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march 2011
3.3.11
So...The King of Limbs. Let me just say this: I found Thom Yorke's solo release, Eraser, to be an interesting variation in the Radiohead sound that had a couple of great tracks on it, but I was very happy that it wasn't released under the Radiohead name. The King of Limbs is much more an extension of that solo project than it is a proper Radiohead album; it might as well just be Nigel Goodrich and Thom Yorke in the studio, because you can't hear the influences/sounds of any of the other band members.
This is the last thing I would have expected from this band after In Rainbows, possibly their most mature, coherent record. But I guess that's the one thing that we can count on with Radiohead: you'll never be able to guess what's coming next. |
3.4.11
R.E.M. is streaming their upcoming album, Collapse Into Now, over at NPR. I was on the fence on whether to buy this one——buying an R.E.M. record has been a crapshoot since the mid-90s, and while I liked their last album, Accelerate, it didn't bowl me over. But it did grow on me, even though it's not the return to their mid-career form that many fans praised it as.
After listening to the tracks on NPR, I'll probably end up purchasing it, but I can already tell it's basically an extension of the work they did on Accelerate——there will be a few songs that end up in my long term shuffle playlist, but a lot of the tracks will fall by the wayside and end up being rated as mediocre or worse, which effectively removes them from my collection once I take the album out of my recent purchases playlist. |
3.7.11
Pre-ordered a bunch of March releases from Amazon last week, and I picked up a couple of recent releases in the process, both of which arrived last Friday. First up was Cloud Nothings' self-tilted record, which sounds a lot like what I expected the next Wavves record to sound like (chirpier and poppier than Wavvves minus some of the scuzz). It's one of those records where I'm either going to love every song or I'm going to think the whole thing is only okay because it's very, very consistent. The songs here are likely going to be at their strongest when mixed into a shuffle playlist, where they'll be able to stand out more, rather than back to back in album format with their brothers and sisters.
Next I picked up Danielson's The Best of Gloucester County. I have Ships, which I mostly love, but all other entries from the Danielson Familie clan's catalog haven't done much for me when I've listened to clips. But this one sounded a lot more like Ships when I listened to samples, and so far that's what it sounds like after a couple of full listens (although it doesn't quite hit the highest highs of the earlier record). |
3.8.11
Just last Friday I was talking to a friend at work about of Montreal's thecontrollersphere, an EP of material that was recorded during the False Priest sessions that bandleader Kevin Barnes said was due out sometime in the spring, wondering when we might get a release date. And lo and behold, that afternoon the band announced on its Twitter feed not only that it would be released on April 26, but that if you preordered a physical copy (vinyl or CD) from their record company's web site, you would get a code that wold allow you to download the EP immediately.
So of course, five minutes later it was mine. False Priest wasn't as good as the three albums that preceded it, but I still like it overall, and one of the companion EPs for an earlier album (Icons, Abstract Thee, which was released alongside Hissing Fauna, Are You the Destroyer?) is one of my favorite releases from the band. So I was hopeful that thecontrollersphere would be full of gems that weren't held back because they were inferior, but simply because they didn't quite fit on False Priest.
But after listening to it several times now, that's not really the case; these really are the leftovers. The opening song, "Black Lion Massacre" is a dark, industrial, mostly-instrumental track that the band used as the intro song for last year's tour in support of False Priest, and "Flunkt Sass vs the Root Plume" sounds like a rewrite of "Tonight", a Sibylle Baier cover that featured prominently in their live show and which was also a bonus track on the iTunes version of False Priest. "L'age D'or" is probably the strongest track on the EP, but even with that, this is definitely a release for diehard fans only. |
3.9.11
Lots of free downloads from upcoming records to be had in exchange for your email address. First there's the lead track/single from of Montreal's thecontrollersphere, "Black Lion Massacre". Then there's a non-album track from Art Brut's latest sessions with Frank Black for their next album called "Unprofessional Wrestling". And finally, there's a new 50 Foot Wave song "Radiant Addict" from Kristin Hersh, newly minted author and the creative force behind both 50 Foot Wave and Throwing Muses. |
3.10.11
Here's how little Connor Oberst's non-Bright Eyes work has impacted me: I actually own his self-titled solo effort and have listened to each track at least five times, but I never rated a single one of them and I had completely forgotten that this album was in my collection. And really, now discovering that I have it but have no recollection of it, I'm not in the least tempted to listen to it again.
In a recent interview with Billboard about the release of the supposedly final Bright Eyes project, The People's Key, he said that he was "burnt out on that rootsy Americana shit", which pretty much describes everything he's done since (and including) 2007's Cassadaga. And even though The People's Key is still more similar to his recent work than it is to early Bright Eyes, the songs on this record and his statement from the interview give me some hope that whatever his future musical projects are, they won't be Monsters of Folk-type efforts, but maybe more adventurous forays into louder indie rock (like his Los Desaparecidos one-off project) or electronica (like Digital Ash in a Digital Urn, a Bright Eyes album that was really the last compelling thing he produced until The People's Key). |
3.11.11
I never go around to listing my picks from February's $5 Amazon MP3 album downloads, which included The Queen Is Dead from the Smiths among some other choice selections, but here are March's picks.
The must-haves include the Rolling Stones' Let It Bleed, Radiohead's OK Computer, LCD Soundsystem's Sound of Silver (which contains two of the best songs of this millenium, "Someone Great" and "All My Friends"), and last but certainly not least, the Velvet Underground's The Velvet Underground and Nico.
There are a ton of good to great albums this month as well. I'd put Vampire Weekend's Contra, the New Pornographers' Together, Nirvana's In Utero, the Strokes' Room on Fire, Beck's Sea Change, Soundgarden's Superunknown, the Yeah Yeah Yeah's Fever to Tell, Kanye West's 808s and Heartbreak, Neutral Milk Hotel's On Avery Island, Fang Island's Fang Island, and Green Day's Insomniac in one of those two categories.
As for me, I'm going to purchase Let It Bleed because I've never owned that in a format that I can easily convert to digital, Ryan Adams' III/IV (I know, I know, but for $5 there have to be at least a few good songs on there, right? Right?), and Fugazi's Repeater. |
3.14.11
Is there really anyone who grew up in the 80s when Madonna was the ascending queen of the pop world who thinks there's anything new or unique about Lady Gaga? |
3.15.11
I would never have guessed that the Pains of Being Pure at Heart were from Brooklyn. Nor would I have guessed that Male Bonding was from London. Swap the two, and sure, that would make some sense to me, and I could have believed that Male Bonding were Canadian. But the Pains of Being Pure at Heart sound about as British as you can get... |
3.16.11
I'm not going to get carried away like some critics and say that R.E.M.'s latest, Collapse Into Now, should be placed alongside their best midcareer works, but it's better than Accelerate, and Accelerate was easily their best album since the turn of the century.
These last couple of records are similar to U2's semi return to their classic sound on records like All That You Can't Leave Behind and No Line On the Horizon——although the albums as a whole are mediocre compared to their best releases, there are songs here and there that are instantly recognizable as good R.E.M. songs, and the overall albums lack the meandering, what-do-we-do-now? lifelessness of records like Up and Reveal. |
3.17.11
Lupe Fiasco's latest, Lasers, is pretty disappointing. His records have always been a mixed bag, but they've also been consistently worthwhile listens with a few killer singles. But Lasers doesn't even sound like a Lupe Fiasco record——it's got an overproduced club sheen, and the instrumental palette is so far removed from the style of his earlier works that you would be forgiven for thinking that this was a remix album rather than an original Lupe creation. Plus, the few songs that are decent listens don't come anywhere near the best songs from his first two records.
I remember before The Cool came out he said in an interview that he was only going to make three records and then retire from the rap game. At the time, I hoped this wouldn't be true, because he was emerging as one of my favorite new hip hop artists. But if after four years of work, this was the best record he could come up with, then three albums might be a good place to stop, because it sure doesn't sound like he's got much left in the tank. |
3.21.11
By my count, the Pogues mini-tour up the east coast this year was their fourth such jaunt to the US since 2006, and each time I have seen one of their shows at the 9:30 Club with my friend Sliced Tongue. They skipped last year, but in 2009 we actually saw the show on St. Patick's Day, which was pretty cool given that they are, in my mind, THE iconic Irish band. I can't imagine that we'll ever skip a show as long as the band is able to continue doing this, but as an added incentive this year, Titus Andronicus was opening.
For the first time ever, the parking lot behind the 9:30 Club was sold out from online sales, so we had to find another lot across the street that cost twice as much, and although this delayed us a few minutes, we were still able to get our usual spot at the railing on the balcony. When I was waiting outside for Sliced Tongue to park (he had our tickets), there was a guy who looked uncannily like the frontman for Titus Andronicus (who I now know is named Patrick Stickles) leaning on a white van and smoking a cigarette, but he was much shorter and skinnier than the the Titus singer looked in the press photos I've seen. But sure enough, when the band took the stage, it was clear that that was him, and that two of the people who joined him for a smoke after a few minutes were the bassist and the backup guitarist/keyboardist.
The band kicked things off with the roar of "A More Perfect Union", the lead track from their most recent effort, The Monitor, and the intensity stayed pretty constant the whole time they were onstage. About halfway through
their set, Sliced Tongue remarked that "You've got to be pretty sure of yourself to let a band like this open for you——that, or you just don't care anymore", and that seems about right. This was a band that I easily could have listened to for another couple of hours, and I'll definitely try to see them again when they come through as headliners. The songs I already loved I grew to love even more as they were performing them, and hearing them performed live was the push I needed to start appreciating the tracks that hadn't quite clicked with me yet.
The one odd/interesting thing about the band's stage presence was the second guitarist, a woman (who I now know is named Amy Klein) with red hair in a feathered 70s cut and clothes that looked like they came from K-Mart circa 1986——clothes that would not have been stylish then and which don't look stylish now, even in a vintage fashion kind of way. When she played, she hopped up and down like a lunatic bunny with the biggest grin on her face, in stark contrast to her bandmates' intense, dour expressions (which were much more in keeping with the music and lyrics). But there was something totally endearing about all this, and if you hadn't already fallen for her before then, you had no chance when she slung her guitar over her back and whipped out a violin; I don't know if it's possible for an indie guitar girl to look any cooler than she did at that moment.
It was a great opening set, and a perfect fit for the Pogues given Titus Andronicus' Irish rock influences and their strident working class politics. It was also the only time when I was watching an opening act for the Pogues when I wasn't simply waiting for the Pogues to get onstage, and although I'd be willing to bet there were lots of people in the audience who hadn't heard/heard of Titus Andronicus before seeing them that night, I can almost guarantee that they are converts now. It's hard for me to imagine how you could see that set and not end up a fan. |
3.22.11
The Pogues themselves were good, but it's a pretty rote affair at this point. They always open with the same song, they always close with the same song, and at least 80% of the setlist has stayed consistent across the four performances that I've seen over the past few years. It's still a great show, but the predictability makes it a little less exciting as the years go by, and I'm mostly waiting for "Body of an American" and "Bottle of Smoke", both of which the band has played each show.
But that doesn't mean I won't go again, especially if they can find a great opener like Titus Andronicus. They're still the Pogues, for god's sake. |
3.23.11
I haven't heard the critics/reviews talk about it much, but I think R.E.M.'s leadoff track from Collapse Into Now, "Discoverer", might be the best song they've written in the new century. |
3.24.11
The new Strokes is kind of meh. It might turn out to be better than Julian Casablancas' solo record or Albert Hammond Jr.'s second solo album, but not by enough. And it's certainly not as good as Hammond's first solo record, Yours to Keep. "Under Cover of Darkness" is a pretty solid Strokes single, but so far nothing else has really made an impression. |
3.25.11
We're nearly a quarter of the way through 2011, and so far the Decemberists' The King Is Dead is looking like the strongest candidate for my year end best-of list. Speaking of which, I should really get around to telling you about my 2010 top 10s... |
3.28.11
I don't think I've ever been slack enough to post my top 10 lists from a given year until April of the following year, but I came close for my 2010 lists. Here are my top 10 singles from 2010 (in reverse order, so the last single in the list is my top choice):
Big Boi——"Shutterbugg"
This is more of a representative track from a great album than the absolute best song from that album, because there are just too many choices.
Titus Andronicus——"A More Perfect Union"
It took a little while for this song to grow on me as a single, but its rank certainly wasn't hurt by the band's outstanding performance opening for the Pogues a couple of weeks ago. This might be the song that best encapsulates the sound, energy, and message of this band in the two albums they've released so far.
Marnie Stern——"The Things You Notice"
This is an introspective, almost quiet piece from the guitar virtuoso, but that doesn't mean that its any less complex or intricate than her typical material.
Janelle Monáe——"Locked Inside"
There are plenty of other hooks that could catch your ear before the main chorus, but if she doesn't have you by the time she sings "Oh how, oh how I need you baby" (which, you know, sounds
a lot better in context), then she's not going to get you. Or rather, you're not going to get her.
Vampire Weekend——"I Think Ur A Contra"
I still have mixed feelings about this band, but this is an undeniably great song.
Gorillaz——"Superfast Jellyfish"
Not only was Plastic Beach a strong rebound from the mediocre Demon Days, it just might be their best release so far. There are lots of great tracks here, and it's hard to pass up the two Little Dragon collaborations, but this is the song that I feel for immediately. And I fell hard.
Sleigh Bells——"Kids"
"Rill Rill" is the most accessible track on this duo's debut album, and it's likely going to serve as the blueprint for their future explorations, but "Kids" typifies the bombast of Treats. So while "Rill Rill" might end up appropriate representing the band on a best of the decade list ten years from now, "Kids" is the right choice for the 2010 best of.
Liars——"The Overachievers"
Liars give us one or two tracks like this on every album, and while I always want more, I wonder if a whole album might overload the system. But I'd like the chance to find out. In the meantime, I'll savor every second of songs like "The Overachievers".
LCD Soundsystem——"Home"
James Murphy had two of the best tracks of all time in "All My Friends" and "Someone Great" on his last album, Sound of Silver, and it wouldn't really be fair to expect him to deliver another song of that caliber. Still, he's done it with "Home", which is the standout on the band's unfortunate swan song.
Kanye West——"All Of The Lights"
It's not an exaggeration to say that Kanye alone could have taken up half the slots on this top 10 list with songs from My Beautiful Dark Twisted Fantasy (and having said that, I've probably just blown any surprise factor in who's going to end up number one on my list of top 10 albums from 2010).
I'm essentially pulling names from a hat in a choosing "All of the Lights" as the best song of the year because "Power", "Monster", "Hell of a Life", and "Runaway" are all worthy of this honor too. |
3.29.11
Now for my top 10 albums of 2010, again in reverse order, so the last one in the list is my favorite:
The ArchAndroid——Janelle Monáe
Cut the fat out of this record, and this is one of the best releases this year. This is just the beginning for Janelle; I can't wait to see what she does next.
Astro Coast——Surfer Blood
This is indie rock that could be at home on 70s AM radio or today's college stations. A great debut that hopefully presages better things to come.
Romance Is Boring——Los Campesinos
This is one of those bands that you either get or you don't, but they are one of my favorites, and they've been getting better with every release. It took a few listens for this one to grow on me, but now I realize that this is their most musically and lyrically complex effort to date.
Sir Lucious Left Foot: The Son Of Chico Dusty——Big Boi
When OutKast was still making music, it was a commonly held belief that Andre 3000 was the real genius behind the group's music and that Big Boi was sort of a Flavor Flav to Andre's Chuck D. But the last OutKast album, Speakerboxx/The Love Below was essentially two solo albums from each of them released under the OutKast brand name, and this complete separation proved Big Boi could more than hold his own. Sir Lucious Left Foot further establishes him as a solo artist; let's hope next time the record company doesn't wait two years to release something this brilliant.
Everything In Between——No Age
Best indie rock band going. They've had a virtually flawless career, and Everything In Between cements their status as the gold standard.
This Is Happening——LCD Soundsystem
I hate that this is James Murphy's last album under the LCD Soundsystem name, but even with its relatively small catalog, this band is going to reach legendary status.
Treats——Sleigh Bells
Easily the best debut of the year. Bombast squared, but in a way never gets annoying; as soon as you finish you want to start again.
Plastic Beach——Gorillaz
Gorillaz' debut album was a revelation, but this might be their masterpiece——indeed, it might be the best album that Damon Albarn has made in his extensive and eclectic career.
The Monitor——Titus Andronicus
This sohpomore album seems like a natural evolution for this band, but as much as it sounds like a logical progression from their debut, it's in some ways completely unexpected——much more mature in its lyrical and musical compositions, but withe same frustration and rage that fueled The Airing of Grievances. These guys could turn into the defining American band of their generation that we were all hoping the Hold Steady might be.
My Beautiful Dark Twisted Fantasy——Kanye West
What can you say about this album? After the mediocre 808s and Heartbreak, his first real stumble, and Kanye's 24-hour-a-day dedication to antics and yelling at critics (real and imagined) on his blog and Twitter feed, it looked like he might be heading for a creative breakdown where his public persona overshadowed whatever he was doing in the studio.
But his live performance of "Runaway" on SNL was both more creative and better executed than this most contemporary music videos, even those with movie-sized budgets, and it was just a preview of what we would get from the full album. Though awkwardly named, this record puts to rest any doubts about Kanye's continued potency as a maker of music——not only is it the strongest album of his career, its also a wildly innovative
masterpiece that transcends the hip hop genre. This is the best pop album of the 21st century, and might be the closest thing this fragmented music marketplace gets to another Thriller. |
3.30.11
I've listened to all 21 songs on Ryan Adams' III/IV (which I got for $5 on Amazon) twice now, and I don't think there's a single keeper. There's nothing awful on it, but there's nothing great, and there are shockingly few great moments. Every song is a solid three stars——not bad enough to deserve a one or a two, but not special enough to deserve anything more. Even at $5, it's turning out to be a bit of a disappointment. |
3.31.11
I've listened to Radiohead's The King of Limbs a bunch of times now, and it still hasn't grown on me. And I don't really expect it to——even with their most experimental releases (OK Computer which, yes, was revolutionary when it came out, and Amnesiac), I loved parts of them right away, and I grew to love all of it in a very short period of time. But after a month, these tracks do nothing for me; I only have a vague impression of most of them.
Even though it's hard to define the Radiohead sound because they've tinkered with it so much and so radically over the years, The King of Limbs is definitely missing that essence that ties all the permutations over the years into a coherent whole. I guess there's still a chance I could grow to love this eventually, but at this point, I'm really just waiting for their next album and writing this one off. |
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