Natasha Kahn, aka Bat For Lashes, is undoubtedly gorgeous. Right up there with Jenny Lewis (Swoon), Zoey Deschancel (Swoon), Kate Nash (Swoon), Charlotte Gainsbourg (I'm Not There Swoon), and your other various who have you's of the music industry *ahem*EmilyHanes*ahem*. The first Bat For Lashes record, Fur and Gold, was critically acclaimed and I think I missed the boat on it. But, hey, I mena it happens and it was totally cool, I suppose. I wasn't "ready" for it, like I wasn't "ready" for the Smiths when I was in middle school. And I basically mean I was a stupid little shit who thought punk was the greatest and only form of music (Next to Motown. I had a awkward childhood).
None the less the second BFL record is released sometime soon....? And it again sites the same Bjork, Souixie, and all those other crazy, out there folks. The record opens with a pretty cool track, 'Glass'. The whole record oozes new-wave and does it better then I think new-wave bands did it when new-wave was trendy. 'Glass' is perfectly etheral and cool. The second track, 'Sleep Alone' dips, it lost my interest very quickily, and i don't think I even remember what I heard. 'Moon And Moon' and the single, 'Daniel', are again perfect examples of Kahn's song writing excellence, letting me be totally relaxed and giving my brain a perfect mind fucking. Followed by the bland in comparison 'Peace Of Mind'. Until 'Siren Song'. That song is like.... Perfect. I can't even tell you.
The second half of the record contains 'Pearl's Dream' (Feels oddly like an O+S track, actually, I dug it), 'Good Love' (Also sounds like O+S, very cool), 'Two Planets' (Meh, least favorite track on the record, too repetative and not captivating. But it's okay), 'Travelling Woman' (Just okay), and 'The Big Sleep' (The second vocal track is so awkward.)
Over all, this is a pretty cool record. Definitely a little out there, definitely a little new-wave, definitely a little pyschadelic. I definitely have a new found appreciate for alternative kinds of music, especially this kind and I'm looking forward to the next effort Natasha Kahn puts out.
Monday, March 30, 2009
Tuesday, March 10, 2009
Playlist for 3-10-09
| Bright Eyes | Another Travelin' Song | I'm Wide Awake It's Morning | |
| Bonnie "Prince" Billy | You Can't Hurt Me Now | Beware | √ |
| Ben Kweller | Hurtin' You | Changing Horses | √ |
| Great Lake Swimmers | Pulling On A Line | Lost Channels | √ |
| The Tallest Man On Earth | I Won't Be Found | Shallow Grave | |
| Great Lake Swimmers | Palmistry | Lost Channels | √ |
| Françoise Hardy | Ça a Raté | The Yeh-Yeh Girl From Paris | |
| Elvis Perkins in Dearland | Send My Fond Regards To Lonelyville | Send My Fond Regards To Lonelyville | √ |
| O+S | Permanent Scar | O+S | √ |
| O+S | New Life | O+S | √ |
| The Explorers Club | Forever | The Explorers Club EP | |
| Cursive | I Couldn't Love You | Mama, I'm Swollen | √ |
| Austin Lucas | Fountain Of Youth | Somebody Loves Yo | √ |
| Fionn Regan | Be Good Or Be Gone | The End of History | |
| Fleet Foxes | Oliver James | Fleet Foxes | |
| Vetiver | Down From Above | Tight Knit | √ |
| She&Him | I Should Have Known Better | Vol. 1 | |
| Jenny Lewis And the Watson Twins | The Big Guns | Rabbit Fur Coat |
Monday, March 9, 2009
Thoughts
So.
I was listening to The Juliana Theory today, and I was just remembering how much the rule and how much Emotion Is Dead ruled and how shitty is they had to break up. And that Brett is in California working on some lame TV thing. At least Kosker and Feilder are in a band together. Chad Allen is probably a lone somewhere, wishing TJT were still together with Chip Walters. But I think Chip is drumming for some lame post-hardcore band that's a Zao wanna-be.
But hey, whatever.
LISTEN TO THE JULIANA THEORY.
I'm going to go to sleep since I'm ungodly tired right now. Stay tuned for my playlist and another review (Probably Great Lake Swimmers)
I was listening to The Juliana Theory today, and I was just remembering how much the rule and how much Emotion Is Dead ruled and how shitty is they had to break up. And that Brett is in California working on some lame TV thing. At least Kosker and Feilder are in a band together. Chad Allen is probably a lone somewhere, wishing TJT were still together with Chip Walters. But I think Chip is drumming for some lame post-hardcore band that's a Zao wanna-be.
But hey, whatever.
LISTEN TO THE JULIANA THEORY.
I'm going to go to sleep since I'm ungodly tired right now. Stay tuned for my playlist and another review (Probably Great Lake Swimmers)
Sunday, March 8, 2009
Mamma, I'm Swollen
I should note that prior to this review, I had not really listened to Cursive. Which is weird because I love Saddle Creek. I tried to listen to Happy Hollow and The Ugly Organ but it never clicked with me. I think that I'm older and now haev a greater appreciation for music and definitely other Saddle Creek records. So I was stoked when we got the new Cursive record in the radio station.
The record starts off with a hook-y 'In The Now'. The track is way up tempo and definitely made me tap my feet and get into it. It's a great way to start off the record. I had usually equated Cursive to a band that was extremely spastic and "out there". But I can see that they clearly aren't, even though long time fans will say that this record sucks. The second track, 'From The Hips, rolls in and I reallllllly like this track. I'm not sure why, but it's probably because half way through the song, it suddenly picks up and makes me move in my seat. The song starts off great, slow and melodic, with the vocals almost crooning 'I'm at my best when I'm at my worst'. The third track, 'I Couldn't Love You' is pretty rad, it starts out the same way as the prior track, and Tim Kasher sounds sort of like a Robert Smith, if Robert Smith didn't have a creepy voice and was from Ohmaha. Especially towards the end of the song, it might just be the horns behind his voice, but it's pretty close, at least to my ears.
One thing I like about this record is that it really flows well, there isn't a cross fade between songs. 'I Couldn't Love You Anymore' ends the same way 'Donkeys' starts and it's almost a flawless transition (Even in iTunes which sucks for records that are supposed to be gapless. Everyone knows what I'm talking about). So, here's were I lose my attention. 'Donkeys' is a track that I'm definitely not enjoying. I sort of was digging it then it goes out the window. The next track 'Caveman' isn't bad, it sort of is just a song, I dunno, I can't say that there was anything truly memorable about it. 'We're Going To Hell' has an awesome organ part, but, I don't know that Tim has a suitable voice for singing, especially in a faux-falsetto. Over all, this song starts out slow and starts to get more interestet as it goes, half way through there are some mirrored vocals and it definitely makes it a cool track. The record finishes off with 'Mama, I'm Satan' (Just okay, again, nothing memorable), 'Let Me Up' (Ends pretty cool, but otherwise unmemorable), 'Mama, I'm Swollen' (This track is pretty awesome, I liked it a lot), and 'What Have I Done?' (Opus grandes at 6:11. This track slips by and totally does not feel like 6 minutes. I love this track, a lot.)
Over all, for someone who had never really listened to Cursive, this is a good record. I have actually just finished downlaoding Happy Hollows and I'm excited to hear what the back catalogue is considering this band as a huge legacy behind them for being one of the best bands Saddle Creek has and one band that's got an extreme following.
The record starts off with a hook-y 'In The Now'. The track is way up tempo and definitely made me tap my feet and get into it. It's a great way to start off the record. I had usually equated Cursive to a band that was extremely spastic and "out there". But I can see that they clearly aren't, even though long time fans will say that this record sucks. The second track, 'From The Hips, rolls in and I reallllllly like this track. I'm not sure why, but it's probably because half way through the song, it suddenly picks up and makes me move in my seat. The song starts off great, slow and melodic, with the vocals almost crooning 'I'm at my best when I'm at my worst'. The third track, 'I Couldn't Love You' is pretty rad, it starts out the same way as the prior track, and Tim Kasher sounds sort of like a Robert Smith, if Robert Smith didn't have a creepy voice and was from Ohmaha. Especially towards the end of the song, it might just be the horns behind his voice, but it's pretty close, at least to my ears.
One thing I like about this record is that it really flows well, there isn't a cross fade between songs. 'I Couldn't Love You Anymore' ends the same way 'Donkeys' starts and it's almost a flawless transition (Even in iTunes which sucks for records that are supposed to be gapless. Everyone knows what I'm talking about). So, here's were I lose my attention. 'Donkeys' is a track that I'm definitely not enjoying. I sort of was digging it then it goes out the window. The next track 'Caveman' isn't bad, it sort of is just a song, I dunno, I can't say that there was anything truly memorable about it. 'We're Going To Hell' has an awesome organ part, but, I don't know that Tim has a suitable voice for singing, especially in a faux-falsetto. Over all, this song starts out slow and starts to get more interestet as it goes, half way through there are some mirrored vocals and it definitely makes it a cool track. The record finishes off with 'Mama, I'm Satan' (Just okay, again, nothing memorable), 'Let Me Up' (Ends pretty cool, but otherwise unmemorable), 'Mama, I'm Swollen' (This track is pretty awesome, I liked it a lot), and 'What Have I Done?' (Opus grandes at 6:11. This track slips by and totally does not feel like 6 minutes. I love this track, a lot.)
Over all, for someone who had never really listened to Cursive, this is a good record. I have actually just finished downlaoding Happy Hollows and I'm excited to hear what the back catalogue is considering this band as a huge legacy behind them for being one of the best bands Saddle Creek has and one band that's got an extreme following.
Friday, March 6, 2009
Ladyluck
Saddle Creek Saddle Creek Saddle Creek.
They always have good releases, or, at least I think so. But this one, I'm sort of iffy on. Maria Taylor is a Saddle Creek girl. She's the singer songwriter behind Azure Ray with Orenda Fink and when Azure Ray broke up, she released two solo records on Saddle Creek. Except for this one. She split with Saddle Creek and her new record Ladyluck is a singer songwriter, NPR sort of record. I can't say anything really grabbed my attention instantly and none of the songs seemed to feel memorable.
The record starts off with the title track, 'Ladyluck'. The record just seems like it should get better and the second track, 'Time Lapse Lifetime', some more promise, but that track doesn't seem to deliver either. The rest of the record falls short of all my expectations and the record really finds it's spot on the last two tracks. The last two tracks, 'Orchids' and 'Cartoons and Forever Plans' are the best songs on the record, honestly. 'Orchids' is the slow, beautiful ballad-y like song that just makes me want to have a slow montion make out scene with some hot indie artsy girl (Jenny Lewis. Or Zoey Deschanel. Yesssssss). The soft drum tracks that highlight the simplicity of the song are well tracked and well mixed, the guitars perfectly suit the song and everything seems to be right here. The last track, 'Cartoons and Forever Plans' is a up tempo folky singer songwriter song that features full band vocals echoing Maria and every other line. It's just perfect. The bass is bouncy and the guitar makes me sway my head in my seat. That's song song writing right there.
But like I said there isn't anything really memorable about the record except for the last two tracks... Which is seriously dissapointing. I had more hope for this Maria Taylor record then delivered.
Tomorrow: Cursive's Mamma, I'm Swollen. Stay tuned.
They always have good releases, or, at least I think so. But this one, I'm sort of iffy on. Maria Taylor is a Saddle Creek girl. She's the singer songwriter behind Azure Ray with Orenda Fink and when Azure Ray broke up, she released two solo records on Saddle Creek. Except for this one. She split with Saddle Creek and her new record Ladyluck is a singer songwriter, NPR sort of record. I can't say anything really grabbed my attention instantly and none of the songs seemed to feel memorable.
The record starts off with the title track, 'Ladyluck'. The record just seems like it should get better and the second track, 'Time Lapse Lifetime', some more promise, but that track doesn't seem to deliver either. The rest of the record falls short of all my expectations and the record really finds it's spot on the last two tracks. The last two tracks, 'Orchids' and 'Cartoons and Forever Plans' are the best songs on the record, honestly. 'Orchids' is the slow, beautiful ballad-y like song that just makes me want to have a slow montion make out scene with some hot indie artsy girl (Jenny Lewis. Or Zoey Deschanel. Yesssssss). The soft drum tracks that highlight the simplicity of the song are well tracked and well mixed, the guitars perfectly suit the song and everything seems to be right here. The last track, 'Cartoons and Forever Plans' is a up tempo folky singer songwriter song that features full band vocals echoing Maria and every other line. It's just perfect. The bass is bouncy and the guitar makes me sway my head in my seat. That's song song writing right there.
But like I said there isn't anything really memorable about the record except for the last two tracks... Which is seriously dissapointing. I had more hope for this Maria Taylor record then delivered.
Tomorrow: Cursive's Mamma, I'm Swollen. Stay tuned.
It was inevitable
I'm going to talk about Watchmen.
But wait, you write a music blog! You can't talk about movies! Let someone more qualified talk about movies.
Shut it.
ANYWAYS.
Watchmen is probably the greatest graphic novel I've ever read and in my top 10 books. Sooo, at the sheer mention of this being a movie I was half frightened half extremely excited I was pissing in my pants. But. I had to wait. Then trailers came and the cast was listed and I was thinking 'Hey, this could be pretty good!' and then I started to relax. And then it was Thursday night 11PM and I'm walking with my friend Scott Leaf and I got piss ass scared. I had attempted to shy away from reviews and things but I had to read reviews. I read a few iffy and a few downers. But I assumed it was because everyone is stupid and didn't read the book or watch the motion comic. Which, consequently, that's the case, or I think I guess.
So that brings me to the point. The movie started out awesome. The entire opening scene with the history transitions and the apartment scene with the Comedian was so epic. My only complaint was.... YOU ALMOST SEE THE ASSASSINS FACE. What the fuck is that? It's supposed to be a mystery and he's supposed to be unknown. I'm trying really hard to not ruin it for anyone who hasn't seen it or read it (yet). None the less the movie gets awesome-er as it goes by. But around the middle it sort of plateus out and then just gets stiff. Rorsrach is hands down my favorite character in the movie and Jackie Earl Haley is spot on. Seriously spot on. Billy Crudup as Dr. Manhattan was epic. People I've talked too were not so hot on him, but, I felt that sicne Dr. Manhattan is so emotionally empty and detached, Billy's monotone voice really suited it perfectly. Matthew Goode as Adrian Veidt was acceptable, but, I felt he was way too pompus and too douche-y compared to the Veidt in the book until the end, I think. Patrick Wilson as Dan Dreidberg was good, I always felt that Driedberg was sort of a social outcast, never really the one anyone listened to and the one who always seemed to get ignored by the ladies (Oh wow.. That's me, fml). As as for Malin Akerman as Laurie Jupiter.... Totally hot, zero emotion until the end and it was sort of odd (Except for all the boobie shots. I definitely liked that, but that's because I'm crusining along on a super long dry spell.... I shouldn't have told you that). Bringing me finally to Jeffery Dean Morgan as the Comedian who did a pretty good job being the American douche bag stereotype.
But, I'm rather void of any real opinion on the movie. What I watched for two and a half hours almost wasn't what I wanted, I don't think. However, I don't want to say that the movie wasn't well done, because it really was beautifully shot and Zack Snyder did a pretty good job I think. They kept all the swearing and all the violence and didn't really bitch out on anything that would have really turned the movie to poop on film. But they did however change the ending, taking out the subplot (If you read the book you'll know what I mean) but I don't think it's really effected much as I felt it would.
But over all, I felt it was a pretty good movie and GREAT attempt at capturing something that was extremely difficult to capture. It's definitely not on par with the last Moore adaptation, but, it definitely wasn't bad.
If you check back I'll have another music review. Since, well, I write a music blog.
But wait, you write a music blog! You can't talk about movies! Let someone more qualified talk about movies.
Shut it.
ANYWAYS.
Watchmen is probably the greatest graphic novel I've ever read and in my top 10 books. Sooo, at the sheer mention of this being a movie I was half frightened half extremely excited I was pissing in my pants. But. I had to wait. Then trailers came and the cast was listed and I was thinking 'Hey, this could be pretty good!' and then I started to relax. And then it was Thursday night 11PM and I'm walking with my friend Scott Leaf and I got piss ass scared. I had attempted to shy away from reviews and things but I had to read reviews. I read a few iffy and a few downers. But I assumed it was because everyone is stupid and didn't read the book or watch the motion comic. Which, consequently, that's the case, or I think I guess.
So that brings me to the point. The movie started out awesome. The entire opening scene with the history transitions and the apartment scene with the Comedian was so epic. My only complaint was.... YOU ALMOST SEE THE ASSASSINS FACE. What the fuck is that? It's supposed to be a mystery and he's supposed to be unknown. I'm trying really hard to not ruin it for anyone who hasn't seen it or read it (yet). None the less the movie gets awesome-er as it goes by. But around the middle it sort of plateus out and then just gets stiff. Rorsrach is hands down my favorite character in the movie and Jackie Earl Haley is spot on. Seriously spot on. Billy Crudup as Dr. Manhattan was epic. People I've talked too were not so hot on him, but, I felt that sicne Dr. Manhattan is so emotionally empty and detached, Billy's monotone voice really suited it perfectly. Matthew Goode as Adrian Veidt was acceptable, but, I felt he was way too pompus and too douche-y compared to the Veidt in the book until the end, I think. Patrick Wilson as Dan Dreidberg was good, I always felt that Driedberg was sort of a social outcast, never really the one anyone listened to and the one who always seemed to get ignored by the ladies (Oh wow.. That's me, fml). As as for Malin Akerman as Laurie Jupiter.... Totally hot, zero emotion until the end and it was sort of odd (Except for all the boobie shots. I definitely liked that, but that's because I'm crusining along on a super long dry spell.... I shouldn't have told you that). Bringing me finally to Jeffery Dean Morgan as the Comedian who did a pretty good job being the American douche bag stereotype.
But, I'm rather void of any real opinion on the movie. What I watched for two and a half hours almost wasn't what I wanted, I don't think. However, I don't want to say that the movie wasn't well done, because it really was beautifully shot and Zack Snyder did a pretty good job I think. They kept all the swearing and all the violence and didn't really bitch out on anything that would have really turned the movie to poop on film. But they did however change the ending, taking out the subplot (If you read the book you'll know what I mean) but I don't think it's really effected much as I felt it would.
But over all, I felt it was a pretty good movie and GREAT attempt at capturing something that was extremely difficult to capture. It's definitely not on par with the last Moore adaptation, but, it definitely wasn't bad.
If you check back I'll have another music review. Since, well, I write a music blog.
Thursday, March 5, 2009
Brother's Blood
Jesus Christ, how many reviews am I going to write this week!? A lot, so shut it. Only two more after this. (For now)
The record starts off (At least on my version, I don't know if this is the official track listing, so don't hold it against me if I'm wrong.) with a GREAT start. 'All Of Everything, Erased' is a great all acoustic entry to the record, that reminds me a lot of the start to Put Your Ghost To Rest (A personal favorite of mine). Then KD hits us with 'Carnival'. A 6 and a half minute opus with aweomse synth pads and spot on production. It starts out with this awesome synth pad and then the guitar comes in with a swell. Not to mention the awesome reverse snare drums tha kick in around half way through the song and the epic repeated vocals with Kevin screaming in the last two minutes or so. Kevin's vocals are as always good, really complimenting the music he writes very well. Then we get the single he released on a 7" with 'Love Me I'm A Liberal' (If you preordered it like I did... I'm sorry. I had to wait forever for my blue one', 'Time To Burn (Another Bag Of Bones)'. I think I'm the only person who doesn't love 'Another Bag Of Bones' more then his own life. I mean, it's a good song, I just don't like it that much. I didn't realize it was a crime. I'm usually not a big fan of protest like songs, and, well, it's a very vivid image of someone who really hates what's going on now. I certainly love the similies that he uses as a song writer.... but I'm also not into protest songs.
We pick up suddenly with 'Hand Of God (When You Breathe.... Breathe)'. It's a bit of a weird transition, it starts off with harmonized 'Oohs'. A little weird after a very minor, dark sounding 'Another Bag...'. But 'Hand Of God' is exactly the kind of Kevin Devine I love. Toe taping singer songwriter. It definitely comes across to me as a protest-type song (another one) but I'm willing to put that aside. And it has tambourine. Tambourine rules. Then.... We have the first low point on the record, the title track, 'Brother's Blood'. Don't get me wrong, the song is good. Just not 8 minutes good. It's always been my philosophy that if you're recording a song more then 5 minutes in length... You need to change it up. There's no change up, so I get bored and just fast forward. The intro is also over a minute long. That's a little overkill, KD. Then the noisy angry last half of the song also throws me off too. We pick up a little bit with 'Fever Moon', a slower, more soulful song, it almost reminds me of latin music for a few seconds when the track begins. Maybe it's the horns that are real quiet in the back, behind the nylon classical guitar and finger snaps. 'It's Only Your Life' is probably my second favorite track on the record. The track could be on Put Your Ghost To Rest easily, actually. It's one of those melody KD songs that is him just speaking to you, and it really hits home. It's what he does best, I think. We round out the record with 'Murphy's Song', 'I Could Be With Anyone' (From the EP he released right after the 'Another Bag Of Bones' 7". This song is actually pretty cool, with it's sampled drums that give away to a pretty up tempo rock track), 'Yr Husband' (Just okay, really), and finally 'Tomorrow's Just Too Late'. 'Tomorrow's...' actually my favorite track on the record. It's another one of those songs KD just does well. It's him, his guitar, and a second vocal track singing in that signature soft voice about a scorned and jaded woman (I think, at least.) who wants out. He's telling her to move on and get out and be who you want to be. I could listen to this track for an hour on repeat and I think I wouldn't dislike it at all. It's just one of those songs.
Overall, this is a great record. It isn't as great as the last, but, still, pretty good. I enjoyed it and it was worth the wait, I think.
SO. That brings me to this: Kevin Devine. We all know KD. Right? Right. Well, his new record just leaked the other day and I've spent some time milling it over.
So we all know and love Kevin Devine for being the Brooklyn singer-songwriter that he is as he half rides the coat tails of his good friends in Brand New every time Jesse Lacey goes on a solo acoustic tour (I recommend that tour. It's awesome. Jesse and Kevin did a Beatles cover when I saw them back home in Pittsburgh). So here's what we got: 11 tracks of a great 5th record (Sans the two or 3 7"'s).
We pick up suddenly with 'Hand Of God (When You Breathe.... Breathe)'. It's a bit of a weird transition, it starts off with harmonized 'Oohs'. A little weird after a very minor, dark sounding 'Another Bag...'. But 'Hand Of God' is exactly the kind of Kevin Devine I love. Toe taping singer songwriter. It definitely comes across to me as a protest-type song (another one) but I'm willing to put that aside. And it has tambourine. Tambourine rules. Then.... We have the first low point on the record, the title track, 'Brother's Blood'. Don't get me wrong, the song is good. Just not 8 minutes good. It's always been my philosophy that if you're recording a song more then 5 minutes in length... You need to change it up. There's no change up, so I get bored and just fast forward. The intro is also over a minute long. That's a little overkill, KD. Then the noisy angry last half of the song also throws me off too. We pick up a little bit with 'Fever Moon', a slower, more soulful song, it almost reminds me of latin music for a few seconds when the track begins. Maybe it's the horns that are real quiet in the back, behind the nylon classical guitar and finger snaps. 'It's Only Your Life' is probably my second favorite track on the record. The track could be on Put Your Ghost To Rest easily, actually. It's one of those melody KD songs that is him just speaking to you, and it really hits home. It's what he does best, I think. We round out the record with 'Murphy's Song', 'I Could Be With Anyone' (From the EP he released right after the 'Another Bag Of Bones' 7". This song is actually pretty cool, with it's sampled drums that give away to a pretty up tempo rock track), 'Yr Husband' (Just okay, really), and finally 'Tomorrow's Just Too Late'. 'Tomorrow's...' actually my favorite track on the record. It's another one of those songs KD just does well. It's him, his guitar, and a second vocal track singing in that signature soft voice about a scorned and jaded woman (I think, at least.) who wants out. He's telling her to move on and get out and be who you want to be. I could listen to this track for an hour on repeat and I think I wouldn't dislike it at all. It's just one of those songs.
Overall, this is a great record. It isn't as great as the last, but, still, pretty good. I enjoyed it and it was worth the wait, I think.
Is this guy serious?
http://torrentfreak.com/metallica-frontman-pirates-his-own-album-090305/
Lars Ulrich: the worlds biggest douchebag. The worlds number one internet piracy fighter. Downloaded his own fucking album.
Wow. Read it and take a look. I have no commentary here, the douchebaggery speaks for itself.
Wednesday, March 4, 2009
O+S
Saddle Creek is probably one of my favorite record labels of all time, if not my favorite. They put out the best records ever.... Well, Bright Eyes records, and therefore ascends them to the greatest ever. They've also been home to the synth new wave destruction group The Faint (Fuckin' Todd Fink), Maria Taylor's former mainstay Azure Ray, the ever awesome Rilo Kiley, and Conor Oberst side projects galore like Park Ave. They don't have that much going for them now, really, other then Cursive (Does anyone care anymore? Probably, they just put out a new record), Maria Taylor (Also just released her 3rd solo record), and other acts like Neva Dinova, Sebastian Grainger, and Tokyo Police Club. Granted, they have other acts, but, I haven't really seen anything from them recently that I've enjoyed or even been interested in since Bright Eyes' Casscadaga. Until I got this.
O+S. Orenda Fink and Cedric Lemoyne. Post-rock, atmospheric, mellow fantastic-ness. Orenda has by nature a beautifully haunting voice and the beautiful textures behind it simply add to it's calming effect. I mean, I felt calm, probably the calmest I've been in a long time listening to this record, and right now as I write this review. It's pretty awesome when music has a physical effect on me and I'm deeply impressed.... Considering I didn't know anything about this band as I ripped the advance copy from WKDU.
The record opens with a statement, the track 'New Life' certainly does what it says.... Gives new life. Fink and Lemoyne certainly have slipped across something awesome and make it work through the whole track. It's totally soul-slow-jam. And totally bad ass. The synth pads behind Orenda's ethereal vocals just makes me want to make sweet and tender love to some hot indie-folk girl in a plaid western shirt. Right after that masterpiece slow jam is the more up tempo dancier feeling 'Permanent Scar'. This track is way bass heavier and definitely makes me bounce my head. Orenda starts the song by going 'What kind of woman leaves a permanent scar/on such a beautiful heart?' and I just wanna grove. For real. I'm from the suburbs in a black american apparel hoodie with fire truck red Vans authetic's. I don't dance. And unless you're Men, Women, & Children, I probably won't dance to your band (Except Daft Punk and Justice. I have a little hipster in me, I won't lie). None the less, 'Permanent Scar' is totally hot'n'sweaty grind track with the fuzzed out bass leading the way.
Up next is 'The Fox'. Which is very Orenda Fink. The song has some synth-like 'Ooooh's' that are harmonized and ran behind Orenda and her solo acoustic guitar. The track is full of lo-fi goodness that resonates in my headphones like a wave of.... Uh.... Sonic... goodness...? However... track 4 is where I start to feel some questions raise. The record has two very complimenting aspects... Orenda Fink and her voice and the synth textures. But 'Toreador' is a track that some how doesn't quite blend for me. The accompaniment is a piano, but the sampled drums for the first two minutes-ish clash with everything. After 2 minutes the track totally picks up and feels pretty solid. I have the same sentiments about the next track 'We Do What We Want' (Well.... Actually this track is way cooler then the previous. With a awesome pedaling bass over some sampled drums and then a pedaling guitar sounds awesome) and if this were a record, this would be where I put the needle back at the beginning. The second half of the record all sort of blends into the same lo-fi synth pad rich goodness, but, nothing memorable. Which really let's me down.
Over all this is one hell of a debut. I expect nothing less then the best from Saddle Creek and this does pretty well to deliver on the first time around. Granted, this is totally something that could fit right into a slow montage in a Zach Braff movie (Well... Garden State, really.) I really would love to see another Fink/Lemoyne collaboration. If not.... I'd be dissapointed, but we'd always have O+S' debut to jam too.
O+S. Orenda Fink and Cedric Lemoyne. Post-rock, atmospheric, mellow fantastic-ness. Orenda has by nature a beautifully haunting voice and the beautiful textures behind it simply add to it's calming effect. I mean, I felt calm, probably the calmest I've been in a long time listening to this record, and right now as I write this review. It's pretty awesome when music has a physical effect on me and I'm deeply impressed.... Considering I didn't know anything about this band as I ripped the advance copy from WKDU.
The record opens with a statement, the track 'New Life' certainly does what it says.... Gives new life. Fink and Lemoyne certainly have slipped across something awesome and make it work through the whole track. It's totally soul-slow-jam. And totally bad ass. The synth pads behind Orenda's ethereal vocals just makes me want to make sweet and tender love to some hot indie-folk girl in a plaid western shirt. Right after that masterpiece slow jam is the more up tempo dancier feeling 'Permanent Scar'. This track is way bass heavier and definitely makes me bounce my head. Orenda starts the song by going 'What kind of woman leaves a permanent scar/on such a beautiful heart?' and I just wanna grove. For real. I'm from the suburbs in a black american apparel hoodie with fire truck red Vans authetic's. I don't dance. And unless you're Men, Women, & Children, I probably won't dance to your band (Except Daft Punk and Justice. I have a little hipster in me, I won't lie). None the less, 'Permanent Scar' is totally hot'n'sweaty grind track with the fuzzed out bass leading the way.
Up next is 'The Fox'. Which is very Orenda Fink. The song has some synth-like 'Ooooh's' that are harmonized and ran behind Orenda and her solo acoustic guitar. The track is full of lo-fi goodness that resonates in my headphones like a wave of.... Uh.... Sonic... goodness...? However... track 4 is where I start to feel some questions raise. The record has two very complimenting aspects... Orenda Fink and her voice and the synth textures. But 'Toreador' is a track that some how doesn't quite blend for me. The accompaniment is a piano, but the sampled drums for the first two minutes-ish clash with everything. After 2 minutes the track totally picks up and feels pretty solid. I have the same sentiments about the next track 'We Do What We Want' (Well.... Actually this track is way cooler then the previous. With a awesome pedaling bass over some sampled drums and then a pedaling guitar sounds awesome) and if this were a record, this would be where I put the needle back at the beginning. The second half of the record all sort of blends into the same lo-fi synth pad rich goodness, but, nothing memorable. Which really let's me down.
Over all this is one hell of a debut. I expect nothing less then the best from Saddle Creek and this does pretty well to deliver on the first time around. Granted, this is totally something that could fit right into a slow montage in a Zach Braff movie (Well... Garden State, really.) I really would love to see another Fink/Lemoyne collaboration. If not.... I'd be dissapointed, but we'd always have O+S' debut to jam too.
Tuesday, March 3, 2009
Punk Goes Punk, Vol.2
Everyone loves pop punk bands doing top 200 hits right? Uhhhh? Maybe? In like 2003 maybe? Except for the A Day To Remember cover of Kelly Clarkson's 'Since U Been Gone'. That was a catchy jam. The bass and chugging rolls were really awesome. BUT.
Here's a laundry list of the pop songs on it: Beautiful Girls (Sean Kingston), Love Song (Sara Bariellies [However you spell her name]), Apologize (OneRepublic/Timbaland), Baby One More Time (Brittney), and Over My Head (The Fray). Granted some (And I use the word SOME very generously) of these terrible excuses for songs aren't half band (Timbaland remix of OneRepublic was way too good, seriously, way too good). Which brings me to the laundry list of bands making this compilation awkward: Bayside, Four Year Strong, Alesana, August Burns Red, Silverstien, Mayday Parade. Erggh.....
So. Silverstien's cover of OneRepublic's 'Apologize' is the ONLY song on this record worth listening too. Every other song is just.... Odd. I can't find myself singing along. The A Day To Remember cover of The Fray's 'Over My Head (Cable Car)' starts out good, then it kicks in and just gets odd. This records downfall is the horridly shoddy mixing of the drums. Whoever mixed every single one of these drums tracks, at whatever studio, in whatever city, should be shot. They took out every frequency BUT the treble. There are literally no bass frequencies what so ever. EVEN ON THE BASS CHANNEL. What the hell is that? Seriously. What the fuck, guys. All I wanted was some pop-punk/happy hardcore breakdowns on some pop 100 songs. Instead, I got pop-punk/happy hardcore cover songs without any bass or drums. Everything sounds it was recorded through a radio, inside a 1995 Dodge Neon.
Two thumbs down.
Playlist for 3-3-09
Rocky start. Apollo Creed. Movies from the 90's. WOAH.
| The Appleseed Cast | The Summer Before | Sagarmatha | √ |
| Owen | Bad News | At Home With | |
| My Brightest Diamond | Feeling Good | Dark Was The Night | √ |
| The Tallest Man On Earth | Shallow Grave | Shallow Grave | √ |
| The New Amsterdams | Stay On The Phone | Para Toda Vida | |
| Matt Pryor | Lorelai | Confidence Man | |
| Kevin Devine | A Billion Bees | Put Your Ghost To Rest | |
| Neko Case | I'm An Animal | Middle Cyclone | √ |
| Neko Case | This Tornado Loves | Middle Cyclone | √ |
| Elisabeth Anaïs | La Même Histoire | Paris Je T'Aime | |
| Marie Laforet | D'être à vous | Pop A Paris | |
| Marianne Dissard | Sans-Façon | L'entredeux | |
| Jenny Lewis and the Watson Twins | Happy | Rabbit Fur Coat | |
| She & Him | This Is Not A Test | Vol. 1 | |
| M . Ward | Jailbird | Hold Time | √ |
| Raphael Saadiq | Calling | The Way I See It | |
| Dave Sitek | With A Girl Like You | Dark Was The Night | √ |
| Owen | Femme Fatal | At Home With | |
| Justin Vernon | Return To You | Justin Vernon | |
| The Juliana Theory | Something Isn't Right Here | Emotion Is Dead |
Monday, March 2, 2009
Distances
There seems to be this big underground thing with split 7" these days. And it's awesome. That brings me to this weeks review. Philadelphia pop punk, The Wonder Years meets UK pop punk, All Or Nothing. Pretty fucking rad.
The Wonder Years are now a full length and two 7"'s deep into their career, dividing time between being students and touring. They do a pretty bad ass job. The Wonder Years's side of Directions is too short for my liking, only two songs. However, in true TWY fashion, the songs are awesome and funny. The first of two, 'An Elegy For Baby Blue' is just a good, old fashioned pop punk song. Their second song feels like a track two on a split, good, but, could be better.
The All Or Nothing side is 3 tracks and not too bad. They always came across on the poppier side of pop punk, but these three tracks give me some hope that they aren't just another version of We The Kings or Sing It Loud (I hate them both, just so you know). Lots of hooks and bouncy guitar riffs are always a plus, considering I make my business listening, playing, and writing and writing about pop music. The first All Or Nothing track is really the best one, the other two aren't bad, the last, 'This Is Very Impossible', is the better of the two, with a pretty cool solo at the end that isn't overbearing and stupid, like 99.9% of solos that I hear.
Over all, pop punk is still alive and still breathing in the underground. Bands like The Wonder Years and All Or Nothing are still keeping the slightly juvenile yet poignant pop punk music breathing well as veterans like New Found Glory sort of get a little mature and don't have the same infectious quality on first listen.
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