Album Review: The Futureheads – The Chaos

Ah, The Futureheads. Some of Sunderland’s favorite sons won my heart back in 2004 when they released their self-titled LP, a brilliant pantheon of slick, angular Brit garage rock, peppered with memories of Madness, vintage Blur, and one hell of a kicky Kate Bush cover (I’ll never think of “Hounds of Love” in the same way again). Their subsequent couple of records didn’t quite grab me as much as The Futureheads did, so I was a little wary of latest release The Chaos. But guess what? Seems I’ll never learn my lesson, because this little album is pretty bloody good indeed. It doesn’t quite have that breathtaking spark of The Futureheads, but then again, it doesn’t need to.

The Chaos begins, quite rightly, with “The Chaos”, a punchy, taut number highlighting the sharp angles the band can still knock out with much aplomb. “Struck Dumb” keeps up the frenetic pace, and sees The Futureheads churn out their satirical social commentary backed by fast and furious guitars. It’s a straight up 80s revival for the cheeky poppy song “Heartbeat Song”, which seems almost, dare I say, youthfully sweet in its exuberance. “The Connector” totally makes me think of the glory days of Adam Ant, somewhat silly and verily unstoppable. The proceedings come to a hearty close with the fabulous “Jupiter”, with its humming intro, especially jangly guitar, and almost Queen-esque harmonizing. Well, without the Freddie falsetto, that is. And I love that chant of “Jupiter” as the song reaches its’ finale.

Listening to The Chaos reminds me a whole lot of how it felt and sounded when I first listened to the self-titled LP back six long years ago. The songs are so very good, so very catchy, and so very addictive. And while I’d hate to spoil all the frivolous fun, but in a way The Chaos seems a bit, well, mature. It’s like the band has grown up…maybe just a touch. Maturity or no, it’s a well-played return to form for The Futureheads, and I’m certainly impressed with this latest offering.

mp3: Struck Dumb (The Futureheads from The Chaos)

Album Review: The Black Keys' Brothers is So Good I Want to Mount it Like a Bull in Heat

Is it just me, or is 2010 already turning out to be the best year in while for new music? Hell, Erykah Badu and Broken Social Scene alone have made it a year to remember, album-wise. And then today comes Brothers, the latest from the greatest touring blues rock duo in the known universe, The Black Keys. Of course, i purchased the "For Fanatical Fans" package, but if you want a chance to win your own, head on over to LET fave HearYa for a contest to do just that. Feel free to comment to an almost unnecessary degree about your love of beards while there. Those cats dig that stuff.

i feel it's slightly premature to say this is not only the Key's best work, but the best CD of the year so far, but that's only because i haven't had a chance to listen to it at eardrum shredding levels in my car yet. Suffice to say, it's a damn fine album, kids, and i cannot recommend it enough. Once Dan opens things up singing falsetto, it's pretty much a swampy, sludgey, funky, nasty affair from there on out. Think the audial equivalent of banana pancakes with crunchy peanut butter syrup for your earholes. To call any of the tracks standouts would be to imply the entire album isn't incredible, but after just a couple of listens on ye olde computer during work, "Everlasting Light," "Next Girl" and "Howlin' For You" are the tunes that i can't wait to hear live when they hit DC in a few months.

Of course, the boys are pimping the hell out of the thing on their own site today. Sign up for the fan list to get your own copy of free mp3, "Ohio," previously only available as a 7".

They've also got this new "Tighten Up" video going, which could be their best yet, even without Frank the Dinosaur.

The Black Keys "Tighten Up"

The Black Keys MySpace Music Videos

You can go listen to the entire album yourself over at NPR, but since i know you vultures want to get your fix of free tunes here, you lazy bastards, here's the boys playing the John Peel show back in '03.

mp3: Set You Free (The Black Keys from the Peel Sessions, 4-20-03)

mp3: Hard Row (The Black Keys from the Peel Sessions, 4-20-03)

mp3: No Trust (The Black Keys from the Peel Sessions, 4-20-03)

mp3: The Moan (The Black Keys from the Peel Sessions, 4-20-03)

The Good Ship Rediscovery: The Verve - Voyager 1

For you new kids on the block, yours truly is well and truly enamored with The Verve. They're one of my favorite bands of ever, and in my humble opinion they're one of the best English bands of the last twenty years (technically the last twenty-one, since they've been together since 1989). If you already know and love them, good for you. If not, well, the sooner you listen to them the sooner you'll be forgiven.

I'm perpetually in thrall with the earlier songs of the band, the hazy, heady, heavily shoegazing songs of The Verve EP and A Storm in Heaven. Everything about this era in The Verve's history smacks of Romantic poets (as does the Northern Soul record, wherein Richard Ashcroft apes heftily from the William Blake poem "London", though that's a matter for another post entirely), mysticism and magic, and dissatisfaction with modern life. The songs on those two recordings are some of the best songs I've ever heard in my life, both lyrically and musically. One of my biggest regrets in life is not getting into The Verve early enough to see them touring any of the early records over here. But happily, dear, dear friends, there exists a crucial part of the band's mystique, a little slice of heaven known as Voyager 1.

Recorded in both the US and the UK, Voyager 1 shows a band in full command of their powers, even fairly early in their career. Listening to it is a bit like stepping back in time, back to the dawn of the 90s, and being immersed in a powerful wave of incandescence that must have been quite remarkable to behold. Listening to V1, I can almost see Richard Ashcroft, long-haired and gaunt in full Mad Richard mode, undulating as if possessed by some unholy spirit, while Nick McCabe drones and shreds his guitar, existing in a world alone with his instrument. The seven-song recording is one of the best live records I've heard, bar none. The textures and the scope of the band's music is perfectly captured, warts and all, from the throbbing, telltale bass of "Slide Away" to the seductive swirl of "Already There".

It's a wonder to behold, and even more special than the content belies, thanks to the relative rarity of this particular recording. Copies of Voyager 1 are hard to come by, and pricey to get a hold of. They also make the perfect birthday present, for the Verve-loving blogger who has a birthday coming up next month (hint hint).

mp3: Slide Away (The Verve from Voyager 1)

Remembering Ian Curtis

It seems more than appropriate to mark the 30th anniversary of the death of Ian Curtis on such a day as this, overwhelmingly gloomy, hung with droopy clouds and covered in misty rain. It's a day rife with melancholy, and a perfect day to reflect upon what was lost 30 long years ago today.

Whether you love him or hate him, see him as a sinner or a martyr, there's no getting around the level of talent Ian Curtis, and his band Joy Division, had in spades. Something in his voice, and in those lyrics, captured the spirit of the times, and captured the spirit of what was to come. In the pain and anguish of his soul, there was something beautiful and free. Someday we'll know what Curtis found that day in May years ago, but for now we're left with the songs, the songs that continue to inspire to this day.

Spare a thought for Ian today, and a thought for all the lost souls gone too soon.


mp3: Disorder (Joy Division from Unknown Pleasures)

mp3: Means To An End (Joy Division from Closer)

Album Review: Thee Silver Mt. Zion Memorial Orchestra – Kollapz Tradixionales

I first recall hearing of Thee Silver Mt. Zion Memorial Orchestra, purveyors of one of the finest and lengthiest band names around, a couple years back whilst in the mountains of New York State for All Tomorrow’s Parties. I was more than likely intoxicated, but I remember really getting into the band’s sound, a kind of epic, swirling, twisting mess of rambunctious yet lovely strings and sheer noise and slightly dissonant vocals. It appealed to me then, in that unique environment at that wacky little festival, and it still appeals to me now.

The short version, little darlings of mine, is that you should go out and buy Kollapz Tradixionales. It’s good. Very, very good. It’s an album that sprawls, seemingly, from here to eternity and then some. The Orchestra is very good at creating varying levels of sonic exploration, daring you to try to stick a genre on them (I myself am gonna steer clear of such an attempt). But if you’re down with Godspeed You Black Emperor, and love wacky bands from Montreal, well, you’ve possibly got a notion of what they’re all about.

Each song is its own animal, breathing and feeling something totally different than any other song on the record. The general mood is unsettling and slightly unstable…but in a wonderful way. The Orchestra keeps you on your toes, throwing everything but the kitchen sink at you. It’s a mad, mad, mad, mad album, a cracked fairyland where the unexpected is to be expected, and disparate elements create something bizarrely ethereal. It’s the kind of album that baffles the mind, confounds the senses, and can very likely cause headache, dizziness, and disorientation. Do not attempt to drive while listening to Kollapz Tradixionales, until you know how it will affect you. But by all means, listen to this album repeatedly, because it most certainly does a body good.

mp3: I Built Myself a Metal Bird (Thee Silver Mt. Zion Memorial Orchestra from Kollapz Tradixionales)

Album Review: Cuff The Duke – Way Down Here

Well good goddam. After listening to this here Cuff The Duke record, all I can say is O, Canada! This quartet of absolutely adorable, country-lovin’ Canucks has just thawed my cold, black heart…just a smidge. Way Down Here is just plain great, and makes for a delightful listening experience.

Now, maybe it’s because I first listened to this record on a gloomy, rainy day, cooler than the average temp and a lot more depressing, and so perhaps any sweet country-folk record would have done the trick when it comes to putting a smile on my face. But something about Way Down Here acts as a kind of salve, and totally got rid of the glumness. I hate to engage in such trite clichés, but sweet lordy it’s like a little ray of sunshine cutting through all that horrible rain-soaked misery outdoors. And so, darlins, I feel head over wet chartreuse shoe-clad heels for this band and their record.

Right away, I knew I was in love. Opening track “You Were Right” is a finely-strummed, waking lullaby of a little love song, anchored by fine harmonizing and an overall mellow vibe. And from there, this album gets better and better. “Follow Me” is a gorgeous ditty, disillusioned though it may be, the soaring vocals and slide of the geetar soothe my soul. Something about the way the line “If you can’t walk/I will carry you back home” is sung, perhaps, so faithfully and gallantly. Another favorite of mine is “Promises,” which begins with some naughty little guitar playing and follows the path of excellent, haunting pop.

As good as the first half of the album is, so too is part the second. “Listen To Your Heart” is another good one, reminding me just a touch of Uncle Tupelo (just not vocally speaking). Which means, of course, that it’s mighty fine. “Old Photograph” sounds a bit old itself, with all that dainty guitar and piano playing. Overall, I was really surprised at how happy this record made me.

I’m waking up to the fact that Canadians know a thing or two about making some pretty good country and folk music. Of course, I should know better, given some of the folks that have come out of our fabulous Northerly borders. So I have to thank Canada, for giving us yet another band to help block out the memory of Celine Dion.

mp3: You Were Right (Cuff The Duke from Way Down Here)

Album Review: Iron Age – The Sleeping Eye

And now for something completely different.

My time in Richmond might have been brief, but it was lengthy enough to totally change my feelings about a genre I once had absolutely no love for: metal. There was a time when for all intents and purposes, I liked metal about as much as I liked really bad 90s country. And that ain’t much. But after a little while in the town that spawned Lamb of God (and Gwar, but that’s something else entirely), something remarkable happened. I began to enjoy metal. And these days, while not totally in love yet, I can say with some emphasis that I do indeed dig the metal. Which kinda comes in handy while listening to the new Iron Age record, The Sleeping Eye.

This is good shit, kids. If you like metal at all, you’re probably gonna like this record. It’s got your hellishly loud guitars, thrashing and throttling your eardrums from here to kingdom come. It’s got that drum sound reminiscent of what you might have enjoyed back in the heyday of (good) Metallica. Oh, and there’s some good old-fashioned shouting that occurs every now and again on this here album. I can’t quite figure out how, but I’m really starting to dig it when I can’t understand a word on account of all the shouting and deep growls that highlight so many good metal bands. I also love the way the songs on this album tend to lull you into a false sense of aural security before unleashing a battering ram of sound. It’s straight up ridiculously awesome.

Though it was released last year, it’s totally worth giving The Sleeping Eye a good listen (or several), especially when you’re in the mood for a little hullabaloo. These Iron Age dudes from Austin really know what they’re doing when it comes to making gawdawfully good noise. From here on out, I’m drinkin’ the Kool Aid.

mp3: Burden of Empire (Iron Age from The Sleeping Eye)

Album Review: Harper Blynn – Loneliest Generation

I must be honest, friends, when I first saw the name Harper Blynn, I totally had images of immaculate hair, popped collars, and quite possibly madras plaid shorts. Refreshingly, however, instead of Harper Blynn being a superprep, Harper Blynn is a pretty good little band that’s made a pretty good little record. Formerly known as Pete & J (good call on the name change, guys), Harper Blynn is the brainchild of two NYC dudes (Pete Harper and Jason Blynn, natch). With a little help from some friends, these two have managed to concoct a pretty, harmony-drenched rock record, and I like said record quite a bit.

Loneliest Generation was produced by David Kahne, which should make you Strokes fans happy (he also produced The Strokes). It’s well-produced, very tight and smooth. The band prides themself on their “man-singing,” and their vocals are definitely worth writing home about. They’ve got some mean harmonies goin’ on here, and it’s pretty special when all four functional band members have great voices and know what to do with them. They sing songs of disaffectedness (“25 Years”, “This Is It”) and songs of yearning for love (“Steal Your Love”), but in a way that’s not at all gloomy or bleak. Instead, Harper Blynn’s songs are well-constructed, beautifully-played, and pretty dang fine. My favorite song, “It May Be Late,” is draped with melancholy, but somehow feels uplifting more than anything else.

All in all, Loneliest Generation is a solid debut. I’m betting it sounds even better live, so I sure do hope the boys come back down this way in the near future. But in the meantime, I’ll be listening to them on record for quite a while to come.

mp3: It May Be Late (Harper Blynn from Loneliest Generation)

Happy Birthday, Trent

Y’all know I couldn’t let this birthday go unnoticed. After all, the birthday boy in question is the reigning two-time Stone Coldest Fox, as ordained by LET (and let’s face it, he’ll probably be a three-timer by the time the end of 2010 rolls around). He’s also a damn fine musician, as the legions and hordes of Nine Inch Nails fans will attest to. And while NIN is currently on an indefinite hiatus, that hasn’t stopped this guy from keepin’ on keepin’ on (check out How To Destroy Angels to get more Trentness).

And so, it’s time to break out your favorite Nine Inch Nails record (may I suggest perhaps The Downward Spiral?), have a glass of whatever tickles your fancy, and join me in a rollicking birthday toast to the man, the myth, the fox: Trent Reznor.

mp3: Discipline (Nine Inch Nails from The Slip)

100 Shows of 2010 - #23: Horse Feathers/Lay Low @ Black Cat, 5/6/10

Wanna know what makes my heart go pitter patter (the PG-rated edition)? Hows about the dreamy combination of enchanting Icelandic country and gorgeous Portlandian folk. And when it comes to both of those concepts, nobody does it better than Lay Low and Horse Feathers. Seeing the two of them was the best possible way to spend a Thursday night. It was almost too good to be true.

MINI RECAP: Lay Low = Adorably Countrified! Horse Feathers = Folktastically Fine! Overall score: A.

I love country music. I love Iceland. Never in my wildest dreams would I have imagined stumbling upon a great country singer from Iceland. But with Lay Low (given name: Lovísa Elísabet Sigrúnardóttir), that’s exactly what I got. It might be an unwritten rule that Icelandic musicians are adorable and really talented, but Lay Low takes the cake. She’s a little bit sassy, a little bit feisty, and yet she’s also china-delicate. Her seven-song set was charming, interspersed with amusing, heavily-accented banter, and the songs themselves were bittersweet and smoky. Her inspiration, records filled with the songs of country legends of yore, is clear, and she does her foremothers and fathers proud. Her mix of plaintiveness and warmth creates a golden glow, straightforward songs laying her heart bare in a plucky, lovely way. The songs seem even more poignant, stripped down to just a gal and her guitar as opposed to the lushly produced sound of her record. I have to say, I found Lay Low to be a most pleasant surprise, and a perfect start to the evening.

Having been suitably warmed up, I was oh so excited for Horse Feathers. I was feeling particularly demanding, and these Oregonians stepped up to the plate in a most satisfactory way. I mean, you know when a band brings not only a violin but a cello onstage, they’re not fucking around. Horse Feathers are another one of those bands that elicit bucolic images of mist-encircled mountains, brilliant sunrises and heavenly, haunted dusks. Their music is as pure as that rarified country air that you can find in the middle of nowhere all over this fair land of ours. The place was packed, and it would have been a damn shame if it hadn’t been. In a rare feat, the band was so captivating that they actually managed to hush the mouths of the DC crowd, which is a pretty Herculean accomplishment. Seems I wasn’t the only one transfixed by the glorious noise.

“Curs In The Weeds” was particularly noteworthy, and not just because of the band’s sweet anniversary shout-out to a couple in attendance (and the subsequent declaration from someone in the crowd that “marriage is awesome!”). It was breathtaking, and every single soul in the room was hanging on every note.

Ladies and gentlemen, may I heartily encourage you to see Horse Feathers and Lay Low whenever you get the chance (as regards this current tour, that means you, Left Coasters). You won’t likely hear much prettier music, and that’s a fact.

mp3: Curs In The Weeds (Horse Feathers from House With No Home)

mp3: I Forget It’s There (Lay Low from Farewell Good Night’s Sleep)

Free Music Friday: The Underaged, Blow Uppy, Outer Spacey, Motorific, Somebody Else's, Sparkly Teethed Edition

It has been one bitch of a week work-wise, so let's make this one relatively short and sweet. Regardless of how busy i was, that didn't stop ye olde inbox from filling with some damn fine tunes this past week.

i suppose The Babies would be the indie "super group" of the day, seeing as how its members also happen to be Vivian Girls frontwoman Cassie Ramone, Woods bassist Kevin Morby and Justin Sullivan, drummer for Brooklyn band Bossy. If the first single, "Meet Me in the City," is any indication, expect a lot of lo-fi indie rock. With lines like "I'm too young to feel like I do," apparently the tolls of their profession are causing deeper thoughts to arise. For the purposes of our discussion, however, we really just care that they rawk, correct? They do.

mp3: Meet Me in the City (The Babies from Meet Me in the City b/w Somebody Else 7" )

Philly may or may not make the world's best cheese steaks (personally, i dig White House Subs in AC, but that's another post entirely), but they certainly know how to make chill tunes. Which is somewhat surprising to someone who used to live about 35 minutes outside of that fair burg, who has seen Flyers fans try to beat up fathers with kids in opposing jerseys, snow balls thrown at Santa Claus during sporting events and more shenanigans than i care to mention. Maybe that's why the Powder Kegs chose the name they did, to throw off the trouble makers while they prefect their jazz-tinged mellow rock. Single "La Mariposa" is ideal for back porch sessions sipping drinks of an alcoholic nature and watching fireflies do their thing. Just don't talk shit about the Flyers to them, i guess.

mp3: La Mariposa (The Powder Kegs from Empty Side EP)

If you're into early Funkadelic (for the old heads) or Sun Araw (for the noobs), Pocahaunted is the band for you. Combining freaked out guitars and tribal beats, if you need to soundtrack your next mushroom or peyote adventure, lead single "U.F.O." from Make It Real will certainly do you right. This is music to get naked to while you dance around a bonfire and paint yourself with mud. Remember, though, kids, friends don't let friends trip unsupervised. So do the right thing, offer to be the Dungeon Master for the evening whilst your chums trip balls and boobs, and then fuck with your charges unabashedly. It's the only way to fly, really.

mp3: U.F.O. (Pocahaunted from Make It Real)

Proving that bloggers clearly are the next wave of music distribution, Jus Like Music has hipped us to yet another dope single, "Deepest Cuba." Brassy horns and a latin beat will get your tail feathers shaking with this one. Taking inspiration from this latest strong release, LET will soon unleash its own series of inspirational hymns about masturbating potheads, all on kazoo, with ample wonkiness to keep your ass moving.

mp3: Deepest Cuba (Diesler from Tie Breakers)

Eschewing traditional time signatures, Sarah Winters has my favorite piano tune of the day with "Not Mine." Utilizing an almost paranoid DJ spasticity in her music, think Tori Amos seemingly without the mondo weirdness. Of course, i don't know Ms. Winters, so maybe she likes to hang out with rats in her videos, too.

mp3: Not Mine (Sarah Winters from Smallest Bones)

And to wrap things up, perennial LET favorite Alan Wilkis recently hit us up with his latest remix, this time for Phantogram's "Mouthful of Diamonds." As always, A Dub makes the song his own while leaving the heart and soul of the song fully intact. His added 80s synths and programmed drums are always welcome 'round these parts.

mp3: Mouthful of Diamonds (Alan Wilkis Remix) (Phantogram from AW's MySpace)

Now it's time for me to decide what to do with the fucking loved ones this weekend. And i'm gone.

Album Review: The National – High Violet

Oh my, oh my, how nervous I get whenever I listen to a new National record for the first time. It’s what happens to me whenever a band I love above most others puts out new music, and is probably driven by a fear of disappointment and/or dislike. The idea that The National could release an album I didn’t love to bits and pieces caused me great distress, and explains why it took me a while to actually put up, shut up, and listen to High Violet.

I don’t love it as much as my favorite National record, Sad Songs For Dirty Lovers. I’ll go ahead and admit that right now. But I love it all the same. There’s something about this band that seems to get stronger as they go along, perhaps it’s the whole maturation process. Whatever it is, The National makes some of the finest music to wallow to that I’ve ever heard. For some reason, in my mind they often seem like sonic equivalents of the (brilliant) plays of Tennessee Williams, imperfect slivers of American Gothic steeped in layers of sorrow and yet achingly beautiful. The songs on High Violet only add to this parallel.

It’s a sullen, sulky record, which is exactly what we National fans expect. “I set a fire/just to see what it kills,” broods Matt Berninger in the fantastic “Little Faith,” just one of many perfectly gloomy lines contained in High Violet. Mr. Berninger for his part is in top vocal form, his voice raw and exposed once again. The band of brothers behind him turn in another tour de force, driving the album with tight, taut guitars and bass and another fine drumming performance. Musically, the excellent “Lemonworld” reminds me of a slowed-down “Mistaken for Strangers” from the sublime Boxer, but seems to be even more melancholy somehow, as Berninger laments “I guess I’ve always been a delicate man.” “Bloodbuzz Ohio,” “England,” “Runaway,” and all the rest are utterly captivating in their despair and dejection.

High Violet is an album of regrets, and it’s beguiling in its unhappiness. Once more, the five Ohio boys turned New Yorkers have made music to soothe my weary soul. The wait for High Violet, agonizing though it may have been, was well worth it. When it comes to The National, being sad feels pretty good.

mp3: England (The National from High Violet) (song removed by request, don't blame us)

Album Review: Woven Bones – In and Out and Back Again

Who the bloody hell does this here band think they are? Who asked them to make one of the best records of the year? How is it that they could come out of nowhere and rock my world so very much? I’ll tell you what, these saucy little Austinites have made a killer, killer record, my friends, and it seriously has my knickers in a twist. 9 songs is all it takes Woven Bones to wrap me around their collective little finger.

In and Out and Back Again is delicious from start to finish. And a little perplexing, too. You see, the first time I listened to it, I wasn’t sure when the hell this record had been made. It reminded me more than a little of bands like The Dream Syndicate and The Nectarine No. 9, both bands tangled up in muddy, magnificent fuzz with a rather aggressive attitude resonating through their music (the peak music being made in the late 70s-early 80s). So too with Woven Bones, who while relative neophytes in that pseudo post-punk meets shoegaze meets the garage playground, certainly don’t act like new arrivals. Hot damn, In and Out and Back Again has swagger. It’s all over the place, wrapped around the distortion, giving extra bite to the slightly monotone sneer of the vocals.

This record has every right to be so cocky. It’s pretty awesome, from top to bottom. “Blind Conscience” sets the table, immediately grabbing you with those driving drums and swirling guitars. “Couldn’t Help But Stare” ups the ante even more, speeding things up and getting louder. Which, by the way, is another crucial point about In and Out and Back Again. The louder you listen to it, the more painful it gets, but the better it sounds. My absolute, hands-down favorite, “Creepy Bone,” has a little something sinister to it, with an extra dose of sass. “Guess You Already Know” is more of the same, sizzling noise with major white light and white heat.

“Half Sunk Into The Seats” has some kicky little shimmy to it, and continues along the Woven Bones themes of beating you over the head with crushing, crunchy guitars and gritty drums and the overwhelming awesomeness of the result of those combined forces. Basically, little darlings, this record is without a doubt one of the best I’ve heard, or am likely to hear, this year. It totally blew me away, and if you give it a chance it might just do the same to you. I’m converted to the ways of Woven Bones, I’ve seen the light, and there’s no goin’ back.

mp3: Creepy Bone (Woven Bones from In and Out and Back Again)

100 Shows of 2010 - #22: Sea Wolf @ Rock’n’Roll Hotel, 5/4/10

Sea Wolf’s set started late, which was rather handy considering my bedeviling time trying to find a place to park. I’m very, very, very glad parking problems didn’t cause me to miss any of the set, because it was a thing of absolute beauty.

MINI RECAP: Sea Wolf = Beamingly Beatific! Overall score: B+.

As more and more people filtered into the R’n’R, Sea Wolf’s set began. Initially, it was just Alex Brown Church and his guitar, strumming and singing his way into my heart. With a line like, “The only way that you will ever have me/is if you throw my body into the sea,” I was destined to love Sea Wolf madly. “We’re missing a guitar player,” Church announced, as the rest of the band ambled to their posts on the stage. Finally, said guitar player emerged from the throng and the full band began to play.

“The Trigger” was the second song of the set, a bouncy, lively song full of spring and sunshine. I was continually enthralled by the band’s overall sound, a foxy, come-hither sound of delicacy with blood racing quickly beneath its surface. It’s smoky and earthy and carefully, tenderly crafted. As their set went on, I found it easier and easier to fall head over heels. And hey ladies, the boys are all rather handsome. I’m just sayin’. Apart from a little feisty mic feedback here and there, the band sounded nigh on perfect. Something slightly mystical hangs over the band, infusing their sound with all sorts of blissful nuances and intricacies.

The phenomenal “Wicked Blood” sounded particularly gorgeous, toe-tappingly marvelous and flat-out fantastic. Church’s voice is just arresting, so warm and robust and strong. He’s probably got one of the best voices around, methinks. Sea Wolf pretty much killed me with their 11 bewitching songs, and if I hadn’t been so dang broke I would have bought each and every piece of merch they had for sale. They were seriously sensational, and I do so hope you’ll take the time to go see ‘em live. You absolutely will be glad you did.

mp3: Wicked Blood (Sea Wolf from White Water, White Bloom)

Today Was a Good Day For Free Hip-Hop Love

Any day that starts with an email from Project: Mooncircle, my now favorite hip-hop label, is bound to be a good one. Throw in a couple of free online bangers, and it's a damn fine day indeed. You're responsible for your own mash, though. There are decency laws some of us have to adhere to, after all.

Back to P:M, they've got a couple of new ones, both dropping on June 4. First up is Numaads' Now EP, a four track hip hop ride drenched in soul and R&B. Combining the melodious pipes of Esperanzah with the beat skills of Q4's Sense, the duo creates a sticky, smoke drenched soundscape. Think Alicia Keys, but with far better backing music. The album also has a couple of remixes by notables Robot Koch and J Rawls.

Secondliest, we have Joe Kickass' full length debut, Mind Joe. You might have caught Joe's Let Me Introduce EP earlier this year (also on P:M). Joe kicks it old skool, as you'll undoubtedly find for yourself. He's got some guests here, including Portformat, Arts the Beatdoctor and Killing Skills, but most of the CD, from raps to production, is all Joe. Pretty kick ass, indeed.

In what is quickly becoming my favorite new label "thing," P:M has put together some snippet "remixes" of the albums done so well they might as well be called "overview singles" and be done with it.

mp3: Now Snippet (Numaad from Now)

mp3: Mind Joe Snippet (Joe Kickass from Mind Joe)

Thirder and having nothing to do with P:M, local boy done good oddisee (not to be confused with this Odd I See; holy Toledo!) just dropped the latest in his free "Odd Seasons" series, the aptly named Odd Spring. You may recall i told you all to watch out for this up and comer when recently pimping Oscillations. The man is creating some dope beats, in a style all his own. When asked what the beat scene is like in DC, invariably answers revolve around the works of Thievery Corporation. If he keeps dropping dope bombs like this one, oddisee will deservedly be in the conversation, too, before much longer.

mp3: The Blooming (oddisee from Odd Spring)

mp3: Birds & Bees ft. Diamond District (oddisee from Odd Spring)

Speaking of having been mentioned here before, i've been sitting on this joint by Amanda Diva for some time now. i first came across her by way of the Kidz in the Hall, and i'm suppose i now owe those cats a thank you. The rest of you may have caught her donig anything from acting in the Nickelodeon series, My Brother and Me (when she was 12), VJ-ing on MTV2, hosting on SIRIUS' The Hip Hop Nation Show or droping knowledge on Def Poetry Jam. Clearly, i live a sheltered life compared to the rest of you, or, at the very least, Diva. When not painting, she is mastering her own brand of "hiptronicsoul" these days, a damn well named genre if ever i heard one. While it's clearly incorrect to call her a noob, i have a feeling her name will become a household name sooner rather than later. Particularly if you live in the House that Hip Hop Built. If you do, however, check the blueprints one more time. Hip Hop seldom takes the time to submit proper permitting requests, and you don't want that shit falling down on top of you.

mp3: Colorblind ft. Johnny Polygon (Amanda Diva from Spandex, Rhymes & Soul)

mp3: Little Things (Amanda Diva from Spandex, Rhymes & Soul)

Tennesseein' is Tennebelievin'!

Guess where i'm headed in a few hours?

Dear Lord, don't let it be 95% humidity there tomorrow. As a former resident, if i never have to spend another minute in Memphis mugginess, it still will be too soon for me.

mp3: Memphis (PJ Harvey from Good Fortune, Pt. 2)

mp3: Memphis, Tennessee (Elvis Presley from Elvis Sings Memphis, Tennessee)

Of course, the real question is where will i spend my free time should i have any?

mp3: Graceland (Casiotone for the Painfully Alone, Paul Simon cover from Advance Base Battery Life)

mp3: Graceland (Grizzly Bear from the Interwebs, Paul Simon cover from Black Dynamite knows where)

100 Shows of 2010 - #21: Family Of The Year @ DC9, 4/29/10

So what if the show was over an hour behind schedule (even bands get stuck in traffic)? So what if there were veritable swarms of Gold Motel fangirls? What I saw at DC9 on a gorgeous Thursday night made me one heck of a happy, happy girl. And that, my friends, is thanks to the group of fabulous people known to the music world as Family Of The Year.

MINI RECAP: Family Of The Year = Sunsational! Overall Score: B+.

I know this is a subject raised many a time before, but how come so many California bands sound like, well, California? I like to think it's something in the air out there, that gorgeous, rarified (smog be damned) air that passes through magical places like Laurel Canyon and inspires and seeps into band after glorious band. Such is definitely the case with Family Of The Year, hailing as they do from Silverlake.

I could literally use every single sun-related word to describe their live awesomeness. But I won't do that to you. I'll say other things about their 9-song set. During their (too brief, if you ask me) time on the DC9 stage, the band held sway somewhere between gentle acousticism and frolicsome, toe-tappingly delightful jangle. Their boy-girl harmonies and sunbleached (sorry!) instrumentation were just too cute. I closed my eyes and saw beachscapes. Their music is just perfect for this time of year (or, well, anytime really), and absolutely beckons you to listen to it. It's perfectly pastoral, and not even the overly talkative crowd could mar my FOTY experience.

I'm hoping their path crosses this way again soon, and in the meantime, loves, make sure you get yourself out there to check 'em out. The current tour with Gold Motel runs for about another week.

mp3: Chugjug (Family Of The Year from the Through The Trees EP)

The Greatest Jilling Off Mix You Will Ever Hear (Besides The One That Has Prince Tracks In It)

Ed. Note: i will be the first to admit this mix is sorely lacking for one main reason--to quote the Bard, it ain't got no Prince. However, as His Royal Badness is well known for litigating the bejesus out of blogs that post his stuff, we sadly will not be posting any of his music here. Yes, this should have "Darlin' Nikki," "Jack U Off," and "Sugar Walls," amongst others, but it doesn't. So we'll just have to get over it. Le sigh.

When i was i think a sophomore in college, i took a class entitled "Psychology of Human Sexuality." Got a C+ in the class, which haunts me to this day. Nobody wants to get a C+ in sex class. Teacher loved me, too, i just couldn't ace his tests.



Anywho, the first day of class, he had the entire class come up with slang terms for male and female genitalia and male and female masturbation. i remember very little of that class, other than a girl in the front of the class offering up "Jilling Off" as her part of the female masturbation portion. To this day, that phrase cracks me up.

And that's enough for me to put together The Greatest Jilling Off Mix You Will Ever Hear (Besides The One That Has Prince Tracks In It).

There's really only one Queen of the Female Masturbation Songs Song, and that would be Cyndi Lauper's "She Bop." Fortunately for you, we have three versions today--the original, a remake and a cover.

mp3: She Bop (Cyndi Lauper from Twelve Deadly Cyns... And Then Some)

mp3: She Bop (Cyndi Lauper from The Body Acoustic)

mp3: She Bop (Eden Automatic from Glimmer)

But the next one is a pretty close second.

mp3: (When I Think About You) I Touch Myself (The Divinyls from Divinyls)

If you want the truth, go see Richard.

mp3: Masturbating (Richard Pryor from Evolution - Revolution The Early Years (1966-1974))

Another "iffy" for the list, in that it talks more about not getting any, but lawd almighty, it's a funny one.

mp3: Everybody's Fucking But Me (Asylum Street Spankers from Dirty Ditties)

Who doesn't love Bernadette Peters? Nobody. Not even your grandfather.

mp3: Making Love Alone (Bernadette Peters from Sondheim, Etc. )

Tori Amos is one weird chick, which i suppose is why we dig her.

mp3: Icicle (Tori Amos from Under the Pink)

Perry Farrell throws us a curve ball in this, our only track about masturbating someone else. And seriously, can you think of a better way to spend the evening? Doubtful.

mp3: Orgasm (Porno for Pyros from Porno for Pyros)

The original by the Vapors arguably is about a guy rubbing one out, but since Ms. Phair is singing this cover, let's assume it's about slippery fingers this time.

mp3: Turning Japanese (Liz Phair from Juvenilia)

Two from ladies whose names begin with "P." And what does that tell us? Absolutely nothing.

mp3: Diddle my Skittle (Peaches from Teaches of Peaches)

mp3: Fingers (Pink from I'm Not Dead)

And our hip hop entry for the day...

mp3: Toyz Interlude/Toyz (Missy Elliott from This Is Not a Test)

i always thought this was more of a slow jam R&B reefer track, but with lines like, "I'll always think of you/Inside of my private thoughts/I can imagine you/Touching my private parts/With just the thought of you/I can't help but touch my self/That's why I want you so bad," i clearly was wrong.

mp3: You're Making Me High (Toni Braxton from Secrets)

We had to have one more ode to the art of dildonics. Thanks, Terence Trent D'arby, for being there to help us out in our time of need.

mp3: Vibrator (Terence Trent D'arby from Vibrator)

My most recent musical crush, it's good to hear LL singing about the self-interrogation.

mp3: Little Bit (Lykke Li from Youth Novels)

And what better way to end things than with a video game command.

mp3: Finish Her! (Mortal Kombat dialogue)

100 Shows of 2010 - #20: Light Pollution @ Black Cat, 4/28/10

Another Chicago band, another great show. If this keeps up, I’ll have to revise my feelings about the Windy City. I was so psyched to see Light Pollution, and they didn’t let me down (the crowd, conversely, well that’s something else entirely). The pre-set music was Lush, which automatically assured me that the show would be delightful. And lo and behold, it sure was.

MINI RECAP: Light Pollution = Muy Fantastico! Overall score: B+.

Opening with the epic, noisy “All Night Outside,” the band played up their crashing drums and swirling guitars to perfection. The vocals were just a teensy bit overwhelmed by all that fantastic noise, but it didn’t detract at all. They make quite a racket, those Chicagoans, and I absolutely love it. They had great energy, great presence. Though when it comes to garnering my favor, if you’ve got a glorious blend of shoegaze, dance, and rock’n’roll, you can’t lose. And as such, Light Pollution sure do sound like winners.

I must confess, I hoped for a good show, but Light Pollution did one better than just play a good show. They totally won me over, song after song. I found their brambled tangle of ripe noise blissfully mesmerizing. If there’s one complaint I have, well, it’s that they only played six songs. I’m all for quality over quantity, but sometimes a girl just needs more than six songs. Their set was over far too soon. Other than that, well, they were absolutely splendid.

Go see them, friends, whenever you can. You’ll be glad you did. Especially if they play more than six songs!

mp3: Drunk Kids (Light Pollution from Apparitions)

Album Review: LCD Soundsystem – This Is Happening

Thank goodness for James Murphy and the many seasons of his discontent. Were it not for his multitudinous complaints about life in the scene, my music collection (and probably yours, too) would definitely be missing a certain something. You might give me the stink eye here, but in my humble opinion This Is Happening is the best LCD Soundsystem album to date. It’s got everything you could want and expect from Mr. Murphy, and then some. It’s pretty much the best dance music for the disaffected you could ask for.

I must say that initially I was a little worried about this one. After all, opening track “Dance Yrself Clean” certainly takes a while to develop. It’s pretty darn basic for over three of its eight minutes and fifty-eight seconds, though the biting lyrical wit that we all know and love is present from the beginning. But eventually those big beats kick in, and all is well. “Drunk Girls,” perfect single material, follows and is hilariously perfect. “Drunk girls are boring me wild,” croons Murphy, as the beat swirls and pounds around him. If you’re not already hearing it at those indie rock dance nights, well, color me shocked.

Always difficult to choose a favorite on LCD Soundsystem records, right this very minute I’d say track four, otherwise known as “All I Want,” is my fave. It’s in the same vein as songs like “All My Friends” and “Someone Great,” epically long and sweeping in scale. It’s another LCD relationship song, and naturally things aren’t going so well. But that just means it’s fantastic. It’s hypnotic, and I’ve already listened to it more times than I can count. Hot damn, it’s a good song. “I Can Change,” which immediately follows, is sort of LCD through an 80s lense. The beats are more than a little Atari-fied, and I keep getting images of Murphy sporting Flock of Seagulls hair whenever I listen to this song.

“You Wanted A Hit” is another absolutely brilliant song, musical influences perhaps coming from bad karate flicks and a wonderful, dizzying swirl. Taking direct, sarcastic aim at the industry (“You wanted a hit/but that’s not what we do”), it’s a winner. “Pow Pow” is yet another quality track, with some of the best lines on the whole album (ex: “From this position/I totally get how the decision was reached,” “From this position/I can say serious or cop out or hard to define,” “Oh eat it, Michael Musto,” and “Tonight is our night/so you should give us all of your drugs”). Also helping add to the overall charm of the song are those choruses, much like those on “North American Scum,” featuring a slightly bratty chick singing along. It’s totally amusing and totally undeniable. Which is how I feel about this entire record.

If loving this here record is wrong, well I don’t wanna be right. It’s a damn fine dance album, and without question has some of the best lyrics you’ll hear all year. It’s funny and sad and way more poignant than you’ll want to admit. And I love it.

mp3: All I Want (LCD Soundsystem from This Is Happening)