but you stopped after you picked up that British accent after what, like a week?
Also, way to go breaking that poor Malawian father’s heart. Way to steal his child. I’m proud of you.
But why am I the only person who notices that? Damn, I wish I was a rock star. Then maybe I could get away with crazy, heartless shit. Damn. I <3 Rock Stars.
Monday, October 23, 2006
Welcome to Sam's Town
By Christina R.
When their first album, Hot Fuss, was released in 2004, The Killers deservedly rose to the status of "retro new wave" gods. If you're familiar with The Killers, you have come to learn the certain feeling of the songs that's indicative of the band, but some of the songs don't quite fit, for example "Somebody Told Me" followed by "All These Things That I've Done". Not that fitting is essential. It allows for diversity of styles while maintaining a sort of "new wave" blanket. It was what made the album great.
It was what made their new album, Sam's Town, released Oct. 4, so anticipated. "Great things are going to come of this band," you heard all summer long in 2004. And the singles kept coming. A new album was imminent. But, aside from the first single, and perhaps a few other tracks, Sam's Town falls short of expectations.
There's no denying that Sam's Town has that "The Killers" feel. But there just seems to be something to the first album that is missing in this one. For the most part, the fun new wave sound is kind of hackneyed, stale. It's like Hot Fuss but without the novelty. It's too "Killers." There's very little that's new and refreshing.
It's, dare I say, borderline boring.
Of course, there are a few select tracks that are just as great as the favorites from the first album. The third track, "When You Were Young", is the album's first single. I can see why: it sure is catchy. It has pounding electric guitar riffs. It has that little element that all the standouts from the first album had that you can't quite put your finger on. It's fun. It's one of the few tracks on this album that actually does anything. But I guess it's not enough.
Though Sam's Town is a solid effort (and an interesting concept album based around a skeevy casino in Vegas called, logically, Sam's Town), it's not exactly what would have been expected from The Killers' second album. As a debut album, it would have done all right. But the final verdict as a follow-up: disappointing.
Tracks worthy of your time: "When We Were Young", "Why Do I Keep Counting?", "Bling (Confessions of a King)", and "Sam's Town".
When their first album, Hot Fuss, was released in 2004, The Killers deservedly rose to the status of "retro new wave" gods. If you're familiar with The Killers, you have come to learn the certain feeling of the songs that's indicative of the band, but some of the songs don't quite fit, for example "Somebody Told Me" followed by "All These Things That I've Done". Not that fitting is essential. It allows for diversity of styles while maintaining a sort of "new wave" blanket. It was what made the album great.
It was what made their new album, Sam's Town, released Oct. 4, so anticipated. "Great things are going to come of this band," you heard all summer long in 2004. And the singles kept coming. A new album was imminent. But, aside from the first single, and perhaps a few other tracks, Sam's Town falls short of expectations.
There's no denying that Sam's Town has that "The Killers" feel. But there just seems to be something to the first album that is missing in this one. For the most part, the fun new wave sound is kind of hackneyed, stale. It's like Hot Fuss but without the novelty. It's too "Killers." There's very little that's new and refreshing.
It's, dare I say, borderline boring.
Of course, there are a few select tracks that are just as great as the favorites from the first album. The third track, "When You Were Young", is the album's first single. I can see why: it sure is catchy. It has pounding electric guitar riffs. It has that little element that all the standouts from the first album had that you can't quite put your finger on. It's fun. It's one of the few tracks on this album that actually does anything. But I guess it's not enough.
Though Sam's Town is a solid effort (and an interesting concept album based around a skeevy casino in Vegas called, logically, Sam's Town), it's not exactly what would have been expected from The Killers' second album. As a debut album, it would have done all right. But the final verdict as a follow-up: disappointing.
Tracks worthy of your time: "When We Were Young", "Why Do I Keep Counting?", "Bling (Confessions of a King)", and "Sam's Town".
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