Top 5 Music Videos of 2008

I Woke Up Today - Port O'Brien

The high energy of the band mixed with some humor makes for a very pleasing and catchy video. The little girl adds a very expressive element to the video. Her reactions to the events occurring in the diorama coincide nicely with the music and make the video even more endearing. Overall the video is extremely cute and very well directed.

Time To Pretend - MGMT

The video depicts a primal tribe-like gathering, a theme prevalent in other MGMT videos. Many of the lyrics subtly tie in with the actions of the video. The line “I'll move to Paris, shoot some heroin and fuck with the stars” is juxtaposed with Andrew VanWyngarden holding a baby, a disturbing yet witty combination. The video as a whole is very aesthetically pleasing with its psychedelic imagery.

Im Good Im Gone - Lykke Li

Li Lykke Timotej Zachrisson has a sweet voice that is contrasted by the nearly disturbing images in the music video. The female body builders, twins, and various elderly people are interesting enough, but stop motion adds another layer of creepy to the video. By and large the video is very original and hard to forget.

Vampire Weekend - A-Punk

Vampire Weekend’s song A-Punk is upbeat and fun, and the video definitely matches those sentiments. The winter and underwater simulations are quite amusing and playful, while the stop motion enhances the video’s lighthearted nature. All and all, the song and video fit together well .

Shut Up And Let Me Go - The Ting Tings

This video features several fight scenes between Jules De Martino and Katie White; however the central focus is on the transitions between scenes. Although the effect is reminiscent of The White Stripes Seven Nation Army video, The Ting Tings tweak it by using their hands to physically creating the portals. This adds a fun element to the kung-fu action and allows for easier transitions.

Top 5 Let Downs of 2008

We all know that ever so common feeling of anticipation, that feeling when your favorite band is going to put out that kick ass album you've been waiting to entice your ears with for ages. Well, that feeling is often met with an equally unsatisfying sense of disappointment when your favorite band hands you shit, and for $14.99 no less.

Listed below are my five biggest let downs of the year. The albums might not flat out suck (I mean, it wouldn't be a let down if Nickleback released a shitty album), but they're not what they should be (in my opinion, of course).

1. Ben Folds - Way To Normal

Ben Folds a very talented singer-songwriter, more talented than most in my book. With songs like "Army," "Song For The Dumped," "All You Can Eat," and "Bastard," it's hard for me to listen to Way To Normal without resenting it a little. Sure, one could argue that Folds is evolving--experimenting with new styles. However, there's a line between experimentation and releasing an album that only has a few tracks seemingly crafted to appeal to a certain percentage of your fan base. For example, "Bitch Went Nuts" seems to draw on Folds' signature humor, but lyrically it's somewhat pathetic:
The bitch went nuts.
She stabbed my basketball.
And the speakers to my stereo.
She called me 'cunt'
All in all, the album isn't awful, it's just not satisfying and definitely less than what a Folds fan should expect. Hopefully other good albums are still coming, like I don't know, maybe a collegial a capella CD of Ben Folds' songs...

Ben Folds: All You Can Eat (from the ep Sunny 16)
Ben Folds featuring Regina Spektor: You Don't Know Me (from the album Way To Normal)

2. Kanye West - 808s and Heartbreaks

With the release of his fourth studio album 808s and Heartbreaks, Kanye opens up, and the result is not good. For what it is, the album isn't awful, it's T-Pain. Considering that I was a Kanye fan, this makes for a letdown without a doubt. If I wanted to get the latest T-Pain album I would; but after Kanye's Graduation in 2007, all I wanted was more of the same.

Graduation was easily one of my favorite albums last year and with the announcement of a new album this year I was anticipating the same. Far from it. After the release of the single "Love Lockdown" I was in shock. This isn't my egotistical, award-show crashing, political rapper who actually had something to say other than "I'm going to drank all the Crunk Juice and fuck all the hoes."

It's hard for me to listen to "Love Lockdown" and similar tunes on the album without thinking of songs like "Heard 'Em Say" when Kanye didn't rely on Auto-Tune for melodic singing, but featured artists such as Adam Levine of Maroon 5 to take the chorus. Maybe I'm being too hard on everyone's favorite man to hate for Bonnaroo, maybe the album isn't that bad. But then again, maybe Kanye should take a year or two off.

Kanye West: Champion (from the album Graduation)
Kanye West: Paranoid (from the album 808s and Heartbreaks)

3. Nana Grizol - Love It Love It

Nana Grizol makes for the first truly indie appearance on my list of letdowns. I found out about Nana Grizol when at Athens Pop Fest 2007; while they didn't actually perform at the Pop Fest, I picked up a copy of Athfest 2007 where the song "Circles 'Round The Moon" stuck out to me.

Once I got home I frantically crawled the web for any recorded material I could find, a real rarity, until a friend found someone with 17 demos by the band. Most of these demos were focused around the acoustic guitar and singing of Theo Hilton, the drummer from folk-punk band Defiance, Ohio.

These demos are some of the most best sing-along songs I've ever heard while still having the deep underlying messages of an identity crisis. They are the classic songs about not wanting to grow up. On May 13th, Love It Love It was released on Orange Twin Records, and I was beyond disappointed. Where the demos presented a sincere delivery of simplistic songs, Love's overproduction is astounding.

Why is it necessary on every track to have a brass section, drums which sound like they belong in a marching band, and electric guitar? It's beyond me. The real let down of the album is that half the songs on Love are new versions of the demos-- demos that obviously shouldn't have been touched. My recommendation for this band is to go back to the basics, find out what it was that they did so well with previously, and emulate that.

Nana Grizol: Tamborine In Thyme (from the Nana Grizol demos)
Nana Grizol: Tamborine-N-Thyme (from Love It Love It)

4. Of Montreal - Skeletal Lamping

Next on the list is another Athens band, this one a little more well known. Of Montreal's ninth studio album Skeletal Lamping made the list for one reason and one reason only: the album is good (I might venture to say fantastic), but it is far from the follow up I expected after the masterpieces Hissing Fauna, Are You The Destroyer and the underrated EP Icons, Abstract Thee. Don't get me wrong, Skeletal Lamping is in my top 5 albums of the year, but after hearing solid gold it's hard to accept a good follow up. The experimentation of the album is exciting at times, but at others it's not as well received. Songs such as "Id Engager," "Plastis Wafers," and "Beware Our Nubile Miscreants," are among my favorites, but could never compare to the tracks on Hissing Fauna and Icons.

Of Montreal: Gronlandic Edit (from Hissing Fauna, Are You The Destroyer?)
Of Montreal: Id Engager (from Skeletal Lamping)

5. Marnie Stern - This Is It & I Am It & You Are It & So Is That & He Is It & She Is It & It Is It & That Is That

Now, you just wait one minute before you stop reading and throw all my indie-cred in the shitter--I like the album. Now you're listening, eh? The reason Marnie Stern made my list is because of her hype in the indie world and blogosphere. Marnie Stern is talented, unique, and original; her music reminds me of Deerhoof a lot, but she in no way attempts to be Deerhoof. Her album This Is It... demonstrates Stern's technical finger-tapping talent and originality but at the same time displays the product of an overly technical approach to music.

I'm not saying technical music is bad, hell I like Iannis Xenakis, but at points Stern's guitar just sounds like noise. Let's just say if you had headache, the thought of popping in some Marnie Stern might send you to the hospital.

Marnie Stern: Ruler (from This Is It & I Am It & You Are It & So Is That & He Is It & She Is It & It Is It & That Is That)


Well that about wraps up by top 5 let downs of the year... hope I didn't offend anyone.

Merry Christmas!

From all of us here at Vinyl Visions, Merry Christmas!

As our gift to you I've included David Bazan's rendition of "Jingle Bells," as I could not find it available elsewhere on the internet.

David Bazan: Jingle Bells

Land of Talk - "Some Are Lakes"

In an old church outside of Montreal, Land of Talk set up to record new songs for their October release Some are Lakes. This seemingly simple ten track album is actually an intricately weaved recollection of life's ups and downs. The album is a follow-up to a two year tour and the pick up and drop off several members, and the result is a strikingly sincere album that promotes honesty.

Singer Elizabeth Powell's voice is passionate, similar to that of Regina Spector, and the underlying music is recorded with a raw quality that gives the album a homey feel. Track ten sounds as if recorded live in a basement, probably because it was. Justin Vernon (Bon Iver) also contributed to the album on the first nine tracks, and the tenth track that was recorded in his parent's basement.

The album ranges from mellow ("It's Okay," and "Troubled,") to more upbeat ("Some are Lakes," "Young Bridge," and "The Man who Breaks Things"). Land of Talk succeeds with the perfect intro and outro to the album, opening with "Yuppy Flu," and concluding with "Troubled." "Yuppy Flu," a track that projects the emotional side of the album, builds the anticipation necessary for the listener to become hooked into finishing. You'll find that the energy building until the final track. "Troubled" has more of an acoustic sound that provides for a more intimate listen; it's as if Powell is playing for you in the same room. This raw sincerity is what makes the album such a success. This song is the perfect end to the journey as it leaves the listener satisfied.

Some are Lakes can be considered life's narrative as it takes us from high to low and everywhere in between.


Mp3s:
Land of Talk: The Man Who Breaks Things (Dark Shuffle)
Land of Talk: Troubled

Links: Check out their website here for more information, tour dates, and to purchase their cd.


Upcoming tour dates:
Jan 14 2009/ 8:00P/ Ebar (Zeroes & Little Scream)/ Guelph, Ontario
Jan 15 2009/ 8:00P/ Horseshoe Tavern (Zeroes & Little Scream)/ Toronto, Ontario
Jan 16 2009/ 8:00P/ the grad club/ (Zeroes & Little Scream)/ Kingston, Ontario

Sebastien Grainger - Sebastien Grainger & the Mountains

Canadian musician Sebastien Grainger is making his mark on the music industry with his new album. Former singer and drummer of Death From Above 1979 recently released his first full-length solo album in October 2008 on Saddle Creek Records titled Sebastien Grainger & the Mountains.

The album consists of twelve tracks that embrace the raw energy of a live show, making the listening experience quite enjoyable. Every song is essentially a different story; each one a fusion of styles that result in a great dance punk record. Choice tracks include "Love can be so mean", "(Are there) Ways to come home?", "American names", and "Renegade Silence". Grainger's approach to music is unique in it's entirety, as seen on this album. The emotion he puts into his vocals allows for variation in evoked moods that keeps the listener interested throughout all twelve tracks.

Sebastien has successfully produced a dozen shots of energy and lasting satisfaction. Only two years after the break up of his previous duo, Grainger has managed to create a handful of catchy tunes and an overall successful album. The delivery of music on this record is nothing short of an accomplishment.

Video: Here is a live video for Sebastien Grainger's song "(Are there) Ways to come home?":



Mp3: Sebastien Grainger - Who Do We Care For

Links: Check out his website here for more information, tour dates, and to purchase their cd.

Upcoming tour dates:

15 Dec 2008 / / / Winnipeg - Burton Cummings Theatre
16 Dec 2008 / / / Saskatoon - Prairieland Centre
17 Dec 2008 / / / Edmonton - Shaw Conference Centre
17 Dec 2008 / / / Starlite Room - DJ SET - Edmonton
18 Dec 2008 / / / Calgary - MacEwan Hall
19 Dec 2008 / / / Calgary - MacEwan Hall
21 Dec 2008 / / / Vancouver - Vogue Theatre
22 Dec 2008 / / / Vancouver - Vogue Theatre
23 Dec 2008 / / / Vancouver - Vogue Theatre
23 Dec 2008 / / / Republic Night Club - DJ SET - Vancouver

5 Guilty Pleasures You've Probably Heard By Now

In response to the previous post, "5 Songs You Should Have Heard By Now," I thought I would write a little piece on 5 songs that a typical hipster may call too mainstream for an everyday listen--but admit it, you know every word.

T.I.: Whatever You Like

Let's be honest here, T.I. is one smooth fellow; as soon as that first "you can have whatever you like" kicks in, your head starts swaying. I have never been a T.I. fan; honestly I'm not into the whole Akon, T.I., new Kanye smooth Auto-Tune sound. But T.I. has what it takes to make a song everyone at the club can dance to.

Katy Perry: Hot N Cold

The first time I heard this song I though it was one of those 90s electro-pop ballads from an artist like 3LW, or that DJ Sammy remix of "Heaven," but actually the song is by "I Kissed A Girl" sensation Katy Perry. This year Katy has blown up, shocking audiences with songs like "Ur So Gay," but with the song "Hot N Cold" she has created something that is just as catchy but won't offend as easily.

R Kelly: Ignition (Remix)

Simlar to T.I., R Kelly is another smooth fellow and knows what it takes to make a great pop song. Yeah it's old, yes I'm sure you've heard it thousands of times at parties, but I'm also sure that when it comes on the radio you don't turn it off.

Twisted Sister: I Wanna Rock

Yeah, this is an old one--and probably a band that most of us laugh at the mention of, but tell me you don't head bang every time this song comes on and I'll be shocked.

Lil Jon (featuring Sean Paul and E40): Snap Ya Fingers

Alright, so I'm not the biggest fan of most mainstream rap, but here is a track that I can appreciate. Lyrically this song is pretty bad, but the beat and synth lines are pretty nice. I put the song on every once in awhile when I need to get pumped up, and for that reason it makes my list as a guilty pleasure.

From the Vinyl Bin: The Clash - London's Burning

This month on my venture into the vinyl bin I came across one of my favorite albums of all time. That album is the US release of The Clash's debut, "The Clash". This is one that I can never put down; every song just pulls me in, but that isn't the point of this post. The point here is to pick out one song in particular, and that song is "London's Burning." No, I don't mean the song that The Clash is known for.

This song, like most on the album, is simple and catchy with a message that even today people can relate to (depending on how you see the world, that is). While this song is pretty typical for The Clash's early material, there's just something about a simple, catchy song, with a point to it that just can't be ignored here.

If you want to get technical then no, this song really isn't anything particularly special, but take a listen for yourself. It's a simple song, with a simple truth, that makes for a good listen.

Check it out for yourselves: The Clash - London's Burning

10 songs for December 10th.

10 songs for December 10th.

I decided to throw some songs together for December 10th, each one with a historical reference to the date. Being the tenth day of the month, it has earned ten tracks, and each one of them will have a brief overview of the event. Hope you enjoy the fun facts.

1.Method Acting by Bright Eyes: December 10, 1903 - American film actress Una Merkel is born. Some of her features include Way Down East (1920), The Eyes of the World (1930), Daddy Long Legs (1931), and Wicked (1931).


2.Hallelujah by Leonard Cohen: December 10, 1830 - Happy Birthday Emily Dickinson! American Poet Emily Dickinson was born in Amherst, Massachusetts, and by her death in 1886, she wrote nearly eighteen hundred poems. This song is by Leonard Cohen, another American poet/musician.

3.Cigarettes and Coffee by Otis Redding:On December 10, 1967, Redding, his manager, the pilot, and four members of The Bar-Kays were killed when his airplane crashed into a Lake in Madison, Wisconsin.

4.Temptation of Adam by Josh Ritter: On December 10, 1941, during World War II, the Royal Navy capital ships were sunk by the Japanese Navy.

5.Hard Rain's Gonna Fall by Bob Dylan: December 10, 1996 - the Rwandan Genocide where hundreds of thousands of Rwanda's Tutsis were killed by Hutu militia.

6.House Arrest by Jimmy Eat World: The single largest heist in Japanese history, that still remains unsolved, occurred on December 10, 1968 in Tokyo, Japan.

7.Bohemian Like You by The Dandy Warhols:Bohemian Physician Joseph Škoda was born on December 10, 1805. he later became the founder of the Modern Medical School of Vienna.

8.Mississippi by Bob Dylan: On December 10, 1817 Mississippi became the 20th U.S. state.

9.Imagine by John Lennon: December 10th is observed as Human Rights Day

10.Fond Farewell by Elliott Smith: December 10, 2005 Richard Pryor, an American comedian, actor and writer, died of cardiac arrest in California.

5 Songs You Should Have Heard By Now

Back by popular demand, this is my second installment of telling you five more songs that you probably should have heard by now. Because every music blog needs some snobishness.


No Age: Things I Did When I Was Dead

No Age's Nouns was something of an indie anomaly this year. While garnering heaps of praise from most blogs, little fan recognition has actually happened. All the reviews are glowing, none of the fans are biting. That is except for me. I thought the album was a brilliant marriage of melody and punk stylings. Nouns wavers back and forth from classic hardcore songs to moments of surrealist breaths in between. "Things I Did When I Was Dead," is one of the albums brief interludes into pure melodic bliss. No Age incorporates finger picking, humming ambient sounds, and rise-and-fall lyrics to create a moment of surrealist beauty amidst the destructiveness of the genre's nature.

Little Joy: Unattainable
While some of us patiently await The Strokes' triumphant return, the rest take pleasure in side projects like Little Joy. Formed by Strokes drummer Fabrizzio Maretti, Little Joy takes the same minimalist approach as The Strokes, but in a more relaxed direction. So relaxed that "Unattainable" doesn't even feature Maretti's drumming. The song features soft plucking bass and intermittent acoustic guitar and depends wholly on female vocalist and multi-instrumentalist Binki Shapiro's (I don't know if that's her real name) carefully placed vocals. Imagine Moldy Peaches, except less annoying and with better singing.

Passion Pit Sleepyhead
Off of this year's EP Chunk of Change, "Sleepyhead," is a brilliantly constructed single. Anchored by a pounding dance beat, the song features background falsetto singing and bells in addition to one of the catchiest instrumental hooks ever. I dare you to listen to this song and not, "Wamp, wamp, wamp" along. On a personal note, the song's tempo happens to be about the same as my walking pace, so it's quickly become my iPod's favorite track.

Conor Oberst: Cape Canaveral
Bright Eyes frontman Conor Oberst silenced a lot of critics with his comparable self-titled solo debut. "Cape Canaveral," is a standout of the album and serves as a bare-boned acoustic intro. Oberst flexes his song writing capacity including inward repetition during the verses, inventive song structure, and (a personal favorite of mine) the line, "You taught me victory's sweet, even deep in the cheap seats."

Jonny Greenwood: Oil
As a Radiohead fan I was well aware of this, but a lot of people didn't know that it was Radiohead guitarist Jonny Greenwood who scored last year's film There Will Be Blood. Greenwood is famous for his unique string pieces with Radiohead, and did not disappoint with his score that just barely missed out on an Oscar. "Oil," is beautiful. It encompasses all the hope, fear, and stylistic beauty that takes place on screen. I don't normally dote on film scores, but this is a shining exception.

UPDATE: Vessels

On November 11th, we reviewed the album White Fields and Open Devices by Vessels. We posted two songs by the band, one of which has just been made into a music video: "A Hundred Times In Every Direction." The video has awesome effects, and it fits the song perfectly. The video is definitely worth a view. Below is a copy of the video, but to watch it in hi-def (which you should) view it here: http://www.vimeo.com/2364287.



If you missed the album review, find it here: Album Review: Vessels- White Fields and Open Devices.

Want more?
Vessels: Yuki

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Murs - Murs for President

Murs, an acronym for Making Underground Raw S#$%, is an alias for Nick Carter who has taken the role of a true rapper and made an incredible album. On Murs for President, Murs takes up the role of what could be considered an honest rapper, on par with the likes of Kanye West, in that he raps about real life as opposed to the themes of traditional gangsta rap. Murs’ lyrics represent everything, from being in love to remorse for cheating, from standing up for the little man to his own path that he has taken.

For example, in “Love and Appreciate 2” Murs raps about correcting his gangster friend for treating women poorly and instead, as Murs puts it, “treating her like a queen.”

The songs on the album Murs for President are individually strong songs but put together in this album make an amazing collection. The beats that Murs uses are original or classic spin-offs that, either way, are good. He also uses a broad variety of sounds and rhythms with the occasional change of tone or tempo, adding a good deal of diversity to the album and keeping its sound fresh. On top of this, the sound and production quality gives the album a sleek and crisp quality that a lot of CDs don’t have. When these elements are combined with his powerful and memorable lyrics, the tracks that Murs creates are an intense expression of his beliefs and feelings. Murs also occasionally features other artists in his music including Snoop Dogg, Tyler Woods, and Will.i.am.

All of the songs on the album Murs for President are excellent songs, but the best of these are “I’m Innocent,” “Everything-Murs,” “Me and This Jawn,” “Breakthrough,” “Time is Now,” and “Love and Appreciate 2.” “I’m Innocent,” is the second track on the album following the intro. This song has a very fast and strong beat that fits with the furious rapping that Murs brings to the table, and this track could definitely be compared to some of Kanye West’s music. The fifth track “Everything-Murs” is an inspirational song where Murs raps about his own story and gives the message to be unique and better the world. This song incorporates guitars and scratching that add to the diverse sound Murs achieves.

“Me and This Jawn” opens with an extremely unique beat that is captivating to listen to which consists of a scratching wah-wah like sound, a xylophone ding ding, a synthesizer’s wail, and a strong beat on the bottom. “Breakthrough” sounds similar to “Everything-Murs” with the traditional rap sound to it, but “Breakthrough” features some nice interludes with chimes and some vocal work in the background. Following this is “Time is Now” which features Snoop Dogg and the producer (“N” word)-rachi that when said sounds like Liberace with a slight twist. This song features some piano, stomping, clapping, and vocals in the beat that Murs and Snoop Dogg lay some smooth rhymes on top of. Tyler Woods is featured in the next track titled “Love and Appreciate 2” which has an almost throwback retro sound to it where Murs talks about love and treating her like she’s special and in turn hates on pimps and their treatment of women.

So, all in all, Murs has definitely made a great new album, Murs for President, and he could certainly come in a close second to Obama with it.

Late Fall/Early Winter Playlist

So here at Vinyl Visions we've been slacking. With the Thanksgiving break, no one has had the time to sit down and type out a review, and for that we take full responsibility. For that reason, we've decided to throw up a few mp3s. This playlist is meant for the late fall/early winter transition, hope you like it.


Vinyl Visions' Winter Transition 64:26 [87.09 MB]

1. Dr. Dog: The Breeze
2. Okkervil River: For Real
3. Beirut: Elephant Gun
4. Rilo Kiley: Go Ahead
5. Defiance, Ohio: The Temperature Is Dropping
6. Bright Eyes: A Perfect Sonnet
7. The Apples In Stereo: Mirror
8. Yoav: Beautiful Lie
9. The Shins: Young Pilgrims
10. Modest Mouse: Custom Concern
11. Of Montreal: Girl From NYC (Named Julia)
12. David Bazan: Cold Beer And Cigarettes (Acoustic)
13. Glen Hansard: Say It To Me
14. Bishop Allen: The Chinatown Bus
15. The Decemberists: Odalisque
16. Sufjan Stevens: The Seer's Tower
17. Death Cab For Cutie: I Will Follow You Into The Dark

Happy Thanksgiving!

From all of us at Vinyl Visions: Happy Thanksgiving everyone! We hope it's a good one!

The Pavement Revival Continues

Matador Records has gained quite a reputation with independent rock music. The 19-year old record label has been the homes for such important bands as Belle & Sebastian, Yo La Tengo, Cat Power, The New Pornographers, Liz Phair, and now even Sonic Youth (this is just to name a few). One of the most recognizable bands that emerged from the Matador scene was California’s influential Pavement. Matador obviously takes pride in the band by not only releasing every single album of Pavement’s 10 year span, but also releasing frontman Stephen Malkmus’ solo albums (with the Jicks) and reissuing every Pavement album.

So far, 3 of the 5 albums have been re-released as densely packaged 2-disc deluxe editions, all kept in chronological order. In 2002, their 1991 debut Slanted & Enchanted was reissued with the proper subtitle “Luxe and Reduxe”. 2004 saw the reissue of their sophomore 1994 release Crooked Rain, Crooked Rain, which included the indie-rock anthem “Cut Your Hair,” and 2006 saw the rebirth of 1995’s Wowee Zowee.

Now comes along 2008, and the 2-year pattern of Pavement reissues prove themselves ever-flowing with the re-release of the guys’ fourth album Brighten The Corners. Like Slanted and Wowee, Brighten The Corners has been reissued at its 11-year mark, the original release date dating back to February 1997. By this point in their career, Pavement had a steady fan base. They stood out from their ordinary 90s contemporaries, their music being exceptionally more ‘upbeat’ in comparison to the grunge bands of the times. And with a voice like Mr. Malkmus’, how can you even sound ordinary? Malkmus, drummer Stevoe West, Bob Nasatanvich, bassist Mark Ibold (who is, wuddyaknow, currently touring with Sonic Youth) and Scott “Spiral Stairs” Kannberg made up a damn catchy band. Not “Smells Like Team Spirit” catchy, but that kind of catchy that makes you feel happier than you were before, and you continue to listen to it over and over again until you become completely sick of it.

Brighten The Corners: Nicene Creedence Edition (a reference to the original album’s liner notes crediting the band as ‘the Nicene Creeders’) is the latest installment of the Pavement revival series, leaving us now with 4/5 of the band’s studio albums in their deluxe edition makeover. Only 1999’s Nigel Godrich-produced conclusion Terror Twilight is left. The Corners reissue may be one of the shorter reissues in the series with a run time of only 2 hours and 34 minutes (ranging from both discs, of course). Nicene Creedence starts off with the original 12 track album newly remastered from its original tapes and sources. The album itself is worth the buy alone, with it’s classic opener, "Stereo" where Malkmus deservedly and commandingly brags to " (Ho!) Listen to me!/ I’m on the Stereo". And of course there is the fan favorite bass line of "Shady Lane" following right after (talk about 'damn catchy').

Other tracks like "Embassy Row," "Passat Dream," "Starlings of the Slipstream," are all highlights of pure Pavement melodies, and the exceptional sound from what fans and critics alike deem, "The Quintessential Indie Rock Band."

Track 13 acts as the gunshot that starts of the hour and 50 minutes worth of extra material. With more than half of the extra tracks being unreleased, the material is a collection of single b-sides, and numerous radio sessions from ‘97 with alternative versions of BTC tracks such as ‘Date w/ Ikea’ and ‘Fin’. One of the radio sessions that is definitely worth a listen is a John Peel radio session that ends with a cover of “The Classical” by The Fall, Peel’s favorite band. It also includes studio session outtakes, and even a two-track finale of the late night cartoon talk show ‘Space Ghost’ theme song. Both tracks are the most vocal and guitar-effect heavy you’ll probably hear from Pavement.

Along with the cover of The Fall’s, "The Classical", other covers include Echo and the Bunnymen’s, "Killing Moon" (a somewhat confusing pick for the band), "Oddity" by The Clean, and even a stellar version of “It’s A Rainy Day, Sunshine Girl” by 70s Krautrock legends Faust. Like the previous reissues, the supplementary material on Nicene Creedence can be a bit overwhelming for a single listen-through; but when individually listened upon time after time, the charms are as present as the day they were recorded.

Waiting only 10 years to reissue Pavement’s records might seem a bit impatient and premature on Matador’s part, but at least they aren’t waiting too long. We’re living in an age where bands such as Lynyrd Skynyrd and AC/DC get the Special Edition and Box set-makeovers nearly every month it seems. So even if it may seem a bit early, we should be thankful that at least excellent bands such as Pavement are getting the legacy recognition they deserve. I mean after all, they were pretty much the best thing that rock saw in the 1990s.

Myspace Band of the Week: Alignment

Ever wondered what happens when you mix a clarinet, a steel drum, and some effects? The answer is this week's MySpace band of the week: Alignment. The band is comprised of two members: Colin Kemper (clarinet) and Tim Engers (steel drum). Their music is somewhat tough to place on the musical spectrum (even for the band); I'd call it classical with a psychedelic twist. This may sound odd at first, but listen to their tracks and you'll understand why their musical flow and pure creativity has made them our MySpace band of the week.

The band's MySpace is the definition of humble with no picture, three friends, and the stock profile. That can only mean one thing: it's brand new. So is the band, having started only a couple months ago in August. When asked where their inspiration came from, Engers replied, "We just get together a couple nights a week and jam." He also mentioned that clarinetist Colin Kemper saw something like it on YouTube and wanted to try it out.

Alignment has two songs, or "jams" as Engers refers to them, up on their MySpace and have about 10 to 15 others recorded in total. However, they feel that these two are their best. “The goal is to get a 12 to 14 track album soon, which will probably go up on the Internet as a free download since we don’t imagine selling it,” says Tim.

Head on over to Alignment's MySpace, see what you think, and keep an eye out for some new tunes from the duo.

Alignment's MySpace

White Rappers from Colorado

I think my roommate hates me now. He's too passive to speak up, and I don't have earphones (they broke), so when I need to finish a paper - or just don't feel like going to sleep - he has to put up with 3OH!3's Want playing ad nauseum. I like to think that he's soothed to sleep by the fast paced electronica of Sean Foreman and Nathaniel Motte. They bring all the irreverence of white rappers with a sound that gives them the legitimacy to make a lasting impression on the music community.

It's so tempting to label 3OH!3 as hip-hop, electronica, or some combination of the two but they dont really fit the image of either. First, I suggest you listen to "Holler til You Pass Out". It's gritty, harsh, deliciousness. But you say, "Johnny! That song is all kinds of hip-hop electronica!" And I would have to agree with you politely and ask you to watch the music video. It's two white guys, nay, two scrawny white guys, playing basketball against a bunch of little kids. By turning the idea of a hip-hop artists on its head, 3OH!3 manages to take all the awkward white kid of a Computer Science dorm, an amazing amount of arrogance, and combine the two in a such a way that's not only entertaining, but kind of funny too.

It's like when you went to a highschool dance and saw the tiny little freshmen freak-dancing to "Fantasy" by Ludacris; you cant help but chuckle, and dance along. Take, for example, this gem their eigth track "Rich Man," "Drinks are on the house,/ Whiskey's on the rocks/ while your sister's on my mouth." Vulgar? Yes. But coming from two scrawny white guys that met in physics class, you can't help but chuckle.

But even then, when you have them play them off as a tongue in cheek jab at hip-hop, "Still Around" starts playing, all soft and slow-like. It leaves you with the feeling you get when, not to beat this metaphor to death, switches to a slow song, "for all the couples out there." The change of pace in the album is nice and helps to define the band as more than gimmick. "Still Around" drops the lanky white rapper image, and lets us know that this band is much much more than their poppy, tongue-in-cheek sound lets on.

They are currently touring around the states, enjoying sold out shows all along the way.

www.myspace.com/3oh3

3OH!3: Don't Trust Me
3OH!3: Rich Man
3OH!3: Still Around

Wildbirds and Peacedrums - Heartcore

Comprised of drummer Andreas Werliin and singer Mariam Wallentin, Wildbirds & Peacedrums album Heartcore is an engaging mix of folk, blues, pop, and soul, that when put together, the end product is anything but mundane.

The sound is similar to what you would imagine hearing from a downstairs room in your home, being sung by a familiar voice such as your mother. Wallentin’s singing is responsible for evoking this homey impression that makes the listener feel comfortable and relaxed. No one song on the album can be pinned to one genre alone, and that’s what makes it so fun.

The creative approach to percussion and soulful singing make for an experience of elation that only this couple could produce. The Swedish join up have succeeded in creating a balance between Mariam’s vocals and Andreas’ unique approach to percussion that portrays the album in a seemingly simple structure, but is really a clever concealment of its intended frame.

With a wide range of incorporated types of music, Wildbirds & Peacedrums have produced a variety of enticingly dramatic ditties that range from mellow and calm ("The Battle In Water," and "A Story From A Chair"), to upbeat and exuberant ("The Ones That Should Save Me Get Me Down," "Doubt/Hope"). Each complements the other, and the end result is refreshing, original, and satisfying.

Here is the video for their track, "The Window"




Wildbirds & Peacedrums: I Can't Tell In His Eyes

Upcoming tour dates:
Sun 7 Dec 2008: Neumos, Seattle, WA, USA
Tue 9 Dec 2008: Doug Fir Lounge, Portland, OR, USA
Thu 11 Dec 2008: Bottom of the Hill, San Francisco, CA, USA
Fri 12 Dec 2008: Spaceland, Los Angeles, CA, USA (with Radars to the Sky)

Website: http://wildbirdsandpeacedrums.com

MySpace: http://myspace.com/wildbirdsandpeacedrums

Rithma's new album Sex Sells

Rithma has just released their new album Sex Sells. Rithma, aka Etienne Stehelin, produces all of his own music and plays all of the instruments. As far as Sex Sells goes it is apparent that Rithma has incorporated some jazzy, funky, and sexy sounds with a slight techno feel and very strong jazz roots. All of these works together to give Sex Sells that classic sound of a coffee shop with its very mellow and smooth feel.

The first track is just a small instrumental forward that leads into the second song. Track two, “We Are” featuring “Rock and Roll” Franny, opens with a very smooth acoustic bit that is blended with a saxophone riff that works its way into a strong beat with some funky instrumental riffs in the background making this song a very chill one. Rithma’s voice has a very smooth and well trained sound and feel to it; and in, “We Are” he is accompanied by Franny’s slightly deep feminine voice which gives a nice balance of ranges and harmonies. The song then turns towards a jazzy instrumental sound with accompaniment from voices or other sounds.

Track three, “Map Point Baby” featuring Mitch Manker, has a unique beat that is occasionally interrupted by some synthesizer fills that add a mellow and smooth feel. After this is “Extra Strength” which has a very unique beat and ambient sound to it that is perfect for relaxing too. About half way through this song comes a very very very smooth guitar solo that melts perfectly into this song. Following this is “Lithuania” which features a faster and more diverse beat that are layered over with very crunchy bass lines that set the mood for the song. The vocals have a loudspeaker monotone sound to them that helps set of the changing style of the beat from plain drums to a very heavy techno beat, but this is all held together by the high hat that stays mostly constant throughout the song giving it a unified sound that the listener will like. Skipping ahead is the title track “Sex Sells” featuring Dan Boissy that opens with an elevator style instrumental bit in the opening that is picked up with some tribal drums in the back ground. The listener will understand why this is the title track because of its smooth and relaxing sound but it still keeps from being boring with its strong beat. Immediately following this is “Sex Jam” which also features Dan Boissy. This song is an ultra-smooth transition from “Sex Sells” carrying the same feel through it, but carrying it into a whole new direction. This album is one that has some well planned transitions that give Sex Sells a masterful flow that make this album a great one.

This album is one that should be recommended to anybody who is looking for some smooth sounds that are ideal for chilling to. To check out Rithma and his music go to http://www.myspace.com/rithma.

EP Review: One Day As A Lion

What do you get when you mix one Zach De La Rocha of Rage Against The Machine with The Mars Volta's Jon Theodore? You get One Day As A Lion. While I was never a huge fan of Rage or Mars Volta, I do respect Zach's raps as I appreciate the experimentalism of The Mars Volta. Picking up this EP I didn't really know what to expect, but in retrospect I got exactly what someone would expect from the two: some great lyrics, but repetitive and noisy music.


The five-song EP opens with "Wild International" which wastes little time, getting political from the get-go. The song appears to be the fan favorite, and it's understandable with such a memorable chorus. Outside of the chorus though, the song is lacking much of a message and the beats are not all there.

The second track "Ocean View" seems to be a little more influenced by Theodore with its unstructured beats and the groan of a distorted guitar humming through the entire song. Much like "Wild International," this song has a memorable chorus both lyrically and musically.

Ocean of tears rise, rise a flame to tear them down
Ocean of past crimes now fill our hearts to tear them down

Track four, "If You Fear Dying," again accents Zach's poetic raps, discussing (obviously) the fear of dying. This song, more than the others, gets quite repetitive relying solely on Zach's rap while the music is just a background noise.

Overall I'd recommend the band to any Zach De La Rocha or Rage Against The Machine fan. If you don't like Rage however, I doubt you'll appreciate this band and find the music and beats rather repetitive.

One Day As A Lion: Wild International

Check out their Myspace.
Buy their EP and merch here.

From the Vinyl Bin: The Sonics - Have Love Will Travel

This month in the vinyl bin I came across an old song, by Tacoma, Washington garage rock legends The Sonics, called "Have Love Will Travel" which is originally by Richard Berry. This song is easily one of the most influential of the 1950's and 60's. Since it was written it has been covered by artists like Raul Revere and the Raiders, Stiv Bators of The Dead Boys, The Black Keys, and Jim Belushi.

This song is a true testament to the garage rock sound and comes complete with distorted guitars and wailing screams from the mic. This song can seem slightly repetitive a minute or so in (like most generic 50's and 60's songs). Then it hits the sax solo adding something totally different and giving the song somewhat of a bluesy feel.

The interesting and little known fact about this song, and even this band and the movement that they were a part of is that it is (or was) punk rock. That's right I said punk rock.

So how do we get the accelerated and distorted power chord progressions, quick drumbeats, and leather jackets complete with studs from an early 60's rock band? Listen to the song and think about the music of the time. Bands like The Sonics, Paul Revere and the Raiders, The Kingsmen, and The Wailers (no, not Bob Marley's band) pioneered that fast and distorted rock sound that was referred to as punk, but is now called garage rock.

This sound is obviously not quite what punk is. A good modern comparison would be The Hives, who sound heavily influenced by bands like The Sonics. Over all though it was this music that has been the driving force behind the punk movement, grunge (which started in a similar area), and the garage rock bands of our day.
The Sonics: Have Love Will Travel

Wanna know more? Wikipedia, MySpace, and fan sites are your best bet. Just Google the band you'll find the limited information fast enough. Just like information on them, the band's music is somewhat scare and not always easy to find, so if you ever find some pick it up, listen to it, and hear to the sound that's helped make rock today what we've known it to be.

Guns N' Roses: Chinese Democracy, Nov. 23

Have you heard?! Or have you been under a freaking rock?! Guns n' Roses! They're back! Chinese Democracy! Fire up the old Chevy Camaro and slick back that mullet. We're gonna rock out like it's...1991. Hmm.

Ok, they're a little outdated, but Axl and the boys are back to do what they do best! Rock out hard! Can you imagine the ensuing world tour coming to a major arena near you? Think of Axl coming out with his trademark bandana and...dreadlocks. But then comes out Slash and McKagen! Or you know... Dizzy Reed and Robin Finck. Close enough right?

The album's been a work in progress over the past 17 years. Fans should be getting quality right? The thing's been tweaked and speculated over for the better part of two decades. I wonder if there are any collaborators? What's that? Shaquille O'Neil reportedly rapped on a track? Former Skid Row frontman and permanent VH1 resident Sebastian Bach sang on a track? Wow. Uh, way to throw back guys.

So yeah. The fact of the matter is Chinese Democracy could either be the worse thing mankind has ever recorded on purpose, or relatively listenable. It won't be Guns n' Roses. It won't live up to the hype. It can't. The only thing we can hope for is for it to rise briefly above mediocrity to satisfy fans, and then plummet (and hopefully take Axl along for the ride). It's nice that Rose managed to deliver the album almost within the same century as his last, but after 17 years of waiting, how much does anyone care anymore?

Who knows? Maybe I'm just a cynic and the album will be fantastic. All I'm saying is that if you are one of those mulleted, chain smoking, wanna-be bikers who's waiting for the great second coming, well you might want to get back under that rock I mentioned.

The Profound Underground: Pretty Lights [UPDATE]

On October 24th (read it here) I reviewed Pretty Light's album which was available for free on their website. Well today I am writing to let you know that Derek Smith of Pretty Lights has just put out a 2-disc album entitled Filling Up The City Skies. After listening to the album for the first time I already could feel the potential. The album is great and I'd reccommend it to any fan of electronica, downtempo, hip hop, glitch...it's all good. The best part is: IT'S ALSO 100% FREE. That's right, the two and a half hour album is available on their website www.prettylightsmusic.com. Please donate if you can.

Below are two stand out tracks, "Finally Moving" appeared on the Pretty Lights album Taking Up Your Precious Time and in my opinion outshines the original.

Derek Smith of Pretty Lights: More Important Than Michael Jordan
Derek Smith of Pretty Lights: Finally Moving [Remix]

Check out their Myspace!

Live Review: Matisyahu w/ Flobots and HR (of Bad Brains)

Recently (on November 1st) popular reggae/hip hop artist Matisyahu's fall tour stopped in at Baltimore, Maryland's Rams Head Live. I was lucky enough (or so I thought) to get tickets to this show, however the first thing I noticed was that it didn't sell out, which has been usual for Matisyahu in the past. This was hardly discouraging to my hopes for this show though, I've seen him in the past once and it was spectacular. I had high hopes for this show, and sadly I was kind of let down.

I say "kind of" let down because the opening acts were fantastic. First up was HR of the legendary Bad Brains. Every time I'm presented with a chance to see a member of a legendary band I'm always skeptical, thinking it just won't be the same. I had this same concern when HR took the stage. I was right; it just wasn't Bad Brains, but it was one of the best performances I've seen in a long time.

HR's style is mostly a fusion of reggae and hip hop however he proved that he hasn't forgotten where he came from. I was ecstatic to hear the grungy sound of distortion in the guitars, see the keyboardist walk off stage, and finally hear the tempo pick up. I couldn't have asked more from their performance, great reggae and even a few hardcore songs. Watch out for HR on tour, this is definitely a show you don't want to miss.

The next act was rising alternative rock/hip hop band Flobots. I was extremely excited to see Flobots for one reason: I wanted to see "Handlebars" live. Coming into the show I would have been happy if they had just play that one song and walked off stage, but by the end of their set I was thinking their performance would rival what I was hoping to see from Matisyahu. They were easily the best part of the night with their most notable songs being "Stand Up" and "Rise." The band put on a brilliant performance showing their true talent as a band which only left me expecting great things from them in the future.

This is where the show took a heart-wrenching turn for the worst; the catalyst was Matisyahu taking the stage. Last time I saw Matisyahu was in 2006 at the last HFStival; his performance was amazing, the perfect end to a day of great music. Because of this it truly pains me to say that I was absolutely bored by his set, which lasted two and a half hours and was comprised of about 16 or 17 songs. If you do the math there you'll notice that that's about eight minutes per song. This wasn't uniform but it seems about right; just about every song included a long interlude which was basically the band jamming. Don't get me wrong, being a musician I can appreciate a good jam, but I can hear that without paying 30 dollars, especially when I'm paying to hear songs, not jams.

The band wasn't off, Matisyahu didn't seem like he was having a bad night, the set just progressed too slowly. I wouldn't take this as a deterrent from seeing him again, just a warning of what might be. A lot of people left during the set though, so we can only hope he'll take that to heart and get back to playing the songs that got him to where he is today. Overall I wouldn't count the night as a waste, the show was great, just a little disappointing. I skeptically await Matisyahu's next tour.

To find out more or hear these artists:
http://www.matisyahuworld.com/
http://www.myspace.com/matisyahu
http://www.flobots.com/
http://www.myspace.com/flobots

Electric Owls: Magic Show EP

Magic Show EP -Track List:

1. Magic Show

2. Darken Me

3. Cannibal Superstar

4. Throw the Switch

Multi-instrumentalist and vocalist of the band, Andy Herod, brings rapture to his listeners with the raw emotion in his vocals. Herod, one of the original founders of the NY based band The Comas, has turned to this solo project as they have been on hiatus for the past few months. Currently residing in Asheville, NC, Andy has been recording his still untitled full-length album that will be released on Vagrant Records in March of 2009, at the Echo Mountain recording studio.

This four song EP is an upbeat mix of acoustics and synthesizers that forms a short but inviting collection of what Herod likes to refer to as emo-pop. Herod’s voice is a complementing opposite to his beats, bringing out a feeling of ecstasy when listening.

The first track starts with a mix of acoustic guitar, maracas, and electronic melodies. Herod’s voice almost has an echo after it, giving the song an enchanted feel. In between verses, a girl’s voice sings the words “magic”. The song itself is a metaphor drawing a comparison to performing a magic show and playing a gig. It is a very happy song, as opposed to the second track – darken me, which is more mellow. Track two has more of a folk feel, its lyrics recalling a broken bond between two people that has left the narrator “darkened”. The third track is definitely a change of pace, although by listening to everything but the lyrics, you would not notice that the song is about the story of a man who is a cannibal and kills his wife. Throw the switch, the final song on the EP, is the perfect ending to the collection – fast in the beginning, progressing to a slow fade out in the end that leaves the listener satisfied.

It can be assumed Herod planned for this EP to be exactly what he calls it, a magic show, and each track a trick. I have had these four songs on loop since I bought it this weekend, and I strongly urge anyone interested in a good listen to check it out, and if you like what you hear, buy the album when it comes out in March.

Electric Owls on Myspace

Electric owls on Vagrant Records

Electric Owls New EP – Magic Show, now available on iTunes.

The Comas Website

Kids, They Always Come Back and They're Always Doing Something Different

If you've ever heard of MGMT, then you most likely know the song "Kids." What you probably don't know is that there is more than one version of the song; in fact, there is a version of "Kids" on each of the bands four releases. However the only difference in the versions on Oracular Spectacular and the We (don't) Care EP is production quality.

The four versions are (I'll refer to them as 1, 2, 3, and 4):
1. Kids (Oracular Spectacular)
2. Kids (We (don't) Care EP)
3. Kids (Time to Pretend EP)
4. Kids (Afterschool Dance Megamix) (Climbing to new Lows)

There are many interesting points we can bring up about this song. The first is the title: "Kids." I find this song to be a lot like kids actually. You never really know what kids are gonna do next, but they're always popping up in different ways. Not to imply that the songs are nearly spastic as children tend to be at times, but the four versions certainly do make an interesting set. Versions one and two are almost exactly the same aside from the production. Version three is also quite similar to the first two, save one section of the song, and version four is almost completely different. The first two would be like the kids wearing very similar outfits, the third would be the kid wearing something close, but the logo on the shirt is quite noticeably different. The fourth would be the one that decided to dress up as a fire-fighter for no reason.

All-in-all each version of this song has something different to offer, but why three different versions? Can we expect to see "Kids" on the next release? I can't really answer those questions with a concrete answer. However I can say that a track record of four out of four would lead me to think it's certainly possible. As far as why, there could be a multitude of reasons. Maybe they just like the song. Who knows.

So what do think? Let us know what you think of these different versions and if you think there'll be more to come.

Out of Print: MGMT (The Management) - "Climbing to New Lows" and "We (Don't) Care EP"

When people first hear of up-and-coming psychedelic rock band MGMT and decide to go buy an album by them, most of them go out to the store and pick up a copy of Oracular Spectacular, the band's "debut" album. While this album is the band's first major release and first release on Columbia records, their current label, it is not the band's first album and is far from their first release.

MGMT has actually been around for a few years now and Oracular Spectacular is their fourth release. The band's name comes from their old name The Management, under which they released their first EP and album in 2004 and 2005. Their discography also includes the Time To Pretend EP which was their first release as MGMT.

MGMT has come on to the scene and made a strong entrance with a psychedelic style that has an interesting take on the combination of electronic sounds, and the sounds of traditional instruments. Overall, their style is fairly innovative and not one that is normally heard on the mainstream level, which they are quickly breaking into. This is all fine and dandy, but what about their old material? Can we expect the same echoic and psychedelic sounds that we hear on Oracular Spectacular from the old stuff?

Put simply the answer is no.

When I first heard MGMT at this year's Bonnaroo I immediately went bought bought Oracular Spectacular and looked them up online. My search led me to some information that I think is crucial to understanding the transition from the old sound the their current one. MGMT did extensive touring with Of Montreal in support of the Time To Pretend EP. Based on their current sound this kind of makes sense, but when you consider their old sound it's like a hand fitting in a glove.

MGMT's original material under The Management sounds a lot like new Of Montreal actually. If you want a more concrete description, strip off all the live instrument's and a lot of the vocal harmonies. What you're left with is a lot of keyboard samples and some odd lyrics that create some incredible songs. The material I'm referring to can be found on the band's first release: the We (don't) Care EP and the band's first album: Climbing To New Lows.

While I have implied that the MGMT's current material is a drastic departure from their earlier stuff, this is not uniformly true. A precious few of the songs off of their old releases such as "We Care," "Love Always Remains," and even the version of "Kids" that is found on the We (don't) Care EP sound like they could be on Oracular Spectacular, in fact this version ok "Kids" is on Oracular Spectacular. Most of the songs are either drastically different, like "We Don't Care" and "Everything's Happenin' So Fast," or are transitional between the old and new styles, like "The Kids Quartet." Hints of this older sound can be heard on the Time To Pretend EP in songs like "Destrokk."

This older material is a window into the evolution of this increasingly popular band. A complete review of the their catalog really gives you a feel of where this new sound came from and how it began.

Take a listen and see what you think:
Climbing To New Lows
We (don't) Care EP

Album Review: Vessels- White Fields and Open Devices

If you've never heard of this five-piece British math rock band, you're in for an experience with this album. Minus the Bear or Maps and Atlases would be a good reference point if you were trying to decipher their sound, which is very ambient with riveting transitions between soft (and at points almost silent) extended pitches and smashing chord progressions that at points blow the listener away. None of this would be complete without the intricacy of the music that will only leave you in awe of the musical talent of Vessels.

The band recorded and released their debut album entitled White Fields and Open Devices. The album is definitely a strong first release. The opening track, "Altered Beast" was a good choice for first song on the album. Opening with what can only be described as a tidal wave (of sound) building up momentum and taking shape for a collision course with the shore. Mid-song the wave crashes down as chaotic chord progressions take over the canals of your ears.

The progression of the album is solid; listening to the whole thing beginning to end just feels natural, if that's what you're in the mood for. I don't mean that in a bad way though; listening to this album is like taking a journey of sorts and is best enjoyed when you can just let the music take you in.

All-in-all I'd say a journey through White Fields and Open Devices is one well worth taking with highly qualified tour guide Vessels. This is a terrific first release and an excellent start to the bands catalog. This critic anxiously awaits Vessel's next release and highly recommends that you all keep an eye on this up and comer to the scene.

For more info on the band:
http://www.myspace.com/vesselsband

Just a taste:
A Hundred Times In Every Direction
Yuki

Vinyl Visions' Hexin' Collection 2008

So for Halloween this year we decided to throw together a nice little playlist. The collection spans a variety of genres and eras to create a splendidly spooky mix.

If you wish to download the entire collection, or most tracks, please download the whole thing. otherwise the individual tracks are listed below.

Vinyl Visions' Hexin' Collection 2008 65:45 [90.3M]

1 Death Cab For Cutie - I Will Possess Your Heart 8:26
2 Violent Femmes: Add It Up 4:44
3 The Decemberists: Culling The Fold 4:24
4 Neutral Milk Hotel: My Dream Girl Don't Exist 4:24
5 Pixies: Broken Face 1:30
6 Broken Social Scene Presents Kevin Drew: Gang Bang Suicide 6:22
7 David Bowie: Aladin Sane 5:08
8 Pink Floyd: Mother 5:37
9 Deerhoof: Tricky Bird 3:05
10 Radiohead: Creep 3:56
11 Creedence Clearwater Revival: I Put A Spell On You 4:03
12 Brian Eno: By This River 3:04
13 Sonic Youth: Schizophrenia 4:38
14 Ugly Cassanova: Parasites 3:36
15 Daniel Johnston: Wicked World 2:34

Happy Halloween!

The Future of Festivals

Spin Magazine covered festivals this summer (along with everyone else), but I thought they brought up an interesting point. They interviewed Perry Farrel (lead singer of Jane's Addiction, founder of Lollapalooza, and foot-in-mouth extraordinaire) who said that the festival business is doomed. He said that today there are no huge bands, and that in 10-15 years there will be no such thing as a headliner band. This would lead to diminished ticket sales, lower funds for festival organizers, and in turn crappier festivals. Now what makes this argument so unsettling is not only that it hits home with music lovers who plan their summers around such extravaganzas as Lollapalooza, Bonnaroo, and Coachella, but that it's particularly valid.

Festivals in the 90's (Lollapalooza, Woodstock 94, etc.) relied heavily on popular acts of the time to draw their crowds. A big part of that was MTV exposure and alternative rock radio play. Today's modern rock festival takes an alternate route. Festivals like Bonnaroo highlight upcoming indie bands (i.e. Vampire Weekend, Animal Collective, MGMT, Of Montreal), popular dance music artists (M.I.A., Justice, MSTRKRFT), international acts (Gogol Bordello, Ozomatli, Orchestra Baobab), Soul Performers (Solomon Burke, Sharon Jones and the Dap Kings), and the list goes on and on. What the point is is that today's festival is a whole new animal. Going to a festival like Lollapalooza is no longer like listening to the live version of an alternative rock radio station. It's a complete musical experience where one can immerse themselves into every arcane corner of the musical spectrum or tailor their daily schedule to their existing musical preferences.

However, the headliner has always been the major draw for festivals. There the bands who gather all the tribes so to speak. There also the true money makers for festivals. A festival can often be made or broken depending on who they get to headline. Over the last 5 years, there have been 51 headliners at the three major festivals in the US (Bonnaroo, Coachella, Lollapalooza). Of those 51, 42 came to popularity before this decade. Obviously this is disheartening for the future, but will festivals cease to exist? This savvy music critic thinks not.

Festivals today depend on bands who were popular during an era of less musical exposure. The only bands people listened to were major label talents that they heard on the radio and saw on TV. Today that's not the case. More and more people base their taste off of music that they hear first online. MTV is no longer credible with presenting the best music of the time, and radio stations are frantically updating and diversifying their playlists to keep up with this new trend. There are no popular bands. Well, sort of.

In the last two years or so, festivals have started to highlight more and more bands that have bcome popular in ths decade. Performers include The White Stripes, The Raconteurs, Jack Johnson, and The Killers.

Of course this should last us the next few years (along with still active artists like Beck, Radiohead, and The Red Hot Chili Peppers), but what of the next generation? It's really impossible to tell. Radio stations could change their programming to suit the new tastes (some already have), MTV could start covering real music (it was really hard to write that), or smaller bands now could get huge after a few more successful albums. All there really is is speculation.

My speculation you ask? Personally I think we're going to see a change in what people consider the "headliner". The headliner will play a less important role (it arguably already has) and festivals will have to depend on the strength of their entire and diverse lineup (many already have). It's really hard to say, it's arguable that a society has to have some sort of popular music. Maybe bands like Vampire Weekend or MGMT will be catapaulted into the mainstream? Either way, we're in the middle of the transition right now. It should be entertaining.

What do you think will happen to festivals?

Album Review: Margot & The Nuclear So and So's - "Animal!" and "Not Animal"

A couple weeks ago on October 7th Margot & The Nuclear So and So's put out two new albums entitled Animal! and Not Animal. At a glance, it seems like the albums are a set; essentially they are. Animal is the "original" album, and Not Animal is a glorified b-sides disc, in fact, five of the twelve tracks on Animal are also on Not Animal. These two albums are beautiful complements to each other.

These have both been well worth the wait, which has been a little over a year now if you don't follow the band. However the most important thing to keep in mind when first listening to this new material is that over time a band's sound will tend to grow and change. Margot is no exception to this general tendency.

These albums are certainly not The Dust of Retreat. Both releases are slightly noisier than the band's previous album and demos, and they're a bit more experimental as well. These are definitely not the kind of albums expected to be released by Margot, however the new sound is refreshing and an interesting departure from The Dust of Retreat.

Together these albums make an excellent set, but each album brings something unique to the table. Animal! is a bit calmer than Not Animal can get at times. Songs like "I Am A Lightning Rod" and "At The Carnival" bring a much more experimental and slightly ambient sound to the table than previously heard by the band while songs like "As Tall As Cliffs" and "Hello Vagina" bring back that same melodic sound we're used to hearing from Margot.

Each song on this album is something great; I couldn't pick a favorite even if I was asked to. However one track that deserves considerable attention is "A Children's Crusade on Acid." This is one of the more experimental tracks on the albums. The song starts with piano, guitar and percussion, that on their own give the song somewhat of a gypsy folk music feel, paired with a sample that sounds almost like cars passing on a freeway. Then the lead guitar comes in with an echoic riff that completely changes the feel of the song and it takes a turn for the creepiest. This song is on both albums and is definitely one to look for.

"A Children's Crusade On Acid" is accompanied on both albums by "As Tall As Cliffs," "German Motor Car," "Hello Vagina," and "Cold, Kind, and Lemon Eyes." So what does Not Animal have to offer? The answer to that would be seven more brilliant songs creating the better of the two releases. This album has many final versions of demos that have been floating around the internet including: "Broad Ripple" (Now called "Broad Ripple is Burning"), "Hip Hip Hooray," "Holy Cow," and "Ocean" (Now called "The Ocean (Is Bleeding Salt)"). The demos of these songs are absolutely fantastic if you haven't heard them yet, but the flushed out versions bring a whole new and invigorating feel to each song.

All-in-all each disc is worth picking up. They both bring a whole new sound to the Margot's repertoire. If you can only get one, then Not Animal is the way to go, this is the one that I can't stop listening to. If you've never heard Margot before, go out and grab one of these, or even their first album, the band is creating a solid catalog of music that is definitely a worth-while investment.

For more info on the band check out: http://www.margotandthenuclearsoandsos.com/

A few songs to wet your whistle:
A Children's Crusade On Acid (both)
As Tall As Cliffs (both)
Hello Vagina (both)
I Am A Lightning Rod (Animal!)
The Shivers (I Got 'Em) (Not Animal)

Unsigned Band: Lake Effect

Ever wonder what it would sound like if you threw some Weezer, Jimi Hendrix, and maybe some Zeppelin into a blender and threw it on liquify? Well Lake effect is just that, hailing from western Maryland and playing shows all over the state including The Recker Theater where they were featured with Fools and Horses.

Lake Effect is currently unsigned but they are looking to produce their first full length album by next summer. As of now they have a short five demo that can be checked out on their myspace:

http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendid=291622077

The first song “Circles” is the band's strongest and favorite song. When the song opens, the Weezer influence can definitely be felt in the guitar riffs. The song's lyrical strength and strong imagery are stand out elements.

The second song “So It Goes” has a similar feel to the first song. Following this is “Rescue Me” a much slower and more emotional song that has some smooth sexy guitar riffs and bass lines, and very emotional singing that is all tied together by a very solid drum beat.

Another great track is “Toe Jam” that features some most excellent guitar riffs and progressions with some intense bass lines that is all tied together by a nice mellow drum beat.

This band definitely has some great potential that is worth checking out. Their next scheduled show is at Towson University’s PAWS on November 21 at 8 pm.

Little Joy Preview: Pre-release

With its roots in Brazil, Little Joy carries a mellow sound from its three members: Strokes drummer Fabrizio Moretti, Binki Shapiro, and guitarist/singer Rodrigo Amarante from Los Hermanos.

Moretti and Amarante first met through chance after playing a festival in Lisbon, humoring the idea of working together on a project separate from their current bands. When Amarante travelled to the states to record Devendra Banhart on his Smokey Rolls Down Thunder Canyon album, he met up with Moretti to hang out.

It was only through Binky Shapiro that the Moretti and Amarante finally acted on their previous idea of collaboration. Months later they moved into a house in Echo Park to demo songs, and soon after, they finished their self titled album, Little Joy, named after the local dive by their home.



From left: Producer Noah Georgeson, Rodrigo Amarante, Fabrizio Moretti, and Binky Shapiro.


If the three are any indication of the overall album, we're in for a treat. The first song, "No One's Better Sake" opens up with a twangy bass line and synth organ in a quick 6/8, lending itself to a mellow bassa-nova beat. Combined with a simple, no frills time-signiture, the vocals' grainy distortion gives the song an antiquated feel that calms.

The tracks change to "Brand New Start." Swing time and a brass section gives energy to the songs slower pace. I usually cant tolerate love songs, but this one's so unforgivingly open and straightforward that I can't help but love it. Catchy as hell, you'll probably have it stuck in your head for the rest of the day.

The set follows with "With Strangers" a sad, slow tune that makes me want to start drinking Kentucky Gentlemen in a dark room. "With Strangers" paints a darker image than the previous songs with lines like "Compells my hand to do what my heart wouldn't dare," and "you're perfecting love with strangers." With its almost slow deliberate vocals and powerful imagery, "With Strangers" is my favorite of the four tracks.

The tone of the music quickly switches tracks to a playful little diddy called "The Next Time Around." It opens with a light ukelele and guitar duet followed by a beautiful harmony of Amarante and Shapiro. The song dances around with a light percussion part and the gravelly tones of Amarante on lead vocals. The show is truly stolen two minutes in when the language switches to Portugese, and Binki breathes out a solo very reminiscent of "Girl From Ipanema." The song closes on the light tones of the guitar and ukelele.

Playing heavily on a light string sound, brass instruments, and synth organ, Little Joy delivers an antiquated sound dipped in the Brazillian heritage of Amarante and Moretti. With the rest of the album due out November 4th, all I can do is wait in anticipation.

Little Joy: No One's Better Sake

Little Joy: Brand New Start

Little Joy: With Strangers

Little Joy: The Next Time Around