We’re not above a little base objectification every now and again here at Les Enfants Terribles. And there’s plenty to ogle these days in the music biz. Bearing that in mind, I decided to put together a list of the guys who make my little heart go pitter-patter, make me swoon, and get me all hot and bothered.
So what’s it take to make it on my list, you might be wondering? I'm harder to please than you might think. It’s all about having that certain something, be it a saucy come hither glint in the eyes or a sassy wiggle of the hips during a gig. In some cases it's subtle, but in others it's about as subtle as a thrust of the crotch. These guys have foxiness in spades in a variety of ways, and that one pictured to the left is the hottest of the bunch. But I think you’ll agree, any way you slice it these ten are pretty darned hot to trot.
10. Matt Berninger (The National)
9. Hamilton Leithauser (The Walkmen)
8. Jarvis Cocker (ex-Pulp)
7. Gruff Rhys (Super Furry Animals)
6. Tim Burgess (The Charlatans)
5. Jason Pierce (Spiritualized)
4. Calvin Harris
3. Peter Hayes (Black Rebel Motorcycle Club)
2. Josh Homme (Queens of the Stone Age/Eagles of Death Metal)
I'm notoriously fickle, as regards just about anything and everything, but especially when it comes to music. So to have captured my attention for nearly half a year, an album has to be pretty fucking spectacular.
And friends, that's exactly how I would describe the second LP by Austin's Black Angels. Directions to See a Ghost is fucking spectacular.
I was recently discussing the weighty merits of the two Black Angels albums with my friend Laura, another ardent Black Angels fan. She prefers debut Passover to Directions to See a Ghost, arguing that the songs are stronger and more inventive. While I certainly love Passover furiously, I give the nod to Directions as my favorite of the two.
I think Laura's right, the songs on Passover are just a touch better, but the ideas begun on that mighty fine debut are expanded here, given new depth and breadth and much closer examination. It's psychedelia under a microscope, if you will. It's not just about the simple art of recording killer track after killer track, it's the pieces of the song and how they work together and how they can be fleshed out until they have a life of their own. I also feel like the album has a better flow, the songs merge into one another in a haze of sonic fuzz and pulsating drums. It's pretty dang seamless.
Directions to See a Ghost is a great big bastard of glorious mindfuckery, a heady concoction of sheer noise that by no coincidence is as beautiful as it is loud. It's sexy rock'n'roll that owes much to the vibrant days of years gone by, but just might end up being revered in its own right in years to come.
Dan Auerbach and Patrick Carney, quite frankly, are the best touring rock band in all of rock-bandom these days.
Between Dan's sucking on glass 'til his throat is raw vocals and Patrick's insistence on beating the skins like they grabbed his little sister's ass at a party, these two consistently put out some of the most powerful tunes intended to grab you by the boo boo, and this year's Attack & Release was no different.
Composed with the idea that Ike Turner would play a major role on the CD, that version did not come to be, as Ike beat Tina to death (Best Headline of the Year? Probably.), and the boys took the journey themselves. They did, however, have the foresight to invite producer extraordinaire DangerMouse along for the ride, though, and the results are incredible. DM opted to add flourishes not heard on previous BK CDs, such as more female backing vocals and, believe it or not, actual keys. The result actually is a somewhat softer sound for the most part, though rockers like "Strange Times" and "I Got Mine" certainly wail as mercilessly as anything on the duo's earlier albums.
Add to the mix that both guys did a boatload of side work as producers for everyone from Jessica Lea Mayfield to Royal Bangs PLUS their nearly non-stop touring and it's hard to believe these two even have time to sleep, yet alone continually rock our socks off. Would now be a crazy time to mention that Dan has his own solo album scheduled to hit in early February of 09 and he's touring it, too, a scant few days after finishing the latest on-going Keys tour? Yeah, I've already got my Keys tickets for when they come to Baltimore AND the Dan solo tickets when he hits the 9:30 less than a month later.
God damn, I love the Black Keys. In case you missed their last visit to the 9:30 Club, here are a couple of goodies from said show.
The Bends is my favorite. OK Computer is second. But In Rainbows might just have supplanted Pablo Honeyas my third favorite Radiohead album of all times.
I'd like to take just a moment to address the issue of why Radiohead is sitting here at #1 (well, #1b with asterisk) on my list in the first place. Yes, I do in fact realize that In Rainbows was digitally released last year. However, as I addressed when I wrote about this record back in January, the actual, physical manifestation appeared in that very month, thereby rendering it fair game (in my books, anyway) for my 2008 list. So there, purists. We're a little more relaxed about things here. Now back to the album.
It took me approximately ten seconds to fall in love with In Rainbows. Ten teensy, tiny seconds into opening track "15 Steps" and it was all over. It's as though they're just mocking everyone, by making yet another great, great album. Every single track is pretty much brilliant, adding to just how prolific this band has always been. "Weird Fishes/Arpeggi"? "All I Need"? "Reckoner"? Great, greater, greatest. And don't even get me going on how much I love "House of Cards". I mean, even the Grammy folks have recognized how fucking good this song is. It's that undeniable, and it kills me. Every damn time.
I know the popular opinion is to be more into the later works of Radiohead, but until this record I was a member of the Older is Better minority. Well, I still think older is mostly better. But there's something about In Rainbows that makes it sound truly comprehensive. In this album is the ghost of Radiohead past, and yet another peek into the future.
Is there a more lovable pixie in all of musicdom than Sia? Whether you adore her for her work with Zero 7 or her solo stuff, the gal not only has an amazing set of pipes, but I can't think of a performer who looks like s/he's having more fun on stage than her.
2008 finally saw the release of the heavily leaked Some People Have Real Problems (she even invited fans to download illegally at one of her 07 stops at the 9:30 Club). Sure, she released it on the Starbucks label, but what can you do?
I'm sorry, but the lady just does something for me and, when 08 gave us Lykke Li, that's really saying a lot. It's just something about the way she seems to have boundless energy and a playfullness on stage that's downright contagious. That being the case, she remains one of my favorite acts, year in, year out.
2009 allegedly will see the release of her next CD, which, incidentally, was written about two CDs ago, but was shelved by her then label for being "too upbeat," proving yet again that label execs are fricking maroons (also, morons).
Rather unbelievable, isn't it, to think that another Xmas is just about upon us. When I was growing up, there were few things I looked forward to more than a White Christmas. As a little pigtailed scamp, Christmastime always seemed so magical, what with the festively-decorated tree and the twinkling lights and the stockings. I always made sure to leave a plate of cookies and a glass of milk for one S. Claus, too.
These days, I think that a White Christmas is prettier in pictures than in practice (seeing as how I now drive to the old homestead for the holidays), and I know the rather deflating truth about Santa. But there's still something special about holiday music. So, while I've been at home in bed for the past few days (no, not for fun reasons, but because I've been cursed with some sort of plague), I've rounded up some of my all-time faves, and some new favorites, too.
We begin with the somewhat cheesy but totally fabulous David Bowie/Bing Crosby duet on "Little Drummer Boy". It's the meeting of two different styles, and it never ceases to be great. Next up, an even older classic, the purrfect Eartha Kitt lending her feline vocals to "Santa Baby". It's the ultimate in materialistic holiday songs (and so appropriate for the greedy times in which we live). Then it's on to something new, with the Raveonettes'haunting "Christmas Song". We sure are suckers for that Danish duo around these parts. And really, nothing says Christmas like Glam Rock, so I'm throwing in a littleSlade with "Merry Christmas Everybody". I always felt Jose Feliciano's "Feliz Navidad" was one of the best Xmas songs ever recorded, and so he is included here. Hope you get a kick outta the videos.
At some point during the past year, those pesky Scandinavians decided they were going to make an end run towards usurping the throne of indie coolness from those beloved Canadians. And you know what? It looks like they damn well may have succeeded. For me, the defining moment was when Lykke Li came into my life.
At first glance, I wasn't too impressed. And then I saw the video for "Little Bit" and have been hooked like a junkie fish ever since. What's up with those background dancers? What drugs are they all on? Perhaps more importantly still, where can I gets me some of that?
Li's Youth Novels has everything you could want in your indie pop goodness. It's confectionery sweetness, but there's definitely some hard candy awesomeness just beneath the surface. Tracks like "Dance Dance Dance" and "I'm Good, I'm Gone" proved that 2008 was not going to allow the crap coming from mainstream radio overpower actually "good" pop music. You've got an impishly stunning girl who dresses like an updated Debbie Gibson talking about leaving her legs apart for me? Yes, please, I'll take 47 of those.
Once I saw her live at the Black Cat, well, shit, I damn near gave up the family business to shave my head and start following her around the world. Fortunately, I quickly realized I make a very comfortable living and am bald, so that took care of that, but still. I already have my tickets to see her at DC's Historic Synagogue this coming January. I strongly suggest you do the same. If she continues to cover Tribe Called Quest's "Can I Kick It?", you'll be sure to get your ticket's worth there alone.
Here are a few live tracks from a radio performance on WXPN in May. You can thank me for that later.
Actresses aren't supposed to model, models aren't supposed to act, and neither of them are supposed to even attempt singing. Right? Well, just about.
You see, there is in fact one actress who can really sing. I mean, really, really sing. I know, I was dubious myself, but then I listened to She & Him's Volume One, and I was sold. Zooey Deschanel (the She to M. Ward's Him) has some pipes on her, and I've come to the conclusion that she's a mix of Patsy Cline and Karen Carpenter. Blasphemy, you say? Listen to her sing and then try to tell me I'm wrong.
Volume One is a collection of simple, mostly lovelorn vignettes, some covers and some original songs (written by Deschanel), beautifully arranged by M. Ward and beautifully given voice by Deschanel. Employing a throwback, lo-fi sound works wonders for the songs, lending authenticity to their love of music belonging to days gone by. It's cute at times, but never twee. Like many good artists before them, She & Him know how to make a sad song sound like a delightful little pop song.
It's impossible to pick favorites here, because I love every single song on this record. So just listen to the whole damn thing, repeatedly.
Sure, you love the Black Keys and have a thing for the White Stripes, but really, what's up with all those penises (peni?)? Why does the whole punk/garage/blues genre seem to be a boys only club (no offense, Meg White)? That previously might have been the case, but Vancouver's The Pack A.D. is ready to take the tried and true and turn it on its head. 2008 saw the release of both their debut and follow-up. Sadly, I still haven't been able to get my hands on Tintype (the debut), but Funeral Mixtape has been blowing my doors off since August.
We've got our whiskey soaked vocals that sound like they've been shredded through glass, kick ass guitar licks and some drumming that would make Patrick Carney blush. Comprised of Becky Black on vox/guitars and Maya Miller on skins, these two are doing their damnedest to return the recent Crown of Indie Rock Goodness back to the Great White North (take that, you Scandanavians!). And, quite frankly, they're doing a bang up job.
My fervent hope is that this duo will somehow start opening for the Black Keys in 09, but I suppose we'll have to see if that ever transpires. Since Dan Auerbach already has Hacienda and Those Darlins' opening on his solo tour, that might be a tall order, but a guy can dream, right?
Several weeks ago, I briefly scanned an NME list of the coolest motherfuckers in music from the year 2008. It was full of those you'd expect, and a few that I had absolutely no clue who they are.
But all lists have their end, their pinnacle. Looking down at all the other cool people, according to this particular list, was Alice Glass. If that name doesn't ring a bell, allow me to introduce you. Ms. Glass is one half of my possible favorite Canadian band these days, Crystal Castles.
So what is it about Alice (and for that matter, Crystal Castles) that got her the number one spot? Well, I like to think it all started with this here self-titled record.
It's a bevy of bleeps, a veritable feast of 80s video game sound-alike noise. It features two remixes (of Death from Above 1979 and Health) that are just about better than the original tracks. It's an album made for dancing, for drinking, for having a grand old fucking time. If a preponderance of pulsation is your thing, if you get turned on by the twiddling of knobs, if albums with excessive ego (with the goods to back it up, of course) make your day, then chances are good you too might agree that Crystal Castles is a fine, fine record (and that Alice Glass is indeed pretty damn cool).
It's all great, but I recommend excessive listening to "Air War" (both of them), "Courtship Dating", "Vanished", "Knights", and "Tell Me What to Swallow." You won't be disappointed.
The best part about this whole music blogger gig for me is all the music I receive, a boatload of which is completely DIY.
Hell, some of the stuff has no label (other than what the artist is calling his own effort), but that, of course, doesn't necessarily mean it's not incredible stuff.
When it comes right down to it, some of the best stuff this year has been straight from the artist's efforts.
Which brings me to Alan Wilkis and his Babies Dream Big. I'm assuming at least some of the LET readership actually lived through the 80s and remembers that wonderfully cheesey, yet oh-so-funk-a-groove-a-licious synthesizer vibe that made everything sound slightly futuristic and instantly danceable.
Whether you do or don't remember, Alan Wilkis has created a perfect update to that sound. Part Prince, part Stevie Wonder, all tasty. Seriously, this CD was the most "fun" album of the year for me, hands down. Mr. Wilkis can play my birthday party each and every year so long as he continues to groove like this.
Black Gamble is the dirtiest record I've heard all year.
Dirty in the way that it sounds like the morning after the night before. Dirty as in tarred, feathered, sweaty, painfully hungover. Dirty as in sleaze. Dirty, friends, in an excruciatingly glorious way.
Mississippi Witch (i.e. Oli and Dan) first caught my ear a couple years back, via Myspace. I've written about them a few times since then, and was delighted that their debut was the first album I heard in 2008.
11 months after listening to it for the first time, I love it even more. It's all so simple, really, this band. One drummer. One guitarist who also happens to sing. Put these two pieces together, and let 'er rip. And lemme tell you, the racket these two make together is nothing sort of sensational.
Definitely akin to the Black Keys, these US ex-pats (they now live in the UK) have my eternal love and devotion. It's impossible not to be entranced by their sexy as all get out noise. It's cocky, explosive, and intense. Pay extra close attention to "Black Gamble", "Van Nuys", and "Rot Foot", though the entire album is not to be missed (after all, it wouldn't be so high on my list otherwise).
Below is a not-really video clip, but an audio track taken from a Mississippi Witch gig. It'll give you an idea of just how fucking incredible they are.
Not only is The Toenail Jar one of my top ten CDs for the year, I'm damn near positive it's one of the best CDs you've never heard of in your life.
Mullen plays a unique style of indie-folk with some countrified leanings that should have even the most hipster-ish amongst us tapping their toes. What does it for me, however, is his incredible way with words. His lyrics are incisive, sharp and witty, whether it's the rambling discourse of "Stream of Consciousness" or the tongue-in-cheek playfulness of "Quit Quittin'".
He also digs deeper emotional veins with tracks like "Running Out of Time" and "So Does the Beer", making for a nice contrast here and there. I've never particularly considered myself a huge proponent of the newer folk movement, but if Andy Mullen is anywhere in that mix, I think it's time for me to start paying more attention.
We here at Les Enfants Terribles have great relationships with a lot of wonderful people, labels, and PR firms (hi, guys!).
One of those labels is Light in the Attic. They're home to one of Megan's most favorite bands of the past few years, the Black Angels, and are constantly unearthing lost classics to unleash upon the general populace.
They also do this little Year End list, a massive missive comprised of lists (of any shape size and contest) from a variety of contributors, be they bloggers, musicians, writers, what have you.
And this year, yours truly were asked to partake. And we pretty much took about a millisecond to accept the invitation.
You'll see lists from label heads, bloggers like us, DJs, noted writers, musicians (um, we're part of the same feature as Greg Dulli? Color us in heaven)...it's a fantastic, eclectic mix of anyone and everyone, and the lists are pretty much fascinating.
Bottom line, you should check it, us, and Light in the Attic out.
I'm sure, my dears, this selection will come as a surprise to exactly none of you, given the heaps and heaps of praise I've directed in the general direction of These United States over the past 350ish days. To be sure, I most certainly have a soft spot for my (former) local faves. But also, Crimes, their second album of 2008, is absolutely fucking brilliant. There's just no getting around it, and you probably ought to consider it a fact.
Future generations will undoubtedly consider TUS ringleader Jesse Elliott a musical genius. He's that good. For now, trust me when I say he's one of the best lyricists around (an entire album about criminal activity, really? Why not?), as well as one of the most naturally gifted frontmen you're likely to have the pleasure to come across, on record and on stage. And as a band, the current configuration simply can't be beat, working together so well you'd think they've been together for decades. And who knows? Perhaps in spirit they have been.
In short, Crimes is the best damn backwoods-meets-barndance-meets-folk-meets-pop rock'n'roll ruckus of the year. And if 2008 is any indication, there's no stopping These United States.
Musically speaking, 2008 was excellent in terms of the fact that damn near every one of my favorite bands (or off-shoots thereof) put out something for my hungry ears. Saxophonist extraordinaire Dana Colley of Morphine fame formed yet another band, this time with the sultry Monique Oritz and the possibly humid Larry Dersch.
Their debut, Happiness, is a kick-ass piece of moody mood music. Monique has the kind of throaty vocals that would make an 90-year-old blues singer sound high pitched, as her time in Bourbon Princess proved. Colley plays the sax more in the place of the lead guitar here, creating an interesting sound that's even more catchy live. Dersch provides a steady backdrop for it all, with snakey percussing throughout.
And let us never forget that time when I wrote about my misunderstanding with Mr. Colley at their show at the Red and the Black, which prompted him to write us with his side of the story, proving that even the world's greatest saxophonists read Les Enfants Terribles. And there's a lesson there for all of us, isn't there, kids?
My top ten has changed no less than a dozen times over the course of my trying to rank them. So at this particular moment in time, when the chips fell, Hot Chip landed at lucky number 7.
While their previous album The Warning helped them make a name for themselves, this one really catapulted them into the big time, and it's easy to see why. Made in the Dark is a dance-big beat-electro-folk-Prince loving-funkadelic triumph. It sizzles like steak on the grill in the middle of July, baby, and don't you forget it. For being a bunch of pale dudes from London, Hot Chip knows, and has perhaps always inherently known, how to get the kids to shake their asses. Never fails.
Some of Hot Chip's finest moments are to be found on Made in the Dark, including the first three romper stompers "Out At the Pictures", "Shake a Fist", and "Ready for the Floor." The most sublime moment for me comes at song #8, "One Pure Thought", the song that looking back on their 9:30 Club show this year most gave me the chills. O, that guitar, o those beats...slays me every time. And then there's "Hold On", that devilish imp of a song with some of the best lyrics of the year ("I'm only going to heaven/if it feels like hell/I'm only going to heaven/if it tastes like caramel"). Love it, love them. End of story.
I'll be the first to admit, I'm not into current hip hop these days. The only cats in the game making music worth listening to these days are the fringe underground players, such as MF Doom and the like.
Sadder still, when did the DJ officially die off as a necessary component to the "He's the DJ, I'm the Rapper" super combo? Sure, we all love Rakim, but, Lord Almighty, you are sorely missed, Eric B.
Lest I digress too far from whatever original point I was attempting to make, this year, along came the latest from Girl Talk, aka Pittsburgh's own Gregg Gillis. Now, I'll leave it up to you, gentle reader, as to whether or not Gillis more adequately belongs in the category of hip hop DJ or mash-up master, but I think it's pretty much inarguable that he's put out one damn fine mix this year.
Naming every group/artist he samples in the magnificent Feed the Animals would take more time and space than I'm willing to commit here, but some of the highlights include the J. Geils Band, Roy Orbison, Outkast, Toni Basil, Kayne, Radiohead and dozens upon dozens of others. For me, at least, it's the combination of old and acts side-by-side that really makes this thing pop.
The fact that Girl Talk offered the CD on a "pay-whatcha-like" basis certainly didn't hurt the equation one bit, either.
As I've made abundantly clear 'round these parts, I digs me that scuzzy, bluesy, garage rocky sound.
Left Lane Cruiser has said sound in spades, and their debut Bring Yo' Ass... hits all the necessary high points to make my Top 10 for 08.
Furthermore, the band is on Alive Records, quite probably my favorite record label. Alive brought a little something special to the party, a group with which you might be familiar...the Black Keys. Indeed, fine company to keep.
Also, I feel it imperative to give props to any band that sings about Pork 'n Beans. I'm not sure why I feel that way; I just do. With that, a heartfelt tip of the hat to Fredrick "Joe" Evans and Brenn Beck. I'm looking forward to hearing what these cats put out next.
This one was pretty much the hardest category to choose. I was fortunate enough to see dozens of amazing bands this year, and they sure did make this one big ole bastard of a tough choice, which is why I have about a billion Honorable Mentions. But in the end, I'm pretty happy with my final decision.
I can officially state, for the record, that Nine Inch Nails just might be the best live band out there these days.
This year I saw Mr. Reznor and co. twice, one at the Virgin Festival in Baltimore in August, and again in Charlottesville last month.
I've never been a huge NIN fan (which I'm working on correcting), but each time I've seen them I've been totally blown away. They're incredible live. As in, jaw-dropping, awe-inspiring, ass-kicking incredible. It's not just that the music sounds so perfect, which it most certainly does. It's more than that. When you go to an NIN show, you're getting a total concert experience. The Charlottesville show was especially elaborate, a bonanza of fancy lighting and unique stage settings. Nearly every couple of songs, the stage setup and lighting would be rejigged to totally chage things up. And when it comes to showmanship, there are few people out there who can match the intensity of Trent Reznor.
Honorable Mention: The Stooges, Dead Confederate, These United States, Die! Die! Die! the Verve, the National, the Black Angels, Fleet Foxes, Spiritualized, My Bloody Valentine, Brian Wilson
Les Enfants Terribles is a Washington, DC music blog. It's run by a music-loving lady who answers to Megan Terrible.
Please note, if you're looking for Terrible Chris, try his new joint.
Le Obligatory Disclaimer
Hear ye, hear ye.MP3s posted here are done so with permission wherever possible. If you like the bands you hear on this site, you should without question support them. Buy their music, go see them on tour, and/or buy their merch.
PLEASE NOTE: If you're a band and no longer want your music posted on this site, or a label that does not want a band's music posted herein, please write meganterrible@gmail.com, and the ship will be righted immediately, if not sooner.
Also note, LET is all about the musical lovin. Which means, only music I love will appear here. You've been warned.
We’re not above a little base objectification every now and again here at Les Enfants Terribles. And there’s plenty to ogle these days in the music biz. Bearing that in mind, I decided to put together a list of the guys who make my little heart go pitter-patter, make me swoon, and get me all hot and bothered.
