The Daze have been pushin' hard to support their latest release, Straight Jacket Hymns, which is currently in the top three of Waterloo Records' sales. It's true!
Come see them at their CD release party this Thursday at Antone's!
Also, check out this sweet performance of theirs on morning TV. Look at those dimples!
* Mention this post and I'll buy you a drink at the show.
Monday, August 24, 2009
Wednesday, August 5, 2009
Austin's Music and How Bobby Bones is Ruining it for Everyone
A couple of days ago the group whose street team I manage (The Daze) got what we thought would be a great opportunity: an interview on morning radio and a chance to play live. Unfortunately, they got booked with Bobby Bones, a local radio diva. He cut up their interview, badmouthed them and refused to put the interview up on his podcast.
I was genuinely upset that a DJ would do that sort of thing. After all, DJ's are there to support and promote music aren't they? That's why they're called DJ's (disc jockeys).
To give you some perspective, let me list some of their qualifications: The Daze have been playing together for several years in Austin, recorded their new album with Rick Del Castillo and Wayne Ceballos (of Austin's Del Castillo and formerly of Bay Area psych oufit, Aum), played at reputable venues (Antone's, Stubb's, the Continental,the Carousel Lounge and Emo's to name a few) with bands like Del Castillo, The Steps, and The Ugly Beats, played several house parties as well as free shows on the South Lamar pedestrian bridge with other young Austin bands (Blues Mafia, Joker, Willy & the Surroundings, etc.) and have an in-store show coming up at Waterloo Records on the 11th as well as a CD release party at Antone's on the twenty-seventh.
If anything, they are the quintessential talented young band in a whole network of young and talented bands poised to be the next generation of Austin's live music.
In short: they worked extremely hard to get to where they are now only to have a mediocre dj slap them in the face because they're "too young."
In my opinion, he's jealous of the success that these three enjoy because they're being genuine and not putting up a celebrity front. People like Bobby Bones should be scared. We're here. We're young, use vintage gear, write blogs and shoot 35mm. We're the next generation of the music industry and our independent bloggers, concert photog's, and home recording engineers are leveling the playing feild and putting big industry and big labels out of business.
Why? Because we're not out here for the money, we came to hear the sound.
Austin gets a lot of hype as a live music city and an incubator for new and innovative music, but when dj's like Bobby Bones start discouraging the efforts of younger local bands it becomes exactly that: a bunch of hype.
- MF
I was genuinely upset that a DJ would do that sort of thing. After all, DJ's are there to support and promote music aren't they? That's why they're called DJ's (disc jockeys).
To give you some perspective, let me list some of their qualifications: The Daze have been playing together for several years in Austin, recorded their new album with Rick Del Castillo and Wayne Ceballos (of Austin's Del Castillo and formerly of Bay Area psych oufit, Aum), played at reputable venues (Antone's, Stubb's, the Continental,the Carousel Lounge and Emo's to name a few) with bands like Del Castillo, The Steps, and The Ugly Beats, played several house parties as well as free shows on the South Lamar pedestrian bridge with other young Austin bands (Blues Mafia, Joker, Willy & the Surroundings, etc.) and have an in-store show coming up at Waterloo Records on the 11th as well as a CD release party at Antone's on the twenty-seventh.
If anything, they are the quintessential talented young band in a whole network of young and talented bands poised to be the next generation of Austin's live music.
In short: they worked extremely hard to get to where they are now only to have a mediocre dj slap them in the face because they're "too young."
In my opinion, he's jealous of the success that these three enjoy because they're being genuine and not putting up a celebrity front. People like Bobby Bones should be scared. We're here. We're young, use vintage gear, write blogs and shoot 35mm. We're the next generation of the music industry and our independent bloggers, concert photog's, and home recording engineers are leveling the playing feild and putting big industry and big labels out of business.
Why? Because we're not out here for the money, we came to hear the sound.
Austin gets a lot of hype as a live music city and an incubator for new and innovative music, but when dj's like Bobby Bones start discouraging the efforts of younger local bands it becomes exactly that: a bunch of hype.
- MF
Tuesday, August 4, 2009
Heath Ledger & Modest Mouse
The new MM music video came out today. Heath Ledger directed it before he died in 2008.
It's pretty intense, as you can imagine.
Check it out.
It's pretty intense, as you can imagine.
Check it out.
Monday, July 13, 2009
Camera Obscura's My Maudlin Career
When I think of Scotland I think of rain over grassy hills. Red haired lunatics toasting with flagons of ale and a youngish barmaid reciting Robert Burns. A good time spent indoors, maybe, but nothing quite like the grand-charming string-pop on Camera Obscura's My Maudlin Career.
The LP version benefits from the cover artwork (attributed to Julie Annis) being gigantic and beautiful, as well as permission to go on about my new vinyl. Just thought I'd mention that.
The opening track, "French Navy", is extremely catchy and uplifting. Singer Tracyanne Campbell weaves in a quick tale about love-- a theme continued in the rest of the album. Lyrics like "relationships were something I used to do / convince me they are better for me and you" keep it from being too tacky, even if the subject of love is a little hackneyed.
One of my favorite comments on the record is on "Swans": you want to be a writer / fantastic idea. Campbell keeps the love fresh with a nice dose of cynicism. In truth, half the time I'm wondering whether or not she's actually serious.
"Other Towns & Cities" features Campbell at her best, a sense of control and decisiveness not found in the other tracks. In an album of love songs the lyrics strike an ominous tone-- a relative minor to mostly major tunes ("you mean nothing to me tonight). Maybe I'm just a pessimist, but I like this the best.
Tough luck if you're stateside. Camera Obscura has a slew of Euro gigs coming up soon, however. Get a good look at them here.
Not that it all has to be about bottom lines, by the way-- and I believe that music is something that will always evade the objective red and green-- I'll probably be trading this LP in for another Zombies record, pretty watercolors or not. Ha! There I go again...
Monday, July 6, 2009
Spoon's Got Nuffin EP - (100% Troof)
Spoon's new EP, Got Nuffin, came out just in time to spark some interest for the three days they've got booked at Stubb's this week. Oh yeah, they're only the last three Spoon shows of this decade...
I'd say that Got Nuffin reveals just enough to make me think that Britt Daniel and Jim Eno may have recovered some of the spunk they lost since before 2007's release of the (slightly) bloated Ga Ga Ga Ga Ga.
The EP's namesake (Got Nuffin) is all about the metronome-esque rhythm section and poppy melodies, much like the Spoon we all know and love. Daniel's voice still has that same arresting quality, though it seems as if he's reaching for it more this time around. Stroke Their Brains is a pretty cool track, too, but what really gets me is Tweakers.
Actually, it's a track you can overlook pretty easily. That is until you find the secret take that features Britt Daniel freestyling... it's true check it out (something about Godzilla?).
All this EP nonesense aside, I'd really like to secure me a ticket to go see Spoon with Black Joe Lewis and the Honey Bears on Thursday night...
Thursday, June 4, 2009
Friday, May 29, 2009
Catching the Black Death
Check out my interview with The Black Death All Stars at the RAPT!
Here's a sweet photo that is completely unrelated!
Here's a sweet photo that is completely unrelated!
Saturday, May 9, 2009
Most of May
It's been a rough couple weeks, ok? Get off my back.
5/9 - The Daze @ 21st Street Co-Op, show at 11 pm
5/9 - Old Crow Medicine Show w/ Justin Townes Earle @ Stubb's, doors at 7 pm
5/11 - Elvis Perkins in Dearland w/ Other Lives @ The Parish, doors at 6 pm
5/16 - TV On The Radio w/ Little Dragon @ Stubb's, doors at 7 pm
5/16 - Harlem (TVOTR Aftershow) @ Stubb's, doors at 11:30 pm
5/18 - The Dears w/ Great Northern, Eulogies @ The Parish, show at 8 pm
5/19 - The Offspring w/ Alkaline Trio, Street Dogs @ Stubb's
5/21 - Chaos in Tejas @ Emo's & Mohawk <--- Times New Viking at Emo's!!
5/22 - Chaos in Tejas @ Emo's & Mohawk
5/23 - Chaos in Tejas @ Emo's & Mohawk
5/27 - The Virgins w/ Lissy Trulie, Anya Marina @ Emo's, doors at 9 pm
5/30 - This Will Destroy You w/ Survive, Silver Pines @ Mohawk, show at 9 pm
suck it.
5/9 - The Daze @ 21st Street Co-Op, show at 11 pm
5/9 - Old Crow Medicine Show w/ Justin Townes Earle @ Stubb's, doors at 7 pm
5/11 - Elvis Perkins in Dearland w/ Other Lives @ The Parish, doors at 6 pm
5/16 - TV On The Radio w/ Little Dragon @ Stubb's, doors at 7 pm
5/16 - Harlem (TVOTR Aftershow) @ Stubb's, doors at 11:30 pm
5/18 - The Dears w/ Great Northern, Eulogies @ The Parish, show at 8 pm
5/19 - The Offspring w/ Alkaline Trio, Street Dogs @ Stubb's
5/21 - Chaos in Tejas @ Emo's & Mohawk <--- Times New Viking at Emo's!!
5/22 - Chaos in Tejas @ Emo's & Mohawk
5/23 - Chaos in Tejas @ Emo's & Mohawk
5/27 - The Virgins w/ Lissy Trulie, Anya Marina @ Emo's, doors at 9 pm
5/30 - This Will Destroy You w/ Survive, Silver Pines @ Mohawk, show at 9 pm
suck it.
Saturday, April 4, 2009
Ok, I got Lazy...
Typically I try to get this concert update thing going earlier in the month so you don't miss anything, so sorry I'm a bit late. This here be the follerin' shows to see:
4/4 - Clap Your Hands Say Yeah @ the UT Tower around 8:30 pm
4/7 - Ratatat w/ Tussle, Despot @ Stubb's, doors at 7 pm
4/9 - Til We're Blue or Destroy w/ The Hearts and The Minds, Dead Black Hearts @ Stubb's, doors at 9 pm
4/10 - Ariel Pink's Haunted Graffiti w/ Vivian Girls, Yellow Fever @ Mohawk, show at 9 pm
4/13 - Crystal Castles w/ The Bang Bangs @ La Zona Rosa, doors at 7 pm
4/14 - Brian Jonestown Massacre w/ The Flavor Crystals @ Emo's, doors at 9 pm
4/21 - Dr. Dog w/ Golden Boots, Cave Singers @ The Parish, doors at 8 pm
4/21 - The Faint w/ Ladytron, Crocodiles @ Stubb's, doors at 7 pm
4/24 - The Kills w/ The Horrors, Magic Wands @ Emo's, doors at 9 pm
4/24 - Parade of Flesh Presents: Man Man w/ The Boom Boom Box, Giggle Party @ The Lounge on Elm Street (in Dallas), doors at 8 pm
4/28 - Cake @ Stubb's, show starts ***promptly*** at 8:30 pm
4/29 - George Clinton and Parliament Funkadelic @ Stubb's, doors at 7 pm
also on the radar are two sweet documentaries to check out
4/7 - Miroir Noire, a documentary about Arcade Fire. Includes footage from the Neon Bible Tour and a little from recording as well. Watch it here for a limited time only!
4/20 - Bananaz, a documentary about Damon Albarn's Gorillaz. Kind of excited about this one.
Look out for The Daze, TV on the Radio and Times New Viking in May.
That's it! C ya l8r.
- MF
Monday, March 30, 2009
The Morning After: Coming to Terms With SXSW
I approached this festival from a skeptical point of view because I’ve lived in Austin most of my life and never once regretted missing SXSW (yeah, way overpriced). I always note an increase in the urban outfitted—people dressing like band members, Ray Bans, smug grins—but I never quite want to join in the fun.
Once I got all up in it this year, however, I simultaneously felt both as if I had just stepped off the golden elevator on Heaven’s top floor and like I had fallen down the broken escalator onto the set of Real World vs Road Rules’ Ultimate Circle Jerk Smackdown. I went into this thing like so many rookies: wet behind the ears and full of hope, thinking I was immune to callusing of the soul. On the first day this held true. I went to the 4AD showcase and when it was over I said, “Enough’s enough. Time to get some rest.”
Day Two, however, gave me a little more to chew on. I witnessed the slow decline of all my diligent planning: the carefully highlighted pages detailing my schedule were more or less useless due to unexplained stains. A basic understanding of digital photography continued to elude me. I was still in the early stages of the disease but it was becoming clear I was in it for the long haul. That night I made the next obvious jump up the ladder of privileged behavior by abusing my right to free Tito’s vodka at the Auditorium Shores stage.
By Day Three I had opened the back of my 35mm Promaster, accidentally exposing the film from the Black Lips’ show, rewound an entire cartridge of unexposed film, spent more than forty dollars on vodka tonics and Lone Star and had learned how to show my photog pass, press badge, and fake id all at once in order to achieve a momentary sense of credibility—a reflex I found reassuring at times. At this point I had become the bane of the concertgoer’s existence: the unruly photographer who wasn’t shy to throw dem bows to get as far up front as possible.
Day Four found me somewhere in the Convention Center claiming I was the manager of The Daze, an idealistic underground DIY project from Austin with an average draw of one hundred fifty plus, distributing copies of “The Master Sword EP” in hopes of landing a summer tour in promotion of a new album. In other words, the real Mike Fleming was somewhere in there; it was just hard to see him through all the bullshit aliases and credentials. So it is with your benefit in mind (as well as my own) that I give you the following advice for SXSW 2010.
Hints for Concert Survival
1) Never, under any circumstance, use the ATM’s on Sixth Street or Red River. I was in line talking with two kids from Brazil when a mild explosion from the front made me turn around: a drunk fratboy apparently took the ten dollar convenience fee as an insult to his intelligence and kicked the machine damn near over. He careened off into the night, a bike-cop following him. I can’t say I blame the poor bastard. I was upset, too, but in no shape to do anything about it. I secretly hoped that his aggression would cause a malfunction in the machine to spew cash into the street; a mixture of money, booze and hobo piss frothing around high heels on dirty pavement.
2) Find yourself idly relaxing during a spare moment? Don’t be an idiot: read the SXSW schedule during times like these. Consult it as often as possible. Fucking memorize it. I cannot exaggerate how important it is that you don’t miss Grizzly Bear at the Cedar Street Courtyard because “there aren’t any good shows tonight.” Plus, people like people that look like they know what’s going on. Maybe you’ll make a friend or two since you’ve already got your schedule out.
3) There are plenty of places to park downtown that don’t cost a thing. It’s really not worth it to blow thirty dollars or more on parking for a single day when you can catch the bus downtown for thirty or more cents. Bikes are also extremely useful things. They allow for maximum speed and maneuverability through even the most unruly horde of tourists (“I hear Sixth Street is SO bomb. Let’s check it out.”).
4) You’ll smell like a sweaty bottle of Jose Cuervo at the end of the week no matter what you do. Push the limit: don’t change clothes or bathe. Eliminate those lengthy personal hygiene sessions from your schedule—they’ll only cost you precious time.
5) SXSW is definitely a big networking session so talk to as many people as you can, odds are that everyone wants to make friends. Just try not to do it during the shows. Which brings me to number six.
6) Don’t talk during shows. Seriously. DO NOT MAKE CONVERSTION DURING A SHOW. It is fucking rude and makes it hard to hear the music when everyone is asking each other what shows they’ve seen or who they’re going to see next or whether or not you can exchange a handjob for an unpaid internship. Concerts are terrible first dates. Why? Because she doesn’t have a chance in hell of hearing what you’re saying over the music and you don’t want to yell because she’ll think you’re an inconsiderate ass of a person. This is why.
7) This last one is something that took me some time to figure out. I take tons of photos at shows, something I started doing with film. Since a roll of 120 film only has about sixteen or so shots in it I will either shoot intermittently or for a short period of time. This allows me to get some good photos, sure, but it also lets me look at the players with my own eyes instead of through the peephole of a Holga or the viewfinder of a Rebel or D60.
There were a couple concerts (like King Khan and the Shrines) that had me in photographer mode trying to catch some of the crazy-action the entire time. Wish I hadn’t done that. Most of the photos didn’t turn out and I could have been watching an incredible show. The sad truth is that no photo or audio recording will ever fully replicate a live show, so when you’re there try to soak it up a little. You’ll get a better idea of what you should really be paying attention to if you just listen.
Once I got all up in it this year, however, I simultaneously felt both as if I had just stepped off the golden elevator on Heaven’s top floor and like I had fallen down the broken escalator onto the set of Real World vs Road Rules’ Ultimate Circle Jerk Smackdown. I went into this thing like so many rookies: wet behind the ears and full of hope, thinking I was immune to callusing of the soul. On the first day this held true. I went to the 4AD showcase and when it was over I said, “Enough’s enough. Time to get some rest.”
Day Two, however, gave me a little more to chew on. I witnessed the slow decline of all my diligent planning: the carefully highlighted pages detailing my schedule were more or less useless due to unexplained stains. A basic understanding of digital photography continued to elude me. I was still in the early stages of the disease but it was becoming clear I was in it for the long haul. That night I made the next obvious jump up the ladder of privileged behavior by abusing my right to free Tito’s vodka at the Auditorium Shores stage.
By Day Three I had opened the back of my 35mm Promaster, accidentally exposing the film from the Black Lips’ show, rewound an entire cartridge of unexposed film, spent more than forty dollars on vodka tonics and Lone Star and had learned how to show my photog pass, press badge, and fake id all at once in order to achieve a momentary sense of credibility—a reflex I found reassuring at times. At this point I had become the bane of the concertgoer’s existence: the unruly photographer who wasn’t shy to throw dem bows to get as far up front as possible.
Day Four found me somewhere in the Convention Center claiming I was the manager of The Daze, an idealistic underground DIY project from Austin with an average draw of one hundred fifty plus, distributing copies of “The Master Sword EP” in hopes of landing a summer tour in promotion of a new album. In other words, the real Mike Fleming was somewhere in there; it was just hard to see him through all the bullshit aliases and credentials. So it is with your benefit in mind (as well as my own) that I give you the following advice for SXSW 2010.
Hints for Concert Survival
1) Never, under any circumstance, use the ATM’s on Sixth Street or Red River. I was in line talking with two kids from Brazil when a mild explosion from the front made me turn around: a drunk fratboy apparently took the ten dollar convenience fee as an insult to his intelligence and kicked the machine damn near over. He careened off into the night, a bike-cop following him. I can’t say I blame the poor bastard. I was upset, too, but in no shape to do anything about it. I secretly hoped that his aggression would cause a malfunction in the machine to spew cash into the street; a mixture of money, booze and hobo piss frothing around high heels on dirty pavement.
2) Find yourself idly relaxing during a spare moment? Don’t be an idiot: read the SXSW schedule during times like these. Consult it as often as possible. Fucking memorize it. I cannot exaggerate how important it is that you don’t miss Grizzly Bear at the Cedar Street Courtyard because “there aren’t any good shows tonight.” Plus, people like people that look like they know what’s going on. Maybe you’ll make a friend or two since you’ve already got your schedule out.
3) There are plenty of places to park downtown that don’t cost a thing. It’s really not worth it to blow thirty dollars or more on parking for a single day when you can catch the bus downtown for thirty or more cents. Bikes are also extremely useful things. They allow for maximum speed and maneuverability through even the most unruly horde of tourists (“I hear Sixth Street is SO bomb. Let’s check it out.”).
4) You’ll smell like a sweaty bottle of Jose Cuervo at the end of the week no matter what you do. Push the limit: don’t change clothes or bathe. Eliminate those lengthy personal hygiene sessions from your schedule—they’ll only cost you precious time.
5) SXSW is definitely a big networking session so talk to as many people as you can, odds are that everyone wants to make friends. Just try not to do it during the shows. Which brings me to number six.
6) Don’t talk during shows. Seriously. DO NOT MAKE CONVERSTION DURING A SHOW. It is fucking rude and makes it hard to hear the music when everyone is asking each other what shows they’ve seen or who they’re going to see next or whether or not you can exchange a handjob for an unpaid internship. Concerts are terrible first dates. Why? Because she doesn’t have a chance in hell of hearing what you’re saying over the music and you don’t want to yell because she’ll think you’re an inconsiderate ass of a person. This is why.
7) This last one is something that took me some time to figure out. I take tons of photos at shows, something I started doing with film. Since a roll of 120 film only has about sixteen or so shots in it I will either shoot intermittently or for a short period of time. This allows me to get some good photos, sure, but it also lets me look at the players with my own eyes instead of through the peephole of a Holga or the viewfinder of a Rebel or D60.
There were a couple concerts (like King Khan and the Shrines) that had me in photographer mode trying to catch some of the crazy-action the entire time. Wish I hadn’t done that. Most of the photos didn’t turn out and I could have been watching an incredible show. The sad truth is that no photo or audio recording will ever fully replicate a live show, so when you’re there try to soak it up a little. You’ll get a better idea of what you should really be paying attention to if you just listen.
Friday, March 27, 2009
Come Enjoy the Psychadelic Sounds of The Daze, Bamboo and Mike Fleming
Show's tonight at 3429 Willowrun Apartment C!
There will be two kegs and three bands!
*Handjobs for everyone!
*not true in any fashion
There will be two kegs and three bands!
*Handjobs for everyone!
*not true in any fashion
Sunday, March 22, 2009
SXSW 2009 - Saturday
I hit the Convention Center today at noon on a mission: making contact with booking agents about a summer tour for The Daze, for whom I am the official unofficial manager. I ended up leaving around four, after having strategically dropped of a few copies of the "Blizzard Woman Blues EP", and went to the Twenty-First Street Co-Op to see Bamboo play a set in collaboration with Tigerpussy.
As soon as I walked into the concert I spotted a few things: panties and bras hung from the ceiling, a naked guy casually enjoying the show, someone smoking a joint-- all signs that Austin is alive and well despite the clusterfuck of out of towners that is SXSW. "Yes, son, those are Hippies," my dad might've said...
The Daze went on at six and started a strong set, but unfortunately I had to leave to head to a MTV taping of Late of the Pier inside the Bat Bar. My friend, a photographer named Pooneh, had asked me the day before while at the King Khan show whether or not I would be interested in taking part in the taping. Of course I said yes, a decision that led to me (black robe/red mask) picking up the Pier's drummer and carrying him off stage at the end of their set. It was really astounding how much preparation had gone into those fifteen seconds were we sequestered the band because, in the end, it only took a few seconds.
Other than the taping, today was a pretty slow day, and it appeared much of Austin shared the same malaise as I did. I was surprised at how welcoming the security was to me when I showed up to the taping. I mentioned it to one of the stage managers inside and he said "Everyone's tired. The only thing we want to do when we're done is go out to the bars, but then we can't sleep so we just end up staying up. Everything's pretty much on auto-pilot now."
Auto-pilot. That sounds like it would be really nice.
Thanks for checking these updates! Thanks to Austin for being such an awesome city, thanks to Val and RAPT Magazine for putting me in the middle of this big (fun) mess, thanks to everyone who made this weekend possible and even awesome!
- MF
As soon as I walked into the concert I spotted a few things: panties and bras hung from the ceiling, a naked guy casually enjoying the show, someone smoking a joint-- all signs that Austin is alive and well despite the clusterfuck of out of towners that is SXSW. "Yes, son, those are Hippies," my dad might've said...
The Daze went on at six and started a strong set, but unfortunately I had to leave to head to a MTV taping of Late of the Pier inside the Bat Bar. My friend, a photographer named Pooneh, had asked me the day before while at the King Khan show whether or not I would be interested in taking part in the taping. Of course I said yes, a decision that led to me (black robe/red mask) picking up the Pier's drummer and carrying him off stage at the end of their set. It was really astounding how much preparation had gone into those fifteen seconds were we sequestered the band because, in the end, it only took a few seconds.
Other than the taping, today was a pretty slow day, and it appeared much of Austin shared the same malaise as I did. I was surprised at how welcoming the security was to me when I showed up to the taping. I mentioned it to one of the stage managers inside and he said "Everyone's tired. The only thing we want to do when we're done is go out to the bars, but then we can't sleep so we just end up staying up. Everything's pretty much on auto-pilot now."
Auto-pilot. That sounds like it would be really nice.
Thanks for checking these updates! Thanks to Austin for being such an awesome city, thanks to Val and RAPT Magazine for putting me in the middle of this big (fun) mess, thanks to everyone who made this weekend possible and even awesome!
- MF
Saturday, March 21, 2009
SXSW Saturday Unofficial Party at 21st Street Co-Op
Red Alert!!! Day party starts at four and features talented underground Austin music such as The Daze and Nympho Boniacs!
The party is free, no RSVP, and there will be free beer!
The show starts at 4:20. See you there!
The party is free, no RSVP, and there will be free beer!
The show starts at 4:20. See you there!
SXSW 2009 Friday plus Unofficial SXSW Party @ 21st Street Co- Op on Saturday (photos pending)
At 4:30 pm this afternoon I went to the 2009 Pitchfork/Windish Austin Bash to get a straight shot of pure adrenalin to my heart by way of King Khan and the Shrines. The band (horn section, keys, drums, guitar, and bass all in matching costume) played intro music, the guitarist introduced "the one and only KING KHAAAAN", who was stepping up to the stage at just that moment (captain's hat, staff & cape) preceded by a dancer with pom poms and a very scandalous dress. Lots of theatrics and excellent stage presence. Plus I've been jamming KKNS pretty strong since.
Department of Eagles were right after. Rossen, introducing the band as "primarily a party band", opened the set with his loop station business. At the end an Emo's security person told them to cut it, the crowd wanted more and chanted '"encore!", then Victoria Legrand from Beach House stepped on to close their set with a cover of the Dead's "Fire on the Mountain."
Immediately after I made my way to the Barton Springs spillway for a quick dip and to hang out with Chris Ritchie and Marleigh Jones. I left their apartment around 10:30 pm to make my way to Grizzly Bear at Cedar Street Courtyard, but my stars were not aligned. After some trouble with the locals (there was a huge line for badges and this guy got really upset about me trying to get in ahead of him. I made eye contact when necessary and pretended I was mute, which he didn't like) I went all the way back to Emo's again to see the Black Lips. At the door there was trouble. According to the guy in the front my id was so bad that he felt like confiscating it.
Next thing I'm standing on the steps in the far back taking shots of the Lips, who opened up the better part of their set with a rapper I hadn't heard of and then closed it with "bad kids" (according to some of the snooty photographers around me, only an amateur would shoot with film or with the digital set up I had).
Moved up front for King Khan and the Shrines. Got some good pics, I hope. Left to go to a keg party at Neale the hockey player's apartment. Daniel the accountant was clearly depressed. He mentioned death as an improvement. I played guitar. Went back to Evan Butts' and Marleigh's apartment to draw with bamboo sticks and ink. Also had a delicious Digiorno pizza.
That's about it. Tomorrow I plan to attend Vivian Girls, Beach House, Explosions and Monotonix. If I can make it I'm going to go to an unofficial SXSW party starting at 6 pm at the twenty-first Street Co-Op (on twenty-first street right between Pearl and Rio Grande). Don't miss this! Last time I was there a naked guy was wearing a barrel. Then he was just naked.
Later!
Department of Eagles were right after. Rossen, introducing the band as "primarily a party band", opened the set with his loop station business. At the end an Emo's security person told them to cut it, the crowd wanted more and chanted '"encore!", then Victoria Legrand from Beach House stepped on to close their set with a cover of the Dead's "Fire on the Mountain."
Immediately after I made my way to the Barton Springs spillway for a quick dip and to hang out with Chris Ritchie and Marleigh Jones. I left their apartment around 10:30 pm to make my way to Grizzly Bear at Cedar Street Courtyard, but my stars were not aligned. After some trouble with the locals (there was a huge line for badges and this guy got really upset about me trying to get in ahead of him. I made eye contact when necessary and pretended I was mute, which he didn't like) I went all the way back to Emo's again to see the Black Lips. At the door there was trouble. According to the guy in the front my id was so bad that he felt like confiscating it.
Next thing I'm standing on the steps in the far back taking shots of the Lips, who opened up the better part of their set with a rapper I hadn't heard of and then closed it with "bad kids" (according to some of the snooty photographers around me, only an amateur would shoot with film or with the digital set up I had).
Moved up front for King Khan and the Shrines. Got some good pics, I hope. Left to go to a keg party at Neale the hockey player's apartment. Daniel the accountant was clearly depressed. He mentioned death as an improvement. I played guitar. Went back to Evan Butts' and Marleigh's apartment to draw with bamboo sticks and ink. Also had a delicious Digiorno pizza.
That's about it. Tomorrow I plan to attend Vivian Girls, Beach House, Explosions and Monotonix. If I can make it I'm going to go to an unofficial SXSW party starting at 6 pm at the twenty-first Street Co-Op (on twenty-first street right between Pearl and Rio Grande). Don't miss this! Last time I was there a naked guy was wearing a barrel. Then he was just naked.
Later!
Friday, March 20, 2009
SXSW 2009 - Thursday
Odds are that as you are reading this I am somewhere under a tangle of pillows and covers. SXSW tends to turn people nocturnal, and I fully accept this responsibility. Umm... Let's talk intense day-tripping....
Department of Eagles performed in-store at Waterloo records around two today. Although they suffered a few technical/hangover related difficulties Dan and Fred (ha ha) still managed to pull off a set that was "larger than life." I really admire their demeanor... very nonchalant, almost as if they were roommates... weird. I was lucky enough to catch the guys from Justin Townes Earl right before, they played an excellent and thoroughly entertaining set that included acoustic guitar, mandolin, banjo, harmonica, and awesomeness.
After that I made my way to a SXSW discussion of "Demo Listening." This was kind of cool because I got to talk one on one with "the monsters from a & r." They're actually not that bad, most of the things they criticize people for are actual common sense. Things like you don't need everything panned in stereo, you sound to generic but that will help you sell, ditch the accordion. Sometimes they miss stuff, though. If they had their way the 13th Floor Elevators never woulda had a jug.
Ok, moving on... Cold War Kids at Auditorium Shores. First reaction upon arriving: holy shit, what a joke. Middle schoolers, falafel stands, gyro stands, even a Skohl stand... gross. Other than that, the Kids have a shit-ton of stage presence and energy. At one point I wound up backstage experiencing the glory that is free Tito's Vodka and Miller Lite. After that the true mess became trying to find my way out of the crowd of would-be-hippies and beer company representatives.
Next up: Dirty Projectors at Emo's Annex. It was a pretty chaotic sound, but I really liked it. Lots of intricate guitar/keyboard harmonies. Met a girl that represented Brazilian bands and she told me about a party on Friday with free Brazilian drinks. What are those?
Made my way to the Red 7 patio, met some folk (two sisters from Dallas and a photographer from National Geographic), saw some cool things, had a cold beer. The Crystal Stilts were late arriving so I only stayed for a little bit. I took a few pictures, probably missed out on the vibe, and made my way to the Cedar Street Courtyard to see the Black Lips.
Oh My God... The Black Lips... Very loud. Very energetic. Best show so far. By far. Met some folks from Filter mag. Danielle from Fact magazine in London likes Holgas. Saw Will from The Steps somewhere near the bar. Stay tuned for more Black Lips action tomorrow (they play a show at Emo's around midnight)...
En route via pedicab to Beach House at Volume off sixth. Kinda crazy, I ran into one of my teachers there... Also, a girl named Paloma who was shooting for fun. So many places are using these damn LED lights! They really fuck me up. Make my digital shots look like they were taken by a drunk high-schooler. Cedar Street Courtyard had 'em, so does Stubb's, Red 7 and Central Presby. F that.
On my way back to my car I ran into a banjo player by the name of Frank Fairfield. I stayed and chatted with him in "his office" for the better part of an hour. The man is busking his way around, but make no mistake: he's more than just another busker. He sings his songs as naturally as the birds do. Effortless. Matter of fact. I asked him, "Do you believe in God?" He said, "Look around you, all these bricks, rectangles and triangles. It's so simple." Wish I could feed you more, but you'll just have to go see him at End of an Ear at 3pm. Seriously, go to this. I will be there.
Alright, that's about it. Actually, that is it. So. Peace out!
Department of Eagles performed in-store at Waterloo records around two today. Although they suffered a few technical/hangover related difficulties Dan and Fred (ha ha) still managed to pull off a set that was "larger than life." I really admire their demeanor... very nonchalant, almost as if they were roommates... weird. I was lucky enough to catch the guys from Justin Townes Earl right before, they played an excellent and thoroughly entertaining set that included acoustic guitar, mandolin, banjo, harmonica, and awesomeness.
After that I made my way to a SXSW discussion of "Demo Listening." This was kind of cool because I got to talk one on one with "the monsters from a & r." They're actually not that bad, most of the things they criticize people for are actual common sense. Things like you don't need everything panned in stereo, you sound to generic but that will help you sell, ditch the accordion. Sometimes they miss stuff, though. If they had their way the 13th Floor Elevators never woulda had a jug.
Ok, moving on... Cold War Kids at Auditorium Shores. First reaction upon arriving: holy shit, what a joke. Middle schoolers, falafel stands, gyro stands, even a Skohl stand... gross. Other than that, the Kids have a shit-ton of stage presence and energy. At one point I wound up backstage experiencing the glory that is free Tito's Vodka and Miller Lite. After that the true mess became trying to find my way out of the crowd of would-be-hippies and beer company representatives.
Next up: Dirty Projectors at Emo's Annex. It was a pretty chaotic sound, but I really liked it. Lots of intricate guitar/keyboard harmonies. Met a girl that represented Brazilian bands and she told me about a party on Friday with free Brazilian drinks. What are those?
Made my way to the Red 7 patio, met some folk (two sisters from Dallas and a photographer from National Geographic), saw some cool things, had a cold beer. The Crystal Stilts were late arriving so I only stayed for a little bit. I took a few pictures, probably missed out on the vibe, and made my way to the Cedar Street Courtyard to see the Black Lips.
Oh My God... The Black Lips... Very loud. Very energetic. Best show so far. By far. Met some folks from Filter mag. Danielle from Fact magazine in London likes Holgas. Saw Will from The Steps somewhere near the bar. Stay tuned for more Black Lips action tomorrow (they play a show at Emo's around midnight)...
En route via pedicab to Beach House at Volume off sixth. Kinda crazy, I ran into one of my teachers there... Also, a girl named Paloma who was shooting for fun. So many places are using these damn LED lights! They really fuck me up. Make my digital shots look like they were taken by a drunk high-schooler. Cedar Street Courtyard had 'em, so does Stubb's, Red 7 and Central Presby. F that.
On my way back to my car I ran into a banjo player by the name of Frank Fairfield. I stayed and chatted with him in "his office" for the better part of an hour. The man is busking his way around, but make no mistake: he's more than just another busker. He sings his songs as naturally as the birds do. Effortless. Matter of fact. I asked him, "Do you believe in God?" He said, "Look around you, all these bricks, rectangles and triangles. It's so simple." Wish I could feed you more, but you'll just have to go see him at End of an Ear at 3pm. Seriously, go to this. I will be there.
Alright, that's about it. Actually, that is it. So. Peace out!
SXSW 2009 - Wednesday
Just a few minutes after I parked my car somewhere near the ass-end of the capital building I began my wait in line at Central Presby church for the 4AD Showcase.
First up was Anni Rossi. Her voice caught me somewhere in its leaps and bounds, between coos and cries. She also played what some would describe as "a mean fiddle." Plus, she had some absolutely huge drum sounds happening. I was very pleased about seeing her.
M. Ward came on soon after. He played his set unaccompanied except for his loop station and a vacant piano (which he closed with on "Hold Time"). I have to say I was pleasantly surprised because I was fully expecting a backup band, something to drown out Ward's talent. By playing alone he essentially put himself under a microscope (or in a spotlight) and rocked out. Which was pretty impressive.
The last group I stayed for at Central Presby was Department of Eagles. They were tied with Beach House on bands Mike wanted to see, so this was pretty damn super awesome. Fred Nicolaus and Daniel Rossen started the band as roommates with the name Whitey on the Moon. I wish that my roommate experience had been as solid as theirs. Alas, it was not. But I still got to listen to them play "Phantom Other" under a big cross decorated for Lent. Also: Rossen debuted a new Department song which he closed with.
Oh goody! What an exciting underage extravaganza. Underage? What's that? Yes, it's true, I am twenty years old and therefore unable to attend about 90% of the shows that I want to. That is not to say I won't (didn't) try. Just ask the big friendly guys in front of the Mohawk and they'll tell you, "I've never seen such a fake id in my life."
More later. Peace, love and harmony.
First up was Anni Rossi. Her voice caught me somewhere in its leaps and bounds, between coos and cries. She also played what some would describe as "a mean fiddle." Plus, she had some absolutely huge drum sounds happening. I was very pleased about seeing her.
M. Ward came on soon after. He played his set unaccompanied except for his loop station and a vacant piano (which he closed with on "Hold Time"). I have to say I was pleasantly surprised because I was fully expecting a backup band, something to drown out Ward's talent. By playing alone he essentially put himself under a microscope (or in a spotlight) and rocked out. Which was pretty impressive.
The last group I stayed for at Central Presby was Department of Eagles. They were tied with Beach House on bands Mike wanted to see, so this was pretty damn super awesome. Fred Nicolaus and Daniel Rossen started the band as roommates with the name Whitey on the Moon. I wish that my roommate experience had been as solid as theirs. Alas, it was not. But I still got to listen to them play "Phantom Other" under a big cross decorated for Lent. Also: Rossen debuted a new Department song which he closed with.
Oh goody! What an exciting underage extravaganza. Underage? What's that? Yes, it's true, I am twenty years old and therefore unable to attend about 90% of the shows that I want to. That is not to say I won't (didn't) try. Just ask the big friendly guys in front of the Mohawk and they'll tell you, "I've never seen such a fake id in my life."
More later. Peace, love and harmony.
Tuesday, March 17, 2009
Daily SXSW Updates / The Daze @ Waterloo
I will be posting daily updates as well as photos of this year's South By Southwest all this week. Make sure to check them out at the RAPT website!
Also, The Daze are playing a free show tonight at 10pm. It's at Waterloo Ice House on 38th and Lamar. Come on down and support Austin's underage and underfunded musicians!
Also, The Daze are playing a free show tonight at 10pm. It's at Waterloo Ice House on 38th and Lamar. Come on down and support Austin's underage and underfunded musicians!
Sunday, March 15, 2009
Wednesday, March 11, 2009
Brightblack Morning Light & Rio en Medio @ The Mohawk
Elias Reitz of Brightblack Morning Light
Ra-Ra Hughes of Brightblack Morning Light
Naybob Shineywater of Brightblack Morning Light
Rio en Medio (Danielle Stech-Homsey)Monday, March 2, 2009
Psych Fest 2009
"Tune in, turn on, drone out."Thought I wasn't gonna tell you, huh?
Here's the low down on Psych Fest.
It's a pretty unadvertised festival put on by The Black Angels and Live Music Capitol. Last year one thousand people showed up. Since then it's gotten good word of mouth through the folks at The Onion and The Austin Chronicle.
There's no website, but with a little investigation you learn that it's split into three days and it's at The Radio Room. You'll be able to get tickets through Live Music Capitol.
Here's the nitty gritty:
Psych Fest - Day 1 (3/13/09)
9 pm - Woven Bones
9:45 pm - Lower Heaven
10:45 pm - The Golden Dawn
11:30 - The Black Angels
Psych Fest - Day 2 (3/14/09)
1 pm - PJ and the Bear
2 pm - Smoke and Feathers
3 pm - The Tunnels
4 pm - Astronaut Suit
5 pm - The Shine Brothers
6pm - Shapes Have Fangs
7 pm - Daughters of the Sun
8 pm - Indian Jewelry
9 pm - Golden Animals
10 pm - Wooden Shjips
11 pm - Dead Meadow
12:15 am - Sky Saxon (of The Seeds) w/ Shapes Have Fangs
Psych Fest - Day 3 (3/15/09)
1 pm - Cartright
2 pm - Cavedweller
3 pm - Christian Bland & the Revelators
4 pm - Miranda Lee Richards
5 pm - The Upsidedown
6 pm - The Vandelles
7 pm - Forever Changes
8 pm - Asteroid #4
9 pm - The Strange Boys
10 pm - The Warlocks
11:30 pm - A Place to Bury Strangers
Sunday, March 1, 2009
Fujiya & Miyagi w/ Project Jenny Project Jan @ Emo's
Fujiya & MIyagi's David Best and Jeremy Haines from PJPJ
Fujiya and Miyagi's Steve Lewis and David
Matt Hainsby of Fujiya and Miyagi
Jeremy Haines
Sammy Rubin of PJPJMarch... SXSW?
Oh yeah! The infamous SXSW is back in full force, it's gathered momentum and set to splatter our bars and backstreets with strange folk from strange states. There will also be some music, a lot of traffic and some business cards. I'm going as a contributor for RAPT and I'll be updating here with photo's and stuff as fast as I can get film developed.
So, Mike, what's happening that doesn't involve this big ol' clusterfuck festival?
Well Brightblack Morning Light will play a show tonight at the Mohawk, for one. Pretty interesting, actually... Their names are Nabob and Rabinyah, two crazy mountain hippies who've shared stages with Shawn Colvin, Devendra Banhardt and Bonnie 'Prince' Billy. Gonna be good!
On the third Modest Mouse will play a show with Mimicking Birds at Stubb's and (ex) local songstress Ana Egge will play at the Cactus Cafe with What Made Milwaukee Famous stepping in as her band.
Oh.... Hey. Cut Copy will be at Stubb's on the sixth, with an aftershow featuring L. A. X. Get Crunk.
Youngsters Blues Mafia will celebrate the release of their newest cd on the seventh at Jovita's along with The Daze and The Fireants. On the seventeenth The Daze will play a pre-SXSW show at Waterloo Icehouse on 38th and Lamar.
Lastly, once SXSW clears out, Neko Case will play a show with Shearwater on the thirty first at Stubb's.
As far as random bits go, here's a news update:
1) My EP ("Get Well Soon") is done! If you want a copy just send me an email.
2) Stay alert for April when Brian Jonestown Massacre, The Faint, The Kills, Cake, Parliament and Ratatat come through.
3) Stay tuned for pictures from Fujiya and Miyagi's show at Emo's, Mike's Guide to SXSW, and pictures from Brightblack Morning Light's show at The Mohawk.
4) Kite Fest was really cool.
5) Check out my flickr!
3/1/09 - Brightblack Morning Light w/ Rio en Medio @ The Mohawk, show at 8 pm
3/3/09 - Modest Mouse w/ Mimicking Bird @ Stubb's, doors at 7 pm
3/3/09 - Anna Egge w/ Michael Kingcaid and What Made Milwaukee Famous @ The Cactus Cafe, show at 8:30 pm
3/6/09 - Cut Copy w/ Matt and Kim, DJ Knightlife @ Stubb's, doors at 7pm
3/7/09 - Blues Mafia w/ The Daze and The Fireants @ Jovita's, show at 8 pm
3/17/09 - The Daze @ Waterloo Ice House (38th & Lamar), show at 10 pm
3/31/09 Neko Case w/ Shearwater @ Stubb's, doors at 7pm
Tuesday, February 24, 2009
M. Ward : Hold Time
I feel a bit amateur-ish in admitting it, but I hadn’t heard of M. Ward (the initial stands for Matt, by the way) until I heard his take of “Rave On” on KUTFM. After some research I found out that I had actually heard him several times. In addition to his latest work with Zooey Deschanel in She & Him he’s performed with Bright Eyes, Cat Power, The White Stripes, My Morning Jacket, Neko Case, and Norah Jones. It’s pretty obvious that the guy works hard, so what does he have to offer his listeners on Hold Time?
Some of the songs that stand out on this record are actually covers, a detail that makes Ward’s atavistic side just a little more obvious. “Rave On” was originally written by Sonny West but is probably better known as one of Buddy Holly’s biggest hits. “Oh Lonesome Me”, which features Lucinda Williams, was originally written and recorded by Don Gibson and Chet Atkins. Even the outro, “I’m a Fool to Want You”, must predate my birth be at least a handful of years. In addition to being a prolific musician, Ward has a healthy respect for his elders and you can hear it in just about every song on this album.
“For Beginners” moves along at a quick clip, touching on some religious imagery on the way, and builds up an optimistic tone (“the kingdom is for you”). “Hold Time” is a change of pace from the rest of the album, in tempo, tone and instrumentation. It’s nostalgia swells with strings and keys while Ward remembers “the endless summer in your laugh” until he outro’s with a tasteful melody a la Marvin Gaye.
“Blake’s View” begins with a reference to a poem by William Blake (“death is just an open door, I have only slipped away into the next room”) that seems to counter any sense of pessimism in the album. My favorite moment in the record is during the pause at the fifty-nine second mark. If you listen carefully you can hear the mockingbirds he sings about (“love is just a chorus / death is just a verse / in the great song of spring / that the mockingbirds sing”).
During an interview with Melena Ryzik of the New York Times Ward says, “I know there’s great stuff out there but I don’t want to be influenced by stuff that’s going on around me. I’m more interested in consuming stuff that’s stood the test of time and the hard work of filtering has already happened.” M. Ward is more concerned with being an individual than he is with playing to contemporary sensibilities, and you can hear that clearly on his newest, Hold Time.
Friday, February 20, 2009
Fronk
Hey buddy, I haven't seen you in a long time. I wish I had seen you sooner. I wish you had known how much you had affected my life. In addition to giving me my first guitar, you showed me that there was always another way. Different from the Mr. McGhee's of the world, you showed me that there was such a thing as a person who could be good, yet different. I spoke to Ryan and we both agreed on one thing about you: you always made the right decision when it came to other people. I always looked up to you, man, even if you didn't know it. When you left in 8th grade I made you a mixed cd. I never sent it to you, I guess out of shyness. I am so sorry, I love you, and I hope that this mix, as well as the wishes of your numerous friends, reach you now. Be well Fronk. I will never forget you.
1. The Proxy - RJD2
2. Party and Bullshit - Notorious B.I.G./Ratatat
3. Veni Vidi Vici - The Black Lips
4. I'm So Tired - Fugazi
5. Don't Take Your Guns to Town - Johnny Cash
6. Honky Tonk Women - The Rolling Stones
7. Dig a Pony - The Beatles
8. Gettysburg - Ratatats
9. Vapors - Snoop Dog
10. Lost in the Supermarket - The Clash
11. Red House - Jimi Hendrix
12. Starshine - Gorillaz
13. Heart of Chambers - Beach House
14. Hell is Chrome - Wilco
15. Sinking Stone - Slightly Stoopid
16. Smoke 'em If You Got 'em - Supervillians
17. Truckin' - The Grateful Dead
18. Van Helsing Boombox - Man Man
"The good times never end, they're just suspended from time to time." - Lil Mc
1. The Proxy - RJD2
2. Party and Bullshit - Notorious B.I.G./Ratatat
3. Veni Vidi Vici - The Black Lips
4. I'm So Tired - Fugazi
5. Don't Take Your Guns to Town - Johnny Cash
6. Honky Tonk Women - The Rolling Stones
7. Dig a Pony - The Beatles
8. Gettysburg - Ratatats
9. Vapors - Snoop Dog
10. Lost in the Supermarket - The Clash
11. Red House - Jimi Hendrix
12. Starshine - Gorillaz
13. Heart of Chambers - Beach House
14. Hell is Chrome - Wilco
15. Sinking Stone - Slightly Stoopid
16. Smoke 'em If You Got 'em - Supervillians
17. Truckin' - The Grateful Dead
18. Van Helsing Boombox - Man Man
"The good times never end, they're just suspended from time to time." - Lil Mc
Sunday, February 15, 2009
...And Out the Other (2/15/09)
Introducing a new feature to GPM, ...And Out the Other!
(In case you didn't catch it, the title is based on the phrase "in one ear and out the other.")
In this new addition to the review I will list off the ten most recent albums to come out of my speakers including brief reviews on each one. It's pretty much like listening to someone judge people at random except better because it's on the internet!
Without further ado...
1) Tom Waits' Orphans: Bawlers, Brawlers & Bastards
This triple disc release includes enough Tom Waits material to freak out both you and your friends. It's got some of what you'd expect, the signature whisky-gravel-cigarette-smoke-soaked voice singing long laments about things gone wrong and right, as well as a moving spoken word piece called "Nirvana" and a song all about different kinds of bugs.
2) Flying Lotus' Los Angeles
SO freaking good. This guy can drop you into a beat quick and he's not afraid to keep it short. This release is pretty damn good if only because it has even more stuff on it than his other albums. The whole hip-hop/ambient/oldies/dj scene really fascinates me. I mean just who the hell are these guys, anyway?
3) The Pains of Being Pure at Heart's The Pains of Being Pure at Heart
If you don't want to spend the better part of an hour listening to covers of The Smiths then don't listen to this album. If you eat up every word Pitchfork spits out, then go for it.
4) Times New Viking's Stay Awake
This five track EP is all I have by them, and I've been spinning it a lot lately. The first time I heard them I couldn't get past the whole in the red thing, but then I saw them live and... well, that all changed. If you base albums on how many dB's your dollar gets you (rough economy) then this is definitely your winner.
5) Man Man's Little Torments
So f*cking excited to hear this thing in big version. Just has two tracks, one is a recorder freak out and the other one makes me want to preorder their next LP right now.
6) Ratatat's Mirando
Includes the infamous Animal Collective remix as well as another pretty good one by YACHT. It's a good thing they include the original un-remixed "Mirando" on this thing 'cause you can see just how far YACHT and AC can stretch its thread.
7) Devendra Banhart's Rejoicing in the Hands of the Golden Empress and Nino Rojo
The man's got a vision, and you can see (hear) it when you take a listen to these two. The songs are unique in their own right, but they each carry a little gene that ties them together well as LP's. At the end of each are spoken word pieces that underscore his gift as a writer first.
8) John Coltrane's Giant Steps
Though I don't hold a PHD in the history of jazz, I feel pretty safe saying this is one of the most influential (and my favorite) jazz albums of all time. If you've got the ear for the stuff, follow him through his solos on this album. The way I look at it, you can consider this "easy listening" because of its shear beauty or you can consider it a study in how to break the rules and reinvent jazz. It's really up to you.
9) Fleet Foxes' Fleet Foxes
Ok, maybe I'm a little late in admitting it, but this album is really beautiful. The choral work is captivating in its own space, and at the same time you can get lost in the rich tones and reverb for pretty much the whole day. This album has been getting me from point "a" to point "b" for the past week or so.
10) Pretty Lights' Taking Up Your Precious Time
I was initially skeptical downloading this thing (it was free, ok?!) but when I gave it a listen my negativity disappeared. The album includes some danceable beats as well as some colorful tonework, not to mention some really sweet Motown-esque bits here and there. I got lost somewhere towards the end of the album, but it's still pretty damn good.
(In case you didn't catch it, the title is based on the phrase "in one ear and out the other.")
In this new addition to the review I will list off the ten most recent albums to come out of my speakers including brief reviews on each one. It's pretty much like listening to someone judge people at random except better because it's on the internet!
Without further ado...
1) Tom Waits' Orphans: Bawlers, Brawlers & Bastards
This triple disc release includes enough Tom Waits material to freak out both you and your friends. It's got some of what you'd expect, the signature whisky-gravel-cigarette-smoke-soaked voice singing long laments about things gone wrong and right, as well as a moving spoken word piece called "Nirvana" and a song all about different kinds of bugs.
2) Flying Lotus' Los Angeles
SO freaking good. This guy can drop you into a beat quick and he's not afraid to keep it short. This release is pretty damn good if only because it has even more stuff on it than his other albums. The whole hip-hop/ambient/oldies/dj scene really fascinates me. I mean just who the hell are these guys, anyway?
3) The Pains of Being Pure at Heart's The Pains of Being Pure at Heart
If you don't want to spend the better part of an hour listening to covers of The Smiths then don't listen to this album. If you eat up every word Pitchfork spits out, then go for it.
4) Times New Viking's Stay Awake
This five track EP is all I have by them, and I've been spinning it a lot lately. The first time I heard them I couldn't get past the whole in the red thing, but then I saw them live and... well, that all changed. If you base albums on how many dB's your dollar gets you (rough economy) then this is definitely your winner.
5) Man Man's Little Torments
So f*cking excited to hear this thing in big version. Just has two tracks, one is a recorder freak out and the other one makes me want to preorder their next LP right now.
6) Ratatat's Mirando
Includes the infamous Animal Collective remix as well as another pretty good one by YACHT. It's a good thing they include the original un-remixed "Mirando" on this thing 'cause you can see just how far YACHT and AC can stretch its thread.
7) Devendra Banhart's Rejoicing in the Hands of the Golden Empress and Nino Rojo
The man's got a vision, and you can see (hear) it when you take a listen to these two. The songs are unique in their own right, but they each carry a little gene that ties them together well as LP's. At the end of each are spoken word pieces that underscore his gift as a writer first.
8) John Coltrane's Giant Steps
Though I don't hold a PHD in the history of jazz, I feel pretty safe saying this is one of the most influential (and my favorite) jazz albums of all time. If you've got the ear for the stuff, follow him through his solos on this album. The way I look at it, you can consider this "easy listening" because of its shear beauty or you can consider it a study in how to break the rules and reinvent jazz. It's really up to you.
9) Fleet Foxes' Fleet Foxes
Ok, maybe I'm a little late in admitting it, but this album is really beautiful. The choral work is captivating in its own space, and at the same time you can get lost in the rich tones and reverb for pretty much the whole day. This album has been getting me from point "a" to point "b" for the past week or so.
10) Pretty Lights' Taking Up Your Precious Time
I was initially skeptical downloading this thing (it was free, ok?!) but when I gave it a listen my negativity disappeared. The album includes some danceable beats as well as some colorful tonework, not to mention some really sweet Motown-esque bits here and there. I got lost somewhere towards the end of the album, but it's still pretty damn good.
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