It's that time of year where almost every music blog or magazine or whatever posts their Best of lists. Here is Spin magazine's top 40 albums of 09, courtesy of stereogum.com. Here are their top ten. What have you heard/have you liked/have you loved/have you hated?
You know that Animal Collective-esque Vampire Weekend track you've been dying to hear? Well, get a load of this: California English, Pt. 2 is the b-side to VW's newest single "Cousins." Althought the vinyl version of these two songs somes out December 15th (just in time for the last few days of Hannukah!), the full LP Contra comes out January 12, 2010.
Today, Something Corporate announced they will play their first show together since a brief three song set in 2006. A Youtube video has the four members holding up signs saying March 2010, Bamboozle Left, See you then!
This announcement is following a year filled with reunions: Blink 182, Pavement, Sunny Day Real Estate, The Starting Line, Phish, Blur, and, everyone's favorite Pearl Jam wannabe, Creed. All these bands who seemed to nothing more than a memory, nothing more than left for dead, are back.
Sometimes, these reunions become one-off shows (Sublime), other times they turn into full-blown tours and new albums. A break, or what every band now seems to refer to as a "hiatus," is becoming more of simply that, a break.
I remember when Blink-182 went on an "indefinite hiatus" back in 2005: I thought they were done. Stick a fork in them, and all that jazz. But all they needed was a rest and time to remember why they make music in the first place.
As much as I love Something Corporate, I doubt I will be able to make it to California in March to see them perform again. I hope they elaborate on this reunion and make it more than just a performance.
I'm curious to know your opinions on reunions and what you hope for when a beloved band seems to come back from the dead?
With a Jason Segal helmed Muppets movie in the near future, and my undying love for all things Muppets, this production by Kermit and the gang was a very pleasant surprise. I generally do not watch the new, hip Youtube vides (what the hell is Kittens inspired by Kittens?), but this one made me very happy and was classic Muppets. Enjoy!
I originally didn't want to hear anything from the new Vampire Weekend album, Contra. Vampire Weekend was the IT band last January when their self-titled debut came out (which I love/loved), but I'm a bit apprehensive of the potential dreaded sophomore slump. While I haven't heard anything besides the song "Horchata" they released last month as a free download and their first single, "Cousins," I am pleased to say I think I will love this album too. That being said, Ezra Koenig and the rest of the VW boys just released the video of Cousins (thanks, Stereogum for the heads-up). The song sounds like classic Vampire Weekend, catchy and infectous, and the video is a fun, self-satirical view of themselves.
Although it came out months ago, I've been having a difficult time going more than two or three days without listening to the brilliant, medieval-esque opera that is The Hazards of Love.
There is nothing musically genius at all about this sophomore effort, it's just a fun, mindless, auto-tuned album to play while driving to the beach, or chilling on the beach, or being in any sort of environment where water and sand make up the majority of the area.
Ahhh… Spring time! As the days become longer and my surroundings become greener, I find myself in a better frame of mind. After a winter that was marked by economic recession and national tragedies, all I want to do is escape the daily grind and enjoy all that this time of year has to offer. Maybe a nature walk through a meadow, or a hike up a scenic mountain is what I require... However, if you are not feeling as environmentally inclined as I am, but still want the satisfaction of experiencing your own seasonal rebirth, why not have a listen to Grizzly Bear’s new album Veckatimest?
Emerging from a three year recording hibernation with their third full length studio album, Grizzly Bear brings all the psych-folk and vocal harmonies you would expect, and some catchy surprises you may not have. And, just as you can count on this time of year to never disappoint aesthetically, you can look to Grizzly Bear to give you that spring in your step you have been looking for the past three months.
I had first caught wind of Grizzly Bear’s new album in late 2008 when a performance of While You Wait for the Otherswas circulating around the web. Upon first listen I was not too impressed; though, to be fair, it was a performance from a radio station and the song had not been arranged completely by the band. So, when I first listened to Veckatimest I did so with a bit of reluctance. For any of you who are not too familiar with the band I like to think of them as a bouquet of flowers with some Animal Collective, Scott Walker blossoms and a touch of Philip Glass thrown in for a nice accent. They have come to be known for their experimental nature and use of ambient noises but have still maintained classic song-writing sensabilites as the main framework for some of their songs. All that is present in Veckatimest, but this time around, the band has decided to keep things a little more upbeat and give the listener something to really focus on with a more structured body of work.
Songs like Southern Point, Two Weeks and the aforementioned While You Wait for the Others are ones that represent the more upbeat, rebirth feel that the band were going for and honestly songs that could even pass for radio singles. What really catches you on songs like Two Weeks and While You Wait or the Others, is how Grizzly Bear make their choruses explode. On Two weeks it's the piano crescendos and on While You Wait for the Others it's the backing vocal harmonies bellowed out by Ed, Chris and Christopher. On the other hand Dory and Hold Still remind you that Grizzly Bear have not abandoned their trademark ambient/psych-folk sound, but that they rather have become more concerned with developing and building off of that aspect of their music. One song that I hope doesn't fly under the radar is Ready Able. Ready Able, in my opinion, encompasses Grizzly Bear up until this point. Beautifully crafted string arrangements, vocal delivery that seems to swallow you whole and all of this while remaining true to their hip, Brooklyn roots.
The aspect of this album that I enjoyed most is its cohesiveness. Each song’s place on the album seems deliberate and helps to develop the overall feel of the album. This is not to say that it is in any way a concept album. Still, Veckatimest is an album that must be enjoyed and not just passively listend to while studying for mid-terms. With that said find a nice serene spot under a tree and really allow yourself to take some time and enjoy all that Veckatimest has to offer.
I feel like I should preface this review with some form of a "disclaimer." You see, The Thermals, an indie-post-power-pop-punk band from Portland, Oregon, are my most favorite band in the whole wide world. There, disclaimed.
Now let me get it all out: "OH MY GOD GUYS THIS IS THE BEST ALBUM OF THE YEAR HANDS DOWN THE BESTEST WOO!" ..OK, phew now that that's out of my system..
Now We Can See is The Thermals' fourth album, and will be officially released on April 7th. For anyone even remotely familiar with The Thermals back catalog Now We Can See is an entirely different beast. Whereas their first 3 albums were raucous affairs in lo-fi Indie punk this album has much larger melodies, bombastic production values (Via John Congleton, producer for Explosions in the Sky, Polyphonic Spree, and more), and longer, fuller songs.
Lead singer Hutch Harris' lyrical talent has also evolved to fit this bigger sound. While 2006's The Body, The Blood, The Machine was an overtly political album, Now We Can See focuses on a more mature motif of "songs from when we were alive." Fittingly this motif features songs with titles like "When We Were Alive" or the pop-punk opening gem "When I Died." The more grown up mood shines the most on the nearly six minute track "At the Bottom of the Sea", "I Called Out Your Name" and the huge sounding album highlight "How We Fade".
Don't fret however, there's still plenty of hard hitting, punchy stuff up for offer here. Specifically the driving force of "When I Was Afraid" and the incredibly energetic album closer "You Dissolve". Not to mention the infectiously catchy title track that's been making the rounds on the web the past few weeks.
At the end of the day Now We Can See is The Thermals most fully realized album yet, and well worth your time to check out. I'm saying that as a music lover in general and not just a kid obsessed with The Thermals(which I am). It's hard for me to imagine anyone not having a good time with this one, so check it out!
I'm not sure if it's the weather, but I've been uncharacteristically chipper lately. Maybe it's my hopes that the snow is finally gone for good and that faint distinct aroma of spring hiding behind the harsh winds is more than my imagination playing tricks on me. Maybe it's the constant flow of coffee I have pumping through my veins day after day. I'm not sure. It's during this time of year I like to revisit bands I never really put much thought into the first time I heard them. Spring is rebirth, so why not rediscover new music?
Are The Airborne Toxic Event anything new and fantastic? No, not especially. There are times I'd swear I was listening to some unreleased Killers material, or the new Strokes album, after they rediscovered The Smiths. But if they are so run of the mill like I claim, why listen? I guess the self-titled debut album just hit me at the right time. I mean, what better time to listen to forlorn lyrics over retro 60's British rock then the time of the year where contrasting seasons mesh together?
I read other reviews where they tore this album apart, but TATE just seem like a band that doesn't take themselves too seriously. While some of the lyrics, like the chorus for "Gasoline", are childish and "Happiness is Overrated" IS The Killers, you gotta take it for what it is: a decent debut album from a band that could have great potential if they sounded a little less like their contemporaries.
It's a feel good album that flirts with retro and modern rock. It's almost impossible to stop yourself from humming along to songs like "Does This Mean You're Moving On" and "Wishing Well". It's great throw-the-headphones-on-and-walk-around-town music-on-a-sunny-day music. And when Punxsutawney Phil's prediction starts to come true, what else I could ask for?
The Airborne Toxic Event was released on August 5, 2008 on Majordomo Records.
Ever since Feist taught everyone how to count in Apple commercials last year, I've felt this influx of female singer-songwriters has become too much. Who are Yael Naim, Colbie Caillat, Sarah Bareilles and where did they come from? Are they all one trick ponies, or is there something memorable about them? Do they hold any staying power? Any merit?
As the strings crescendoed in "Generosity," the first song of (a)spera, I felt something special. Something's there, I know it. After doing some quick research (read: wikipedia), I discovered Mirah has been around for a few years (twelve, to be exact) and after a four year hiatus, will be releasing her fourth album (the one I'm reviewing).
While her older albums are either very poppy (You Think It's Like This But Really It's Like This) or very folky (Advisory Committee and C'mon Miracle), this album is a perfect blend. She uses many unique and odd instruments, ones I've rarely if ever heard on an album. Anybody ever hear of a Mandinka Kora before? There are some very ethnic, poppy, get-off-your-ass-and-onto-your-feet dancey songs: "Country of the Future" makes me wanna cha-cha. And as poppy and feel-good as some tracks are, that how morose "The River" and "While We Have The Sun" are.
Mirah is the singer in the intimate, smokey bar or coffee house. She may play unnoticed, but for the one or two people who catch her peaking through the chaos, they are lucky. It's hard to predict what will become Mirah in the future. She sure as hell doesn't know. In "Generosity," she timidly asks "Am I invited to stay?/I've worn my welcome."
...but if anyone has any ideas for an upcoming album they think should be checked out and even reviewed, feel free to leave YOUR recommendations in the comments. YOU'RE reading this, so let's make it interactive and a tighter community.
What year is it? Calendars and newspapers try their best to convince me it's 2009, but they must be liars. It feels like the summer of 2003, a summer comprised of backyard bar-be-ques, acoustic guitar sing-alongs, and some of the catchiest, most meaningful pop-punk ever listened to by human ears. First, Blink 182 decide to go on tour and release a new album this summer, and then New Found Glory create an album like Not Without a Fight. How am I supposed to believe my eyes, when I can hardly believe my ears?
I wasn't a huge fan of New Found Glory's last two efforts, Catalyst and Coming Home; I missed the hooks and overall poppiness of their older albums. New Found Glory had matured, and I always equate maturity with darkness and solemnness. So, news of a new album didn't phase me. They were starting to remind me of Adam Sandler: abandoning the feel-good attitude of the 90's, and replacing it with mediocrity. Sandler wanted to get back to his comediac roots and made Don't Mess With the Zohan. Not Without a Fight is not Zohan.
Not Without a Fight is good.
The first half of the album is stronger then the later: "Right Where We Left Off" and "Don't Let Her Pull You Down" could both be the next single, following "Listen To Your Friends". Majority of the songs still focus around girls and relationships, but they say write what you know. What I've always admired about NFG was how they're able to take heartbreak with a snide smile ("47"), and their ability to create a dichotomy between rigid, punk music and hopeful lyrics ("Truck Stop Blues"). The content is probably more relatable to high school kids, then say, anyone else, but when nostalgia hits, it feels like I'm home.
Complete with crunching guitars and trademark drum fills, Not Without a Fight feels like it was created right after New Found Glory's breakthrough self-titled album. NWAF is not their best album, but it is pretty comforting to hear something close. I picture myself wearing my old blue Midtown t-shirt, a pair of overly baggy cargo shorts, my old grey-and-green Puma's, and jumping around with my friends, while rocking out to this blasting through the CD player. Catchy and anthemic, each track is made to be sung at the top of your lungs, windows down and driving fast.
Not Without a Fight comes out March 10, 2009 on Epitaph Records.
I'm not one to watch the Grammy’s.It has become more of a popularity contest rather than an awards ceremony that honors those who have significantly made great strides in the music industry, not to mention that the majority of the artists I listen to are never nominated. Things changed this year, however, when I heard that Radiohead would be performing at the award ceremony.I was surprised because they are my favorite band ever and confused because in past years, Radiohead have been open about their dislike of the show. Nevertheless, I sat down with my big Radiohead foam finger on Sunday night at 8pm to watch.
Now, the word on the Internets was that Radiohead would be opening the show.However, when U2 took the stage I figured I would have to wait a while to see my heroes perform.U2 performed Get on Your Boots which sounded like a pop-punk version of Subterranean Homesick Blues- a lot about humanitarianism, stop the war stuff. You know- Bono-mics.What was most shocking was when Bono removed his sunglasses and exposed his dirty little secret to the world… he wears eyeliner!
The first award of the night was presented by a less cracked out but equally as entertaining Whitney Houston. Before she awarded Jennifer Hudson with R&B Album of the Year she made sure to blow kisses to Clive Davis.As The Rock… I mean Dwayne Johnson walked onto the stage I knew this had to be it! However, to my dismay he was only introducing Justin Timberlake so he could botch a joke about a general store to introduce a performance of himself, Al Green and Keith Urban.As Al and J.T. falsetto-ed over Keith Urban’s guitar solo I thought “How long am I going to have to sit through this to see Radiohead?” But as Simon Baker walked onto the stage I knew that a group of performing Brits were about to be announced; and I was right. Sadly though, it was only Coldplay.Chris Martin performed Lost? Or Lost! (?!) alongside Jay-Z.Martin soon joined his other quasi baroque-rock adorned band mates for a rendition of Viva la Vida.As Carrie Underwood sang I Don’t Even Know His Last Name, I couldn’t help but think that I had become so detached with popular music that I practically didn’t know anybody’s name at the award show.After Coldplay accepted their award for Song of the Year, they rightfully apologized to Paul McCartney for recycling the Sgt. Peppers outfits though they did not apologize to Radiohead for recycling The Bends for the first part of their career. Speaking of recycling, Kid Rock performed his trailer-rock version of Werewolves in London.Though I did not hear any howling of wolves, I think I did hear Warren Zevon rolling in his grave.
As I started to anxiously pace in anticipation and confusion of Radiohead’s upcoming performance in my room, I was eased by the announcement that coming up would, in fact, be Radiohead. I could breathe easy for a while. Now, I am not the biggest fan of Taylor Swift but I, surprisingly, enjoyed listening to her sing.Miley Cyrus, on the other hand, left something to be desired.When approached with the opportunity to perform with Cyrus, Taylor Swift, taking her own advice, should’ve said no. Coldplay won best rock album. Surprise -(yawn). But more important than that was the presenters of the award- a reunited Blink 182 who announced their reunion would go past just tonight and they would, in fact, be “getting-back-together” as they say in the music biz, to make music.Katy Perry informed us, for the one-millionth time, that she kissed a girl and that she liked it.Though she subliminally reminded us that she still liked boys by making her entrance on a 30-foot banana that would certainly make the Chiquita Banana lady happy. Another Kanye West sighting as he performed American Boy looking like Lionel Richie alongside Estelle.Any ceremony wouldn’t be complete without Kanye West complaining about something as he whined that he never won Best New Artist.I began praying to God to just bring out Radiohead! I thought my prayers were answered when I heard his voice. Well, not God's voice, but Morgan Freeman’s.I knew only Morgan Freeman could be worthy enough to present Radiohead. Turns out he was only worthy enough to introduce Kenny Chesney. Bathroom break!
When I returned I found Queen Latifah introducing apregnant M.I.A. singing few lines from Paper Planes, or was it a sample from Swagga Like Us? Finally, something worth watching.Though I am not the biggest hip-hop fan I enjoyed the “Rap-Pack” of Jay-Z, T.I., Kanye West and Lil Wayne.
As the performance ended I found myself growing weak.As the minutes passed I could no longer stand it. I was going crazy. Was Radiohead ever going to play or did they remember that they hated the Grammy’s and decide to leave.I was about to shut off the T.V.when I saw Gwyneth Paltrow walk out on stage.She was announcing a performer. I wasn’t really listening to her but all of a sudden I caught a few words that sounded like lyrics from 15 Step, the song that Radiohead was rumored to be performing with the USC marching band. Could it be? The moment I had been waiting for? IT WAS!!!!! As the wall came down and Thom Yorke began to sing my wait was over. Now, it wasn’t the whole band but Thom Yorke and Johnny Greenwood would certainly make do. I can not really remember much of the performance because of the trance-like state I was in, but what I do remember was, dare I say, utterly brilliant!
As the song wrapped up I felt relief throughout my whole body. The wait was over and it was worth it.The rest of the night was filled with once in a lifetime performances. Paul McCartney and Dave Grohl performing I Saw Her Standing There. John Mayer, B.B. King, Keith Urban and Buddy Guy paid tribute to Bo-Diddly. But the most shocking of all was Neil Diamond performing a rare Grammy version of Sweet Caroline! I was fortunate enough to catch Robert Plant and Allison Kraus perform a few songs of their album despite my current dazed condition. As I was coming down from my high, the older and blonder Green Day walked to the podium to present Album of the Year.As the nominees were read and they slowly opened the envelope I just kept repeating one thing… “Not Coldplay. Not Coldplay. NOT COLDPLAY!!!!” As Robert Plant and Allison Krauss were awarded their rightfully deserved Grammy I breathed a sigh of relief; for not only did Coldplay not win but also the three and a half hour ceremony was over.
As Stevie closed the show I… wondered. Why is it that I, as other lovers of music, have come to find the Grammy’s as the epitome of all that is wrong with music?Why can we not just accept the fact that maybe its just the way is and we are going to have to get used to it. But I learned something from watching the Grammy’s: it isn’t the Recording Academy that has ruined music.It is not their fault that good artists do not get recognized. They are not to blame for the devolution of music. The Jonas Brothers are.
Sunday, 8 February 2009
A Grammy review is coming, but Blink 182 have announced their reunion, and in my opinion, that is all that matters.
Hi. We're blink-182. This past week there’ve been a lot of questions about the current status of the band, and we wanted you to hear it straight from us. To put it simply, We're back. We mean, really back. Picking up where we left off and then some. In the studio writing and recording a new album. Preparing to tour the world yet again. Friendships reformed. 17 years deep in our legacy.
Lily Allen, I missed you. I first saw you as a modern day Jessica Rabbit in the music video for the Mark Ronson collaborated cover of "Oh My God," and I fell in love. I downloaded bought your debut album Alright, Still...and thought you were a pop genius. Then I heard all these tabloidy-Perez Hilton stories about you, and I defended you. No, not my Lily! She can't let the spotlight blind her! She wouldn't. She can't let me down! She's not Britney, she's not Amy (Winehouse, who she's exchanged a few words with)! She's better then that!
And she is.
Back with her new album, It's Not Me, It's You, Lily couldn't make me happier. She continues to make great pop songs with meaning, this time experimenting more with electronica and a hint of Americana/country. She's capable of pulling off catchy pop tunes with a message, something many artists can't imagine, let alone execute.
There's opening track, "Everyone's At It", calls out hypocrisy and denial when it comes to drug abusage, leaving no one safe in the fray, even herself. There's first single, "The Fear," is a wake up call to those celebrities who are more famous for their private life, then their career life. There's even the upbeat political send-off to the former president, "Fuck You". But, for the avid Lily Allen fan, keep in mind she does get off the soapbox and sing about sex and love and ex's and currents.
Lily sings about guys who suck in bed ("Not Fair"), guys she's happy about leaving ("I Could Say" and "Never Gonna Happen") and new relationships ("Who'd Have Known"). She sings about God in "Him", and what if He were one of us (thanks, Joan Osbourne). She reminds us that she's still a daddy's girl in the honky-tonk "He Wasn't There." She reminds us that she's still as great as ever.
What I love about Lily Allen is that regardless of how raw she comes off, she still seems approachable. There's one part in "Who'd Have Known" where she sings "And today, you accidently called me baby," and I can't help but smile. She goes from ripping Bush a new one and putting down all these "celebrities" to coming off as harmless, naive, and innocent. That's Lily Allen for ya: the pop singer for the anti-Britney fan, the spokeswoman for the unspoken, and the sweetheart with a heart of gold and mouth of a sailor. I missed you Lily, and I couldn't be happier that you're back.
It's Not Me, It's You comes out February 10, 2009 on Capitol Records.
Being born in the 80's, for some of us, consisted of nothing more than that: being born. Most of us spent the remaining years of the decade pooping in diapers and getting our meals from bottles or… well, you know. But for Anthony Gonzalez of M83 the 80's were a time that shaped and inspired who he would become, and, ultimately, what his music would sound like. Anthony's fifth album, Saturdays=Youth, plays out like the soundtrack to the 80's movie that was never made.
As the opening credits roll across the screen, You Appearing offers a glimpse into the story that will be unfolding before the listeners…ears? The music is elegant while the lyrics "It's your face/Save me/Where we are" are a bit more haunting. As the story progresses we are introduced to Kim and Jessie: friends, lovers whatever the case, it is a glimpse into the more innocent time of ones youth. Skin of the Night and Graveyard Girl are a listeners chance to get closer to the cast of characters that Gonzales has created. Skin of the Night is considerably the most vulnerable song on the album: "Oh queen of the night (All of her soft parts call to me)/ Well she is deep inside! (She could be mine)/ She is haunting me!" Graveyard Girl, on the other hand, is more of a fun pop song about the lonely, outcast girl who loves The Cure and Depeche Mode but still maintains her quirky sense of humor. The highlight of the song is a spoken word section that sounds like a Molly Ringwald monologue from a John Hughes film that never made it past the cutting room floor, but in a good way. Coulers, the quintessential eighties dance song, is followed by Up! which makes for the perfect make out tune in the back of your parents station wagon.
As the story winds down and the credits roll across the screen, Midnight Soul Still Remains allows the listener to quietly reflect on what he or she just experienced. Experience is the perfect word to describe this album. Gonzalez's soft vocals drowned in ethereal guitar sounds are what make M83 an aptly named band. It's as if they truly have created their own sonic niche out in the depths of space. So, if you are feeling nostalgic, I highly recommended putting on Saturdays=Youth and reminiscing about 2008.
I really, really, really wanted to love this album. The eponymous debut album by Two Tongues, a supergroup comprised of Max Bemis and Coby Linder of Say Anything and Chris Conley and Dave Soloway of Saves the Day , should have been my favorite album of 2009. In theory, this could have been the greatest combination since cold cheese met pizza. In practice, it feels more like a Zonie when it arrives 3 hours after it's ordered: cold, unsatisfying and surprisingly cheesy.
The album falls short of what it could have been, with the exception of "Interlude," sung beautifully by Bemis's fiancee and Eisley lead singer Sherri DuPree, and "Tremors," the "I Got You, Babe" of the Bemis-Conley bromance. Too many lyrics seem settled upon, and too many lines are repeated. How many times can 'come on' be used as a chorus in one album, guys? Lines like "You make me pay every time/Is this love an endless crime" from "Come On" and "You've got your hole, it's where you lay/To writhe, to rot, until your dying day" from "Dead Lizard" sound like very bad poetry written by an angst-ridden high school boy.
The actual music is exactly what it needs to be: a perfect blend of Bemis and Conley. However, there are a few tracks, specifically "Back Against the Wall," that sound too farfetched for anyone to believe Two Tongues wanted to be taken seriously. I could see this music used by Justin Timberlake, but definitely not Bemis or Conley. Max's voice is smooth and one of the more comforting aspects, while Conley's is often shrill and nasal, more so than usual. The dichotomy between the two voices feels forced and often times awkward.
For the Say Anything/Saves the day enthusiast, you will like this record strictly because of the driving forces. It's nothing groundbreaking, it's nothing that's going to top any 'best of 2009' lists, and it may not even be that well remembered, but it is a decent first effort by a band that should have blown me out of the water. I wanted to love this album, but I'll wait for their next one to come out, with lower expectations. They can only go up from here. The album comes out February 3, 2009 on Vagrant Records.
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