Things seen and heard on-stage during The Builders and the Butchers at the Hi-Dive last night: an Epcot T-shirt with Mickey Mouse on it, an old West mustache, two maniacally rhythmic drummers, a megaphone, never nude cutoffs, a trombone, and an electric banjo with wings. And on the floor, courtesy of the band: a rotating cast of a dozen audience members playing tambourines, maracas, and clappers.
Oh, and of course, rip roaring, whiskey swigging, indie folk.
I love bands that sweat harder than sweaty crowds. If you are seeing Heartless Bastards this summer, and you should, do not miss the opening band.
29 June 2010
New Music: The Pass - "Colors"
I never want my summer playlist to become stale, so I was happy to find out about The Pass. Their songs are confident and fun enough to fit in at any dance party. Their EP has been out for months, but they don't have a proper website yet, so listen to their other songs on The Pass MySpace page.
Sleigh Bells: The Perfect Summer Fling
The word on Sleigh Bells is that they are "loud." Bracing is a more accurate word, because it doesn't just describe the music, but how it makes the listener feel, which is essential to understanding Treats. After the songs seeped into my synapses, I found myself craving them. Even though I'm trying to only buy music on vinyl, I had to download it today, since, record label, N.E.E.T. is apparently too Ma and Pa to give the best album of the year a proper LP release. I couldn't keep waiting to crank Treats as I drive around Denver.
The problem for Sleigh Bells is that they can never be bracing again. After a band explodes with a new sound, they can neither successfully repeat it, since their sound has become familiar; nor change it, since expectations have already been set. In some cases, they can perfect it; as Eminem did after The Slim Shady LP, but ever since, he has been trying, impossibly, to recapture the exhilaration of Marshall Mathers.
Sleigh Bells are the perfect summer fling. This music must be enjoyed now; not that it is going away, but because as it becomes familiar it will lose its magic.
The problem for Sleigh Bells is that they can never be bracing again. After a band explodes with a new sound, they can neither successfully repeat it, since their sound has become familiar; nor change it, since expectations have already been set. In some cases, they can perfect it; as Eminem did after The Slim Shady LP, but ever since, he has been trying, impossibly, to recapture the exhilaration of Marshall Mathers.
Sleigh Bells are the perfect summer fling. This music must be enjoyed now; not that it is going away, but because as it becomes familiar it will lose its magic.
27 June 2010
Portland produces more than indie rock
At a party last night I was talking with a friend about Radiohead. She said that when you are lucky enough to see Radiohead you want to be as sober as possible so that you can thoroughly absorb and retain their music. I will keep this in mind if they ever come Stateside again. I am guessing sober states of mind will not be the case for patrons at the Hi Dive when The Builders and the Butchers play Wednesday night.
Obsessed with supernatural obstacles and the magic hiding behind mundane masks, the Builders and the Butchers create folk grooves that make me think of whiskey on the rocks and arms around my friends shoulders howling along with the chorus. If you are a fan of groove folk, drunken dancing, or just need a break from drum machines and laptop bands, they will cleanse your palette and refresh your faith in organic instrumentation.
After the Hi Dive show, the Builders and the Butchers will serve as the perfect opener on a lengthy tour with Heartless Bastards playing basically every city east of the Mississippi. Also, here is a fun and silly fan video.
Obsessed with supernatural obstacles and the magic hiding behind mundane masks, the Builders and the Butchers create folk grooves that make me think of whiskey on the rocks and arms around my friends shoulders howling along with the chorus. If you are a fan of groove folk, drunken dancing, or just need a break from drum machines and laptop bands, they will cleanse your palette and refresh your faith in organic instrumentation.
After the Hi Dive show, the Builders and the Butchers will serve as the perfect opener on a lengthy tour with Heartless Bastards playing basically every city east of the Mississippi. Also, here is a fun and silly fan video.
Devil Town - Music Video - The Builders and the Butchers from Victoria Cook on Vimeo.
26 June 2010
Free Download: Of Montreal "Coquet, Coquette"
I just gave Of Montreal's new song "Coquet Coquette" a listen. It will be on their upcoming album False Priest along with two songs featuring Janelle Monae! They will also be touring with Monae, but only a few East Coast dates have trickled out. I would say August 25 at the Fillmore makes a lot of sense for Denver fans looking to save a date.
Every month or so I give an Of Montreal album a spin; I've never formed a strong like or dislike though. Maybe this is because I don't listen on headphones like ringleader Kevin Barnes suggests. In an interview with Pitchfork, Barnes recently said False Priest might be a more rage ready record. This would delight me, although I'm not going to depend on it for late summer spins around the beach parking lot just yet.
Since Of Montreal crafts their identity with elements of the freak/spazz culture (see artwork), their relative popularity and lack of polarity is strange. Even The Flaming Lips needed Yoshimi to break out of the shadows. Are listeners more attuned to the frequencies of weird in 2010? Or has Of Montreal managed to transcend its image with ear friendly music?
Ultimately, I think it is a testament to Barnes' pop sensibility and desire to express himself with fresh sound that Of Montreal has been able to hold onto its outsider/art freak allure while reliably putting out a quality album every 12-18 months.
24 June 2010
Wait, did I forget my sunglasses?
Sleigh Bells are Lebron James in 2003. Prematurely hyped, but somehow exceeding it. Their music comes across as fresh and carefree, even though it might be more calculated than any other tune beamed over the Internet. And if that's the case, good for them. Their music steals unapologetically from the Dirty South to Weezer, but it doesn't matter, because it is so fun to listen to. They ask the ultimate questions of our life's minutia, and answer them in the breeziest manner.
Congratulations to M.I.A. for going Dr. Dre on us and promoting ascendant proteges. She discovered a band that owns what the hip music scene craves most: shit that sounds bad, but is good, so as to weed out the ear of mild palette; left field pop hooks; lo-fi production values; dynamic instrumentation and laptop beats.
At the same time, N.E.E.T. must be a Ma and Pa record label, because the vinyl still isn't out. Lizzie and I were talking today that it is the vinyl we crave the most. Sure, Sleigh Bells built their rep with mp3s, but I won't be satisfied until I have Treats in 12x12 form.
Congratulations to M.I.A. for going Dr. Dre on us and promoting ascendant proteges. She discovered a band that owns what the hip music scene craves most: shit that sounds bad, but is good, so as to weed out the ear of mild palette; left field pop hooks; lo-fi production values; dynamic instrumentation and laptop beats.
At the same time, N.E.E.T. must be a Ma and Pa record label, because the vinyl still isn't out. Lizzie and I were talking today that it is the vinyl we crave the most. Sure, Sleigh Bells built their rep with mp3s, but I won't be satisfied until I have Treats in 12x12 form.
I promise not to lose her again?!
Let's face it. Every blog is touting summer tunes. The penultimate summer songs and records are here. Local Natives have my favorite song of the year so far, "Sun Hands." They are from the hipsterest part of LA--Silverlake--and their tunes appeal to Pitchfork and Relix readers. I hate myself for missing Local Natives at Larimer Lounge a few months back. I have two excuses, but neither is a good enough reason at this point. I've read that they weren't great at Bonnaroo, but I have to believe this won't be true two summers from now once they sift out their identity from the amalgam of pastoral rock (MMJ, Fleet Foxes, Band of Horses) they currently provide. MMJ in 2002 would have been mild at Bonnaroo, but in '04 laid out legendary "Beyond the Thunderdome." See Local Natives now: Before They Were Big.
22 June 2010
Jack White and the Power of Three
I was at Telluride Bluegrass Festival since Wednesday, and I will tell you it was fantastic. I will probably be writing about two of the bands I saw at some point in the future, but words can in no way do the glorious mining town of Telluride justice, so I won't even try. With that summer benchmark behind me, I am now looking ahead to concert tickets I need to purchase for the coming months. Wilco, Sound Tribe, New Pornographers and Dodos are some of the bigger shows for the coming months.
Another is less than a month away, and I not only lack a ticket, but am not feeling any momentum to do so from my normal concert buddies: The Dead Weather at the Ogden. I like going to shows at the Ogden, and enjoy the Dead Weather. However, I never compulsively listen to them and am not sold on the idea of Jack White hiding behind a drum kit. Wouldn't that have been a better decision during the White Stripes era? I love Jack White and his music. The White Stripes sucked live, the Raconteurs are blazing, so that is a wash.
Therefore, the question: Is a Jack White performance an absolutely must see?
And for this, I will go to a tale of the tape and compare White's first 12 years to two artists from a long time ago. In other words, how does his career stand up against other legends?
Bob Dylan (1962-73)
Critical albums: 10
Sea changes: 2
Years since peak: 7
Signature phrase: "Play it fuckin' loud"
Judging Bob in 1973 is a bit unfair, because this is the valley of Bob's first true ebb and immediately prior to the resurgence geared by touring with The Band and the release of Blood on the Tracks. Still, Bob probably seemed a bit out of new ideas at the 12 year mark. "The Man in Me" from New Morning is a fantastic song, but also the thematic anthem of a hippie burnout, which more or less sums up Dylan at the time. One year later, he was back at the top of his game.
Eric Clapton (1963-74)
Critical albums: 7
Years since peak: 5
Bands: 6 + solo
Famous slogan: Clapton is God.
Everything Clapton has done since Slowhand is useless; he has become the King of Corporate Blues. In 1974 though, he was still riding the wave of his legendary work in the 60s. Clapton played with a tremendous lineup of fellow rockers and virtuosos that pushed him musically, and judging by vomit inducers like Reptile he's best that way. However, with his Guitar God days still resonating and a hit song, "I Shot the Sheriff" on the airways, Clapton probably seemed to have not only survived the 60s, but still going strong; his days of future emasculation not even foreshadowed.
Jack White (1999-2010)
Critical albums: 7
Years since peak: 7
Bands: 3
Less known quote: Don't ask me my opinion and then punish me for the answer I give you!
Even though he is a spiritual descendant of Dylan, an amalgam of Dylan and Clapton probably works best for figuring out where Jack White stands. He has a lot of Dylan's attitude and much of his story telling ability. His guitar playing is unique (for its time) like Clapton's and his band switching points to some of Clapton's early wanderlust.
The Dead Weather seems more like a continuation (or beefed up version) of the White Stripes than something entirely new as the Raconteurs are. Now though, Jack finally has a willing counterpart to produce sexual tension and talented support to create the divisive dynamic he yearns for. These are definitely enticements. I wonder why Jack can't just settle into a groove with the Raconteurs and churn out four or five more melodic crunchers, but he seems to crave the male-female dynamic. This instability and wave of new band mates is likely why his music is still fresh. Clapton began his fade when he went solo even though drugs played a big part. Dylan was temporarily invigorated by touring with a menagerie of talent, an oasis of the dust bowl that was 1970-1987. This might not answer my original question, but it does seem to show why Jack White has continued to make relevant, challenging music for over a decade, while the ten year mark is usually the death toll of the biggest bands (Beatles, Zeppelin, Talking Heads).
Another is less than a month away, and I not only lack a ticket, but am not feeling any momentum to do so from my normal concert buddies: The Dead Weather at the Ogden. I like going to shows at the Ogden, and enjoy the Dead Weather. However, I never compulsively listen to them and am not sold on the idea of Jack White hiding behind a drum kit. Wouldn't that have been a better decision during the White Stripes era? I love Jack White and his music. The White Stripes sucked live, the Raconteurs are blazing, so that is a wash.
Therefore, the question: Is a Jack White performance an absolutely must see?
And for this, I will go to a tale of the tape and compare White's first 12 years to two artists from a long time ago. In other words, how does his career stand up against other legends?
Bob Dylan (1962-73)
Critical albums: 10
Sea changes: 2
Years since peak: 7
Signature phrase: "Play it fuckin' loud"
Judging Bob in 1973 is a bit unfair, because this is the valley of Bob's first true ebb and immediately prior to the resurgence geared by touring with The Band and the release of Blood on the Tracks. Still, Bob probably seemed a bit out of new ideas at the 12 year mark. "The Man in Me" from New Morning is a fantastic song, but also the thematic anthem of a hippie burnout, which more or less sums up Dylan at the time. One year later, he was back at the top of his game.
Eric Clapton (1963-74)
Critical albums: 7
Years since peak: 5
Bands: 6 + solo
Famous slogan: Clapton is God.
Everything Clapton has done since Slowhand is useless; he has become the King of Corporate Blues. In 1974 though, he was still riding the wave of his legendary work in the 60s. Clapton played with a tremendous lineup of fellow rockers and virtuosos that pushed him musically, and judging by vomit inducers like Reptile he's best that way. However, with his Guitar God days still resonating and a hit song, "I Shot the Sheriff" on the airways, Clapton probably seemed to have not only survived the 60s, but still going strong; his days of future emasculation not even foreshadowed.
Jack White (1999-2010)
Critical albums: 7
Years since peak: 7
Bands: 3
Less known quote: Don't ask me my opinion and then punish me for the answer I give you!
Even though he is a spiritual descendant of Dylan, an amalgam of Dylan and Clapton probably works best for figuring out where Jack White stands. He has a lot of Dylan's attitude and much of his story telling ability. His guitar playing is unique (for its time) like Clapton's and his band switching points to some of Clapton's early wanderlust.
The Dead Weather seems more like a continuation (or beefed up version) of the White Stripes than something entirely new as the Raconteurs are. Now though, Jack finally has a willing counterpart to produce sexual tension and talented support to create the divisive dynamic he yearns for. These are definitely enticements. I wonder why Jack can't just settle into a groove with the Raconteurs and churn out four or five more melodic crunchers, but he seems to crave the male-female dynamic. This instability and wave of new band mates is likely why his music is still fresh. Clapton began his fade when he went solo even though drugs played a big part. Dylan was temporarily invigorated by touring with a menagerie of talent, an oasis of the dust bowl that was 1970-1987. This might not answer my original question, but it does seem to show why Jack White has continued to make relevant, challenging music for over a decade, while the ten year mark is usually the death toll of the biggest bands (Beatles, Zeppelin, Talking Heads).
15 June 2010
Rapping from Rikers: Swallow Wayne's Words
Beyond Big Boi, there has been an absence of dynamic, smart rap finding its way onto my iPod. This is accentuated by "My Chick Bad" which is like rubbing a cheese grater on my ears.
Hip hop always comes in waves for me, so it makes me happy (and disappointed in our legal system) that Wayne is transmitting flow to the mainland. Not only is Wayne's verse a gigantic coup for Drake, it will also give his fascinating Wiki bio another entry. I really can't stop listening to his verse; the low fi sound only enhances the genius flow.
Before his incarceration, his celebrity was overcoming his output. Its hard to find time to unleash ridiculous flow when you are fake laughing at the reprehensible Skip Bayless on ESPN or freaking Katie Couric the fuck out. Now, I'm hoping Wayne comes out of prison motivated, ambitious, and extra-terrestrially thoughtful. Again.
zSHARE - Light Up Rikers.mp3
Hip hop always comes in waves for me, so it makes me happy (and disappointed in our legal system) that Wayne is transmitting flow to the mainland. Not only is Wayne's verse a gigantic coup for Drake, it will also give his fascinating Wiki bio another entry. I really can't stop listening to his verse; the low fi sound only enhances the genius flow.
Before his incarceration, his celebrity was overcoming his output. Its hard to find time to unleash ridiculous flow when you are fake laughing at the reprehensible Skip Bayless on ESPN or freaking Katie Couric the fuck out. Now, I'm hoping Wayne comes out of prison motivated, ambitious, and extra-terrestrially thoughtful. Again.
zSHARE - Light Up Rikers.mp3
14 June 2010
Arcade Fire tracks: Can something pure last?
It's a cloudy, lazy day so I decided to give the new Arcade Fire songs a thorough listen. Since Arcade Fire is now synonymous with dream animals and an emotionally naked young boy running wild through the jungle, my expectations were pretty high.
What maintains creative drive, once the initial spark has thoroughly disappeared? Once catharsis has been achieved, how can new artistic tension be created? For how long can a band's vision parallel its fan's desires and expectations?
Despite The Suburbs bizarrely far off August release date, Arcade Fire's new material has been slowly turning up. Their official singles are ambiguous and feature meta-cognitive spirals. "Ready to Start" and "We Used to Wait" are throaty, propulsive, and worthy of summer playlists, but make no mistake, they don't aspire to greatness. If these tracks are representative of The Suburbs, Arcade Fire have crystallized their artistic direction by scaling back their ambition and asking questions they've already answered.
Guess which song will begin Arcade Fire's Lolla set by listening courtesy of 107.7 The End. Or watch a video of new Arcade Fire in a house full of friends in Montreal.
What maintains creative drive, once the initial spark has thoroughly disappeared? Once catharsis has been achieved, how can new artistic tension be created? For how long can a band's vision parallel its fan's desires and expectations?
Despite The Suburbs bizarrely far off August release date, Arcade Fire's new material has been slowly turning up. Their official singles are ambiguous and feature meta-cognitive spirals. "Ready to Start" and "We Used to Wait" are throaty, propulsive, and worthy of summer playlists, but make no mistake, they don't aspire to greatness. If these tracks are representative of The Suburbs, Arcade Fire have crystallized their artistic direction by scaling back their ambition and asking questions they've already answered.
Guess which song will begin Arcade Fire's Lolla set by listening courtesy of 107.7 The End. Or watch a video of new Arcade Fire in a house full of friends in Montreal.
12 June 2010
MGMT - Red Rocks
We arrived before five to ensure time for a quality tailgate before the openers took the stage at sold out Red Rocks. As we took down a case of Session beers, the lots were just beginning their four hour journey to capacity; soon though, packs of teenaged hipsters were scampering around showing off their neon flannel and 48 hour mustaches. It was a hoodie and jeans type of night with foreboding clouds across the entire horizon. This did not fit the lineup particularly well: MGMT is more of a warm weather band, so a 90 degree scorcher would have been ideal.
There are other hot day bands that fit in this category such as Dirty Projectors, Outkast, and Avett Brothers; sweat belongs at these shows. Cold weather bands such as Pearl Jam, Band of Horses, and My Morning Jacket can rock through the rain. I want to see them wearing a flannel or hoodie. MGMT fits the hot day group much more, although they didn't let Mother Earth stop them on this night. The show kicked off a six month long World Tour, so there will be plenty of hot days in their future.
A common criticism of MGMT is that they aren't any good live, but this is mainly a commentary on people's expectations. As something other than a dorm room experiment, MGMT is green around the edges and still gaining the chops needed for this kind of gig. When I saw them at Bonnaroo '08 (as upstarts) and '09 (as late night packed house), I was looking for an hour long party, not an epic legend. Each time I was quite satisfied. (Note: I wouldn't recommend watching this whole video. Just pay attention to the sparse banter and crowd reaction to "Time to Pretend." When they play those songs the place just explodes!)
Last night, they powered through the rain, delivered a performance that transcended their three hits, and proved that they can play their songs differently than how they sound on the albums. They tilted a lot of their songs towards the crescendos, which enlivened the audience. By spacing out the Big 3, songs like opener "Weekend Wars" and "The Youth" had room to breathe. Their set list was an equal mix of Oracular Spectacular and Congratulations, and the confidence to close out their set and encore with newer songs indicates they have a commitment to stretching the depth of their catalogue. This is very encouraging.
Just because none of their new songs have the omnipresence of "Kids" doesn't mean they are regressing. The first career arc comparison that comes to mind for MGMT is Nirvana. They exploded with a neoteric album about youth, and followed it with a reactionary, well plotted album protesting their own fame. At this point a fresher comparison is needed, because they don't seem like the suicide or burnout types. There are two roads they could go down. The common road is the plateau. More interesting would be expansion, modeled by Radiohead, treating their fan base to consistent artistic growth. The Red Rocks show was a test and they definitely passed.
While the show solidified MGMT as a legitimate big stage headliner, I still have more questions. Will MGMT developing a supporting cast with the capability of turning them into a juggernaut? Will they maintain the ambition necessary to continue transforming their sound? For how long will "Kids" and "Time to Pretend" be dance party staples? Which MGMT guy will go solo first?
Setlist: Weekend Wars, Song for Dan Treacy, Flash Delirium, The Youth, Electric Feel, Pieces of What, Siberian Breaks, Time to Pretend, I Found a Whistle, Of Moons, Birds & Monsters, The Handshake, Brian Eno Encore: Kids, It's Working, Congratulations
A note on the openers: It turns out that a lot of people don't yet know about Tame Impala or Janelle Monae, because it took awhile for the bleachers to fill up. Tame Impala did not have the theatrics or big stage experience to fully capture the attention of the masses, but I was satisfied with their moody grooves and open air sound, while noting that they need to develop their vocals. Janelle Monae has enough style to enliven a Bridge competition. She was introduced by a hype man and ensured that everyone stayed on their feet as she shimmied and shaked like a female Michael Jackson with her band shredding like Van Halen in support.
There are other hot day bands that fit in this category such as Dirty Projectors, Outkast, and Avett Brothers; sweat belongs at these shows. Cold weather bands such as Pearl Jam, Band of Horses, and My Morning Jacket can rock through the rain. I want to see them wearing a flannel or hoodie. MGMT fits the hot day group much more, although they didn't let Mother Earth stop them on this night. The show kicked off a six month long World Tour, so there will be plenty of hot days in their future.
A common criticism of MGMT is that they aren't any good live, but this is mainly a commentary on people's expectations. As something other than a dorm room experiment, MGMT is green around the edges and still gaining the chops needed for this kind of gig. When I saw them at Bonnaroo '08 (as upstarts) and '09 (as late night packed house), I was looking for an hour long party, not an epic legend. Each time I was quite satisfied. (Note: I wouldn't recommend watching this whole video. Just pay attention to the sparse banter and crowd reaction to "Time to Pretend." When they play those songs the place just explodes!)
Last night, they powered through the rain, delivered a performance that transcended their three hits, and proved that they can play their songs differently than how they sound on the albums. They tilted a lot of their songs towards the crescendos, which enlivened the audience. By spacing out the Big 3, songs like opener "Weekend Wars" and "The Youth" had room to breathe. Their set list was an equal mix of Oracular Spectacular and Congratulations, and the confidence to close out their set and encore with newer songs indicates they have a commitment to stretching the depth of their catalogue. This is very encouraging.
Just because none of their new songs have the omnipresence of "Kids" doesn't mean they are regressing. The first career arc comparison that comes to mind for MGMT is Nirvana. They exploded with a neoteric album about youth, and followed it with a reactionary, well plotted album protesting their own fame. At this point a fresher comparison is needed, because they don't seem like the suicide or burnout types. There are two roads they could go down. The common road is the plateau. More interesting would be expansion, modeled by Radiohead, treating their fan base to consistent artistic growth. The Red Rocks show was a test and they definitely passed.
While the show solidified MGMT as a legitimate big stage headliner, I still have more questions. Will MGMT developing a supporting cast with the capability of turning them into a juggernaut? Will they maintain the ambition necessary to continue transforming their sound? For how long will "Kids" and "Time to Pretend" be dance party staples? Which MGMT guy will go solo first?
Setlist: Weekend Wars, Song for Dan Treacy, Flash Delirium, The Youth, Electric Feel, Pieces of What, Siberian Breaks, Time to Pretend, I Found a Whistle, Of Moons, Birds & Monsters, The Handshake, Brian Eno Encore: Kids, It's Working, Congratulations
A note on the openers: It turns out that a lot of people don't yet know about Tame Impala or Janelle Monae, because it took awhile for the bleachers to fill up. Tame Impala did not have the theatrics or big stage experience to fully capture the attention of the masses, but I was satisfied with their moody grooves and open air sound, while noting that they need to develop their vocals. Janelle Monae has enough style to enliven a Bridge competition. She was introduced by a hype man and ensured that everyone stayed on their feet as she shimmied and shaked like a female Michael Jackson with her band shredding like Van Halen in support.
10 June 2010
The Synthesis of Sound
My car's sound system fried, so I've had a rare opportunity to survey corporate radio the last couple weeks. Broken Bells is pretty much the hottest shit KBCO 97.3 Boulder has been playing. Combining the world's best producer with a dynamic indie songwriter, Broken Bells has rolled out several top notch tunes, while cultivating a unique down tempo sound. They are also part of the re-emergence of important Supergroups.
The term Supergroup is archaic, but more than ever, interesting cross-genre collaborations are happening and pushing pop music forward. The density of these Supergroups is heavier now than even the 60s, when the concept was fresh. And we have the pleasure of having the most star studded and one of the best selling Supergroups of all time thriving right now.
Them Crooked Vultures is, on the pedigree side of the ranking system, unparalleled. The Vultures are built for their leader, desert rock legend, Josh Homme, even though he is the worst known member of the group. John Paul Jones has aged regally and lays down pulsating bass lines, while prolific Dave Grohl adds vitriolic drumming.The Rock Gods have finally given Homme a rhythm section worthy of his talents. This band should be a live powerhouse for a while.
Gorillaz are the modern version of this creation, and one for which we need a new moniker to fit
Broken Social Scene, New Pornographers, Monsters of Folk, Postal Service, amongst others. Based on the multi-interested members of these groups, I think they should get their own genre, Collaborock. Gorillaz set the standard: combining art across mediums, hosting a revolving and evolving cast of cohorts, and delivering quality with each album, Collaborockers take idiosyncratic parts and merge them into something widely palatable.
The term Supergroup is archaic, but more than ever, interesting cross-genre collaborations are happening and pushing pop music forward. The density of these Supergroups is heavier now than even the 60s, when the concept was fresh. And we have the pleasure of having the most star studded and one of the best selling Supergroups of all time thriving right now.
Them Crooked Vultures is, on the pedigree side of the ranking system, unparalleled. The Vultures are built for their leader, desert rock legend, Josh Homme, even though he is the worst known member of the group. John Paul Jones has aged regally and lays down pulsating bass lines, while prolific Dave Grohl adds vitriolic drumming.The Rock Gods have finally given Homme a rhythm section worthy of his talents. This band should be a live powerhouse for a while.
Gorillaz are the modern version of this creation, and one for which we need a new moniker to fit
Broken Social Scene, New Pornographers, Monsters of Folk, Postal Service, amongst others. Based on the multi-interested members of these groups, I think they should get their own genre, Collaborock. Gorillaz set the standard: combining art across mediums, hosting a revolving and evolving cast of cohorts, and delivering quality with each album, Collaborockers take idiosyncratic parts and merge them into something widely palatable.
08 June 2010
Summer Festivals Part 2
The Lollapalooza schedule has been posted, and it seems to almost purposefully create conflicts for festivarians.
I've never understood why Lollapalooza stacks their headliners against one another. Should people wanting to see Soundgarden's reunion have to miss The National and Arcade Fire? I'm not saying every Strokes fans will be devastated to hear they are missing Lady Gaga, but the allure of a festival is to hear music you wouldn't otherwise hear. Lollapalooza's lineup asks its attendees to make homogeneous decisions instead of branching out to a variety of sound.
I've never understood why Lollapalooza stacks their headliners against one another. Should people wanting to see Soundgarden's reunion have to miss The National and Arcade Fire? I'm not saying every Strokes fans will be devastated to hear they are missing Lady Gaga, but the allure of a festival is to hear music you wouldn't otherwise hear. Lollapalooza's lineup asks its attendees to make homogeneous decisions instead of branching out to a variety of sound.
05 June 2010
Music in Places
What is the best music to listen to while standing on a porch during gentle rain? Does it contain the appropriate mood? Will it sink into the afternoon? Is it alive?
OK Computer fit the bill tonight.
At Sunflower today, with "Dancer in the Dark" taking the place of Muzak, I realized The National fits well with the Whole Foods set. Will their next album be sold at the Starbucks Register.
OK Computer fit the bill tonight.
At Sunflower today, with "Dancer in the Dark" taking the place of Muzak, I realized The National fits well with the Whole Foods set. Will their next album be sold at the Starbucks Register.
03 June 2010
BKW: Their songs all smell like whiskey
Striding down Clarkson on a cool summer night, there were many doe eyed fans, and close to giving up scalpers, searching for tickets. The line stretched seemingly forever, but I managed to walk in as Patrick and Dan took the stage feeling quite fine.
The Black Keys absolutely dominated the Fillmore for the extent of their set. Able to pull from a decade of playing and several albums of material, the setlist was endlessly surprising and pleasing. Early highlights included "When the Lights Go Out" and "Stack Shot Lee," which unwinded into the first serious jam of the night and put forth the idea that the Black Keys were not in the building to fuck around.
Both Dan and Patrick were on top of their game. Dan's ability to modulate perfectly between roaring solos and hard rock riffing allows the duo to create their indomitable, copious sound. Patrick is an endlessly compelling drummer; during most jams he appears completely absorbed in his own universe, then unleashes thundering force. Dan and Patrick were noticeably locked in, although I would assume that is a nightly occurrence.
Before a three song encore, the Keys closed with a frenzied "I Got Mine." As with "Your Touch" and "Stack Shot Lee," Dan and Patrick built a purposeful jam that tilted between blues rock powerhouse and psychedelic freakout. As the jam reached its peak, the floor boiled into a throbbing, unified mass. As the reverb mellowed, the roar from the crowd rose feverishly, and like a counterpart for Patrick's drumming, the many ecstatic fans certified the show with a footstomp. The hollering cheer continued to build until the band re-emerged.
Future topics -- Additions from the Day After
As a Quartet
During the second third of the set, the Black Keys brought out keyboard and bass players to play songs from the new album. "Tighten Up" was most anticipated and delivered. These songs are not yet favorites, but the extra texture added a new wrinkle to the ever-expanding Black Keys sound.
If the Black Keys decide to begin playing as a quartet I would like to see two things happen. First, I hope that their backing musicians rise to a point of being fully incorporated. In short I don't want them to be backing musicians. Keyboard solos, in particular, would be excellent additions to several songs. Second, I think the Keys would need to go through a period of playing two sets. I think, by incorporating a few more blues standards, the Keys would have enough material. They also are in full rights to jam out a few more songs, because the jams they played last night approached virtuosity.
Everlasting Light
As the quartet's obvious post in the second third of the set wound down, I tapped Lizzie on the shoulder and we had this exchange:
Me: I am really anxious for them to play "Everlasting Light."
Lizzie: Really? Explain more.
It had been growing on me. I wanted to see what it sounded like live. I thought it might sound awesome, but I wasn't sure. Lizzie is an mp3 blog (queen) and she's been a fan of this tune since its inception. I've had my doubts, but only so much as wishing they layered guitar shredding over that throbbing bass line. I don't think it is a great song, but I do think it is an important one, because it shows that the Black Keys are beginning to reshape or broaden their song. They added complementary players and pushed their sound farther beyond their prototype than ever before.
Both the placement and playing of the song were telling. Depositing it in the first encore slot added emphasis to the tune. Frankly, I, Lizzie, and many around us were in a tizzie. As the song began it was very clear that not many people had it pegged as the tune they were hoping to hear, which is probably because it is a newer song in their arsenal, and has received only a modicum of play online. For the first couple minutes, the band did nothing to change that. In a disappointing turn, the thumping bass did not come through until the song's final verse, although that did give one last burst of crazy to the dancers in the building.
The Black Keys absolutely dominated the Fillmore for the extent of their set. Able to pull from a decade of playing and several albums of material, the setlist was endlessly surprising and pleasing. Early highlights included "When the Lights Go Out" and "Stack Shot Lee," which unwinded into the first serious jam of the night and put forth the idea that the Black Keys were not in the building to fuck around.
Both Dan and Patrick were on top of their game. Dan's ability to modulate perfectly between roaring solos and hard rock riffing allows the duo to create their indomitable, copious sound. Patrick is an endlessly compelling drummer; during most jams he appears completely absorbed in his own universe, then unleashes thundering force. Dan and Patrick were noticeably locked in, although I would assume that is a nightly occurrence.
Before a three song encore, the Keys closed with a frenzied "I Got Mine." As with "Your Touch" and "Stack Shot Lee," Dan and Patrick built a purposeful jam that tilted between blues rock powerhouse and psychedelic freakout. As the jam reached its peak, the floor boiled into a throbbing, unified mass. As the reverb mellowed, the roar from the crowd rose feverishly, and like a counterpart for Patrick's drumming, the many ecstatic fans certified the show with a footstomp. The hollering cheer continued to build until the band re-emerged.
Future topics -- Additions from the Day After
As a Quartet
During the second third of the set, the Black Keys brought out keyboard and bass players to play songs from the new album. "Tighten Up" was most anticipated and delivered. These songs are not yet favorites, but the extra texture added a new wrinkle to the ever-expanding Black Keys sound.
If the Black Keys decide to begin playing as a quartet I would like to see two things happen. First, I hope that their backing musicians rise to a point of being fully incorporated. In short I don't want them to be backing musicians. Keyboard solos, in particular, would be excellent additions to several songs. Second, I think the Keys would need to go through a period of playing two sets. I think, by incorporating a few more blues standards, the Keys would have enough material. They also are in full rights to jam out a few more songs, because the jams they played last night approached virtuosity.
Everlasting Light
As the quartet's obvious post in the second third of the set wound down, I tapped Lizzie on the shoulder and we had this exchange:
Me: I am really anxious for them to play "Everlasting Light."
Lizzie: Really? Explain more.
It had been growing on me. I wanted to see what it sounded like live. I thought it might sound awesome, but I wasn't sure. Lizzie is an mp3 blog (queen) and she's been a fan of this tune since its inception. I've had my doubts, but only so much as wishing they layered guitar shredding over that throbbing bass line. I don't think it is a great song, but I do think it is an important one, because it shows that the Black Keys are beginning to reshape or broaden their song. They added complementary players and pushed their sound farther beyond their prototype than ever before.
Both the placement and playing of the song were telling. Depositing it in the first encore slot added emphasis to the tune. Frankly, I, Lizzie, and many around us were in a tizzie. As the song began it was very clear that not many people had it pegged as the tune they were hoping to hear, which is probably because it is a newer song in their arsenal, and has received only a modicum of play online. For the first couple minutes, the band did nothing to change that. In a disappointing turn, the thumping bass did not come through until the song's final verse, although that did give one last burst of crazy to the dancers in the building.
02 June 2010
Black Keys Week - Songs I want to hear
#1) Strange Desire.London Forum.London, UK.10-15-2006
My favorite Black Keys song, and my favorite Black Keys line: "I don't wanna go to hell, but if I do, it'll be 'cause of you." The audio quality on this is doubtful, but the lighting is fantastic. If you like clean audio and have a foot fetish check out this underground fan video.
My favorite Black Keys song, and my favorite Black Keys line: "I don't wanna go to hell, but if I do, it'll be 'cause of you." The audio quality on this is doubtful, but the lighting is fantastic. If you like clean audio and have a foot fetish check out this underground fan video.
Black Keys Week - Songs I want to hear
#2) I Got Mine.Crystal Ballroom.Portland, OR.4-4-2008
This is from Live at the Crystal Ballroom, which any hardcore Keys fan should probably own. This song best captures their full essence: swaggering riffs, deadly blues groove, wailing/pleading vocals, and tons of thump kit-side.
This is from Live at the Crystal Ballroom, which any hardcore Keys fan should probably own. This song best captures their full essence: swaggering riffs, deadly blues groove, wailing/pleading vocals, and tons of thump kit-side.
Black Keys Week - Songs I want to hear
#3) Tighten Up.Letterman.NYC.5-25-2010
Even David Letterman likes the Black Keys. Since I've listened to it the most and because it's generally awesome, this is my favorite song so far on Brothers. The two honchos in back will be there with them, but will they only play on the new songs?
Even David Letterman likes the Black Keys. Since I've listened to it the most and because it's generally awesome, this is my favorite song so far on Brothers. The two honchos in back will be there with them, but will they only play on the new songs?
01 June 2010
Black Keys Week - Songs I want to hear
#4) Grown So Ugly.Grimey's Records.Nashville, TN.3-21-2007
The Keys a little bit closer to the classic blues structure. I'd like to see them toy with this song, jam it out a little further, improvise some lyrics.
The Keys a little bit closer to the classic blues structure. I'd like to see them toy with this song, jam it out a little further, improvise some lyrics.
Black Keys Week - Songs I want to hear
#5) Have Love Will Travel.High Noon Saloon.Madison, WI.9-22-2004:
I loved finding this video for two reasons. First, the side of stage view gives you a great perspective on just how hard Patrick Carney hits his kit. Second, this is rare footage of unbearded Dan Auerbach. Also, I am pretty sure this was the last Black Keys show I was at.
I loved finding this video for two reasons. First, the side of stage view gives you a great perspective on just how hard Patrick Carney hits his kit. Second, this is rare footage of unbearded Dan Auerbach. Also, I am pretty sure this was the last Black Keys show I was at.
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