To some degree, Kanye West used to embody the Zeitgeist. His new track "Power" is weak sauce. Oh, how good things fade away. The beats are 2005 hand claps and some guitar fuzz from King Crimson. References to Austin Powers, loneliness, and drunk driving further the unspiration. But wow, Kanye, no one has ever sampled "21st Century Schizoid Man." At least your samples are still fresh. Oh wait, Ozzy is covering the whole song on his new album? Hawt.
One other thing. Kanye has not made any strides in terms of personal awareness. The definition of schizoid: of or pertaining to a personality disorder marked by dissociation, passivity, withdrawal, inability to form warm social relationships, and indifference to praise or criticism.
31 May 2010
Introducing the female Kanye West
"I've never written a political song. Songs can't save the world." - Bob Dylan
This is another story about a pampered entertainment figure with too big a bullhorn. As you may have heard, M.I.A. is building publicity for her new album and record label by feuding with the New York Times. If you want to buy into the hype drive, you can listen to her mediocre diss song, "IM A SINGER" on her record label's website. I listened because M.I.A. makes innovative music. She's repping Sleigh Bells, which proves her ears still work. Her songs are worth listening to.
But I don't think that she is.
I want outspoken musicians, but with a better sense of what's worth talking about or fighting for. Of course, M.I.A. is truly concerned for the plight of Sri Lanka. I am too. There is unquestionably too much poverty in our world. Her father was a revolutionary during her childhood, but her step-father is the CEO of Warner Music Group. Which lifestyle does she appear to be living? Don't we have enough misguided Jolies and Bonos feigning around trying to save the world for the tabloid press?
Raising awareness about violence in third world countries is helpful. Angrily attacking an American journalist's right to free speech makes M.I.A. look like a cowardly hypocrite. Attacking Google makes me question her legitimacy as a thinker.
I love conspiracy theories, but M.I.A's claim to Nylon that the CIA runs Facebook and Google doesn't resonate. Everyone knows the CIA doesn't have enough money or competence for that.
MIA: If you really want to help, use your pocketbook power in a meaningful way. Create a foundation so you can donate your profits to the cause. Or go on hiatus like Zach de la Rocha did and become a full time political activist. You already have a mansion in L.A. -- you don't need any more money.
"A hero is someone that understands the responsibility that comes with freedom." -Bob Dylan
This is another story about a pampered entertainment figure with too big a bullhorn. As you may have heard, M.I.A. is building publicity for her new album and record label by feuding with the New York Times. If you want to buy into the hype drive, you can listen to her mediocre diss song, "IM A SINGER" on her record label's website. I listened because M.I.A. makes innovative music. She's repping Sleigh Bells, which proves her ears still work. Her songs are worth listening to.
But I don't think that she is.
I want outspoken musicians, but with a better sense of what's worth talking about or fighting for. Of course, M.I.A. is truly concerned for the plight of Sri Lanka. I am too. There is unquestionably too much poverty in our world. Her father was a revolutionary during her childhood, but her step-father is the CEO of Warner Music Group. Which lifestyle does she appear to be living? Don't we have enough misguided Jolies and Bonos feigning around trying to save the world for the tabloid press?
Raising awareness about violence in third world countries is helpful. Angrily attacking an American journalist's right to free speech makes M.I.A. look like a cowardly hypocrite. Attacking Google makes me question her legitimacy as a thinker.
I love conspiracy theories, but M.I.A's claim to Nylon that the CIA runs Facebook and Google doesn't resonate. Everyone knows the CIA doesn't have enough money or competence for that.
MIA: If you really want to help, use your pocketbook power in a meaningful way. Create a foundation so you can donate your profits to the cause. Or go on hiatus like Zach de la Rocha did and become a full time political activist. You already have a mansion in L.A. -- you don't need any more money.
"A hero is someone that understands the responsibility that comes with freedom." -Bob Dylan
22 May 2010
Get this girl her iPod commercial
Janelle Monae is a sponge and a mirror. Her voice dances easily in any genre. Her songs are deliciously poppy and stylistically vibrant; they fit on Pitchfork, in ATL clubs and SF house parties. ArchAndroid (the name of her new album) seems to follow the sci-fi obsessions of Sun Ra, George Clinton and Lil Wayne ("I am an alien"), but defines her music perfectly. It is sly, humanistic contrivance, acting to automatically reproduce and reconfigure the current sounds of popular culture. On the surface, Janelle Monae is a prodigious talent in the vein of Lauryn Hill and Erykah Badu; underneath she is a walking mix of all that what we listen to.
**Update** While on tour with Erykah Badu, Monae will hop a plane from Memphis to Denver to join MGMT and Tame Impala for one night at Red Rocks.
**Update** While on tour with Erykah Badu, Monae will hop a plane from Memphis to Denver to join MGMT and Tame Impala for one night at Red Rocks.
20 May 2010
Pandora's dirtiest blues
The Black Keys have as much ownership over their signature sound (grooving guitar licks, lockstep drumming, and strangely sexual vocals) as any other band currently playing music, and because of this have been able to take liberties with their sound without taking genuine risks. I consider the Black Keys 2010's most vinyl worthy band and Brothers, a double vinyl album, mainly lives up to that reputation.
The final three sides gave me two impressions: 1) this album is four songs too long and could have fit on one slab of vinyl 2) many of these songs are low key grooves that will provide changeups in the live sitting and slowly grow on fans over the next couple years. I listened to these sides once. I listened to the first side three times. Side 1 neglects their typically rugged blues sound by adding new elements to the foreground ("Everlasting Light" and "Howling for You") and background ("Next Girl" and "Tighten Up"). The grooves are smoother, the hooks more complex, and the format adventurous.
It's fitting that the Black Keys and Dead Weather released albums at the same time. Eight years ago, a lazy comparison between the Black Keys and White Stripes was impossible to escape. At that time, their sounds were new and unique, so that the now obvious distinctions were harder to capture. For the next half decade, Jack White expanded the White Stripes sound while the Keys perfected theirs. On Get Behind Me Satan, Jack and Meg pushed their sound to the extreme and Icky Thump--seemingly their final album since "Under Northern Lights" carries the titular finality of "Let it Be"--had little room to progress in a constructive way. Although the band is ostensibly on hiatus because of Meg's anxiety, I'm not sure they have anywhere else to go.
The Black Keys aren't at this breaking point, but "Everlasting Light," Side 1's greatest digression, suggests they may be casting it furtive glances. Fundamentally, the Black Keys are raw; their sound translates well in grungy clubs and resonates with dudes that are a month overdue on a haircut. I don't blame the Black Keys for wanting to escape the boundaries of boilerplate and the stale confines of form mastered, but "Everlasting Silence," whether its a good or bad song, is not the Black Keys. If the divergence into falsetto foretells more movement away from their core elements they risk losing their identity.
Where will the next Black Keys album take them, and how much further can they expand their sound before they lost control over it? At some point the possibilities of guitar and drums run out. Jack White has opted for four piece bands, which has solidified his sound and provided new ground to explore. The Black Keys seem to recognize that if they want to stay relevant, they will need to make a sonic leap at some point in the near future. They are in search of muses to keep their sound fresh. How would Dan and Patrick sound next to B3 organ, bass, or a second guitarist? Adding new pieces would muddy their essence, but allow for reinvention.
The Black Keys play the Fillmore in less than two weeks. I'm intrigued to see how these Side 1 songs--with looping guitars, whistles, and other ambience--are arranged in the live setting. Regardless, it should be a kick-ass night.
The final three sides gave me two impressions: 1) this album is four songs too long and could have fit on one slab of vinyl 2) many of these songs are low key grooves that will provide changeups in the live sitting and slowly grow on fans over the next couple years. I listened to these sides once. I listened to the first side three times. Side 1 neglects their typically rugged blues sound by adding new elements to the foreground ("Everlasting Light" and "Howling for You") and background ("Next Girl" and "Tighten Up"). The grooves are smoother, the hooks more complex, and the format adventurous.
It's fitting that the Black Keys and Dead Weather released albums at the same time. Eight years ago, a lazy comparison between the Black Keys and White Stripes was impossible to escape. At that time, their sounds were new and unique, so that the now obvious distinctions were harder to capture. For the next half decade, Jack White expanded the White Stripes sound while the Keys perfected theirs. On Get Behind Me Satan, Jack and Meg pushed their sound to the extreme and Icky Thump--seemingly their final album since "Under Northern Lights" carries the titular finality of "Let it Be"--had little room to progress in a constructive way. Although the band is ostensibly on hiatus because of Meg's anxiety, I'm not sure they have anywhere else to go.
The Black Keys aren't at this breaking point, but "Everlasting Light," Side 1's greatest digression, suggests they may be casting it furtive glances. Fundamentally, the Black Keys are raw; their sound translates well in grungy clubs and resonates with dudes that are a month overdue on a haircut. I don't blame the Black Keys for wanting to escape the boundaries of boilerplate and the stale confines of form mastered, but "Everlasting Silence," whether its a good or bad song, is not the Black Keys. If the divergence into falsetto foretells more movement away from their core elements they risk losing their identity.
Where will the next Black Keys album take them, and how much further can they expand their sound before they lost control over it? At some point the possibilities of guitar and drums run out. Jack White has opted for four piece bands, which has solidified his sound and provided new ground to explore. The Black Keys seem to recognize that if they want to stay relevant, they will need to make a sonic leap at some point in the near future. They are in search of muses to keep their sound fresh. How would Dan and Patrick sound next to B3 organ, bass, or a second guitarist? Adding new pieces would muddy their essence, but allow for reinvention.
The Black Keys play the Fillmore in less than two weeks. I'm intrigued to see how these Side 1 songs--with looping guitars, whistles, and other ambience--are arranged in the live setting. Regardless, it should be a kick-ass night.
18 May 2010
I've had a rough night and I hate the fucking Eagles
Austin City Limits announced their full lineup today. Headliners Phish, Muse, and The Eagles could not be more befuddling as a trio. Jam band kings. Glammy Brit rock. Country rock nostalgia act. Certainly going for diversity there. Phish rarely plays a festival like this; I hope Austin's hipster chic scene is prepared to be flooded with insane hippies.
The second tier of bands doesn't produce any surprises, but is high quality and well chosen. These are basically 20 of our most buzzingest bands, few of which will be constrained by ACL's short set lengths. The highlights for me are the Black Keys, posted too low and deserving of a cushy late afternoon slot; Lucero, gaining steam and waiting for a breakthrough; and Gogol Bordello, another band crashing the cool party with a little freakiness.
Lollapalooza's headliners are more adventurous, but ACL's second tier probably edges out Lolla by a hair, if only because it doesn't include Cypress Hill. But Perry Farell knows how to order bands correctly. Bonnaroo's headliners suck, but it crushes ACL and Lolla for depth and diversity. Look where Phoenix, The Black Keys, and Lucero sit on Bonnaroo's lineup.
The second tier of bands doesn't produce any surprises, but is high quality and well chosen. These are basically 20 of our most buzzingest bands, few of which will be constrained by ACL's short set lengths. The highlights for me are the Black Keys, posted too low and deserving of a cushy late afternoon slot; Lucero, gaining steam and waiting for a breakthrough; and Gogol Bordello, another band crashing the cool party with a little freakiness.
Lollapalooza's headliners are more adventurous, but ACL's second tier probably edges out Lolla by a hair, if only because it doesn't include Cypress Hill. But Perry Farell knows how to order bands correctly. Bonnaroo's headliners suck, but it crushes ACL and Lolla for depth and diversity. Look where Phoenix, The Black Keys, and Lucero sit on Bonnaroo's lineup.
16 May 2010
Bluegrass in Japan
This makes my day: a band in Japan covering Yonder Mountain String Band, and doing a damned fine job of it. The girls in front aren't especially moved, although there is some crowd interaction.
This is a bizarre juxtaposition of cultures. Bluegrass is one of the most American music forms, and while Big Apple is aping that without apology, they naturally infuse the music with touches of Japanese culture. Before hitting the world stage, they might want to consider altering their name; New York isn't exactly known as a paragon of bluegrass. My suggestions are Kentucky Stench and Nashville Grease.
This is a bizarre juxtaposition of cultures. Bluegrass is one of the most American music forms, and while Big Apple is aping that without apology, they naturally infuse the music with touches of Japanese culture. Before hitting the world stage, they might want to consider altering their name; New York isn't exactly known as a paragon of bluegrass. My suggestions are Kentucky Stench and Nashville Grease.
Not a Jimmy Fallon apologist, but..
I never liked chuckling Jimmy Fallon on SNL, but he shows more appreciation for music than any other late night host, and Exile on Main Street Week was another example of that. Great venue. Phish owned "Loving Cup," as they are wont to do. Keith Urban played a high energy "Tumbling Dice," but forgot he wasn't playing in an arena. Green Day played "Rip This Joint" like a Ramones song, but it kinda worked. Sheryl Crow's bland rendition of "All Down the Line" almost put Questlove, drumming, to sleep. The Roots must have made the devil very angry. Regardless, it's commendable that Fallon pumped so much energy into a week showcasing diverse musicians.
Conversely, I don't understand the elaborate marketing push for a reissue of a Rolling Stones album. Is it out of habit? Aren't we all aware enough of the Stones? Is Keith Richards worried about his great great grandchildren's college fund? Re-issues are part of the machine, but don't call them "long awaited." The only person awaiting a re-issue is the record label executive looking to increase his bankroll. Fans don't await things like re-issues of albums they already have.
I like The Rolling Stones. I spent $104 to sit in the fifth deck at Comiskey Park to see them back when I was in college. The sound, shockingly, sucked. I'm happy they're still making public appearances, but they haven't released relevant music in decades and everyone that wants to lay down a bill or two to see them live has had multiple opportunities.
Conversely, I don't understand the elaborate marketing push for a reissue of a Rolling Stones album. Is it out of habit? Aren't we all aware enough of the Stones? Is Keith Richards worried about his great great grandchildren's college fund? Re-issues are part of the machine, but don't call them "long awaited." The only person awaiting a re-issue is the record label executive looking to increase his bankroll. Fans don't await things like re-issues of albums they already have.
I like The Rolling Stones. I spent $104 to sit in the fifth deck at Comiskey Park to see them back when I was in college. The sound, shockingly, sucked. I'm happy they're still making public appearances, but they haven't released relevant music in decades and everyone that wants to lay down a bill or two to see them live has had multiple opportunities.
15 May 2010
Trampled by Turtles and the Adventures of the Flannel Four
Arriving ticketless, fully imbibed, and flannel clad at the Ogden, my cohorts and I were greeted by a line that had the personality of I-70 on a Sunday afternoon in Summit County. Trampled by Turtles have been on my radar for a while. We saw them at the Bluebird in December, and although good times were had, it was unmemorable to the point that Frank forgot he was there. My buddy Steve gave them a shout out in a recent email, so their star may be growing, but I wouldn’t have pegged them to sell out the Ogden a few months after playing a full, but definitely-not-packed Bluebird.
Bearded and burly, the Turtles play hard drinking bluegrass with an ethos that says play fast as hell and leave precision plucking and vocal clarity for Chris Thile and Tim O’Brien. There were several slow burning ballads mixed in to give us time to make beer runs and wipe the sweat from our foreheads, but the band isn’t aiming for afternoon afghan sitters.
My mental memory of the performance is two fold: on stage, five players strumming furiously and in complete unison; on the floor, a jamboree of flying, sweaty arms, smiling faces, and many cans of Fosters. Their sound started with shutterbug fiddle as Ryan Young continually snapped off nasty riffs. His band mates played just as hard and let the audience help out with percussion. “Codeine” is their exemplar, a head-banging, rip-roaring ode to Townes Van Zandt that manages to maintain a soaring melody.
To close the night, Turtles pulled Floyd and Dylan covers out of the vault. First came Floyd’s “Breathe,” with a striking arrangement that built from ambient cacophony to fully engaged frenzy. Then, “It’s All Over Now, Baby Blue,” a fitting cap.
A note on the opening act: Paper Bird, a seven member blend of bluegrass and brass instrumentation and female tri-harmony, is worthy of their own post upon further deliberation.
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