The General Consensus (previously the poorly named HAWT List) is a page that ranks current music. I will focus on why these artists have particular relevance to Denver, but the rankings are based on my viewpoint of the general national consensus of music writers, music fans (those that are my friends), record stores, etc. If you feel I missed something or am far off, feel free to comment or make your own list in the thus far rightfully ignored comments section.
1. Arcade Fire - Playing at Madison Square Garden, the jewel of our nation's cultural center, suggests Arcade Fire have transcended silly indie rock labels and become one of America's Favorite Rock Bands. But, perhaps to solidify that reputation, they have eschewed touring non-coastal cities. Does this mean they don't think Middle America is ready for their ambition on a grand scale? Is it a shrewd marketing move? Or am I just impatient?
Arcade Fire - Sprawl II (Mountains Beyond Mountains) by user39221
2. Big Boi - Sir Lucius is the perfect change up for your flannel rock rotation.
3. Best Coast - Listening to Best Coast is like smoking a cigarette. An initial buzz, the risk of addiction, and then self disgust. They play the Bluebird in November, which will be a good time and place to sell snap bracelets to tweensters.
4. Band of Horses - Making an awkward jump from cult adoration to mainstream ambition placed Infinite Arms next to the register at Starbucks and on a featured shelf at Twist and Shout. They played the best 2010 show I've seen at the Ogden. They move up to the Fillmore in the Fall, which mainly means LoDo Bros will be in attendance.
5. Candy Claws - From Colorado's apparent hipster capitol, Fort Collins, they grace the Hi-Dive Friday and are beginning to transition from "a dreampop band from Colorado" to Our DreamPop Band. Their new album is the perfect soundtrack for someone drinking absinthe on an inflatable raft on an alpine lake.
6. Black Keys - They played the best show I've yet seen in my year long residence in Denver in early June. Brothers has continued to sell at Twist and Shout, and they continue to grace the late night circuit. Their tunes are wholesome, durable, and ideal for vinyl appreciation or mountain driving.
7. LCD Soundsystem - The LCD show with Hot Chip this fall may be an unprecedented Hipster Carnival. Also, they have a fabulous Pandora station.
Simmering: MIA (no longer blowing minds), The Roots (because they always are), Lady Gaga (ok, she could also be #1 on this list, but I don't really feel like writing about Lady Gaga; but I don't mind listening to her music)
Waiting List: Crystal Castles (Ogden next week), Mastodon (is there still good metal?),
Showing posts with label Black Keys. Show all posts
Showing posts with label Black Keys. Show all posts
04 August 2010
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
#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.
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.
Subscribe to:
Posts (Atom)