EMI has announced plans to reissue Radiohead’s first three albums — Pablo Honey, The Bend and OK Computer. The re-releases each comprise three discs — one CD containing the original album, another filled with B-sides and rarities, and a DVD containing music videos and live performances. The label has also announced plans to reissue all of Radiohead’s first singles on vinyl. Radiohead, who split with EMI for the release of In Rainbows, has not sanctioned these releases.
Radiohead - "Creep": (from Pablo Honey; 1993)
http://www.youtube.com/watch?v=aw6ZZG3UFKs
Radiohead - "Fake Plastic Trees": (from The Bends; 1995)
http://www.youtube.com/watch?v=pKd06s1LNik
Radiohead - "Karma Police": (from OK Computer; 1997)
http://www.youtube.com/watch?v=rSKmYC0mHXI
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2009/jan/15/the-pulse-16/
15 January 2009
Animal Collective - Merriweather Post Pavilion
Animal Collective is weird. They use samplers instead of drums and guitars. They seed perfectly enjoyable melodies with distortion and screams. Their inscrutable sound changes drastically from one release to the next. Still — starting with 2004’s Sung Tongs — one can trace a clear progression from the spontaneous experimentation that characterized their early work to straight-up, unadulterated pop songs. Merriweather Post Pavilion is the culmination of this evolution.
Certainly, the Collective’s trademark eccentricities remain largely intact on their latest album — see the fractured introduction to “Guys Eyes” or the 9/4 time signature of “Lion in a Coma” for proof. Yet all of those experimental tendencies achieve a new resonance thanks to Animal Collective’s increased focus on accessibility and unerring ear for melody and harmonization.
Thus, Merriweather Post Pavilion plays less like a “difficult” experimental record and more like a densely warped version of The Beach Boys’ Pet Sounds or The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band. It’s fun, catchy and genuinely accessible to newcomers — much more than any other work in their back catalog.
Pavilion‘s most immediate highlight is the effervescent “My Girls,” an ode to fatherly protectiveness and the need to provide for your kids. Over glittery synths and sparse percussion, frontmen Panda Bear and Avey Tare harmonize to unfurling melodies before the exultant outro bursts forth — “I don’t mean to seem like I care about material things/ I just want four walls and adobe slabs for my girls!”
Animal Collective - "My Girls"
Even better is the strangely danceable rave-up “Summertime Clothes” — opening up with a dissolving synth line and a four-on-the-floor bass drum kick, the song builds into pure sugary pop goodness. Elsewhere, highlights such as “Bluish” and “Brother Sport” offer keening Beach Boys melodies over summery-sounding synths. While traditional song structures are largely eschewed here, each of these songs is approachable and fun to casual and hardcore fans alike.
Notably, Pavilion is the first release for which the band chose to include a lyrics sheet. It’s no coincidence, then, that the band’s lyrics are more fully realized than usual. The crib sheet reveals an album full of ruminations about family, childhood and love. The best lines often come from Avey Tare, whose illustrations of innocence and youthful desire are simple yet evocative. Oftentimes, Animal Collective will use musical elements to complement these lyrics — for example, “Daily Routine” uses jarring synth stabs to simulate an alarm clock. These touches greatly enhance the songs by keeping the listener grounded in the subject matter.
Much more than other contemporary artists, Animal Collective are truly pushing the boundaries of pop music and blazing new pathways in the process. With each new album, the band’s increasing accessibility allows more and more music fans to join in the conversation. Though Merriweather Post Pavilion is simply too weird to ever become a Billboard hit, it’s certainly their most easily digestible and enjoyable record to date.
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2009/jan/15/pavilion-is-a-step-forward/
Certainly, the Collective’s trademark eccentricities remain largely intact on their latest album — see the fractured introduction to “Guys Eyes” or the 9/4 time signature of “Lion in a Coma” for proof. Yet all of those experimental tendencies achieve a new resonance thanks to Animal Collective’s increased focus on accessibility and unerring ear for melody and harmonization.
Thus, Merriweather Post Pavilion plays less like a “difficult” experimental record and more like a densely warped version of The Beach Boys’ Pet Sounds or The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band. It’s fun, catchy and genuinely accessible to newcomers — much more than any other work in their back catalog.
Pavilion‘s most immediate highlight is the effervescent “My Girls,” an ode to fatherly protectiveness and the need to provide for your kids. Over glittery synths and sparse percussion, frontmen Panda Bear and Avey Tare harmonize to unfurling melodies before the exultant outro bursts forth — “I don’t mean to seem like I care about material things/ I just want four walls and adobe slabs for my girls!”
Animal Collective - "My Girls"
Even better is the strangely danceable rave-up “Summertime Clothes” — opening up with a dissolving synth line and a four-on-the-floor bass drum kick, the song builds into pure sugary pop goodness. Elsewhere, highlights such as “Bluish” and “Brother Sport” offer keening Beach Boys melodies over summery-sounding synths. While traditional song structures are largely eschewed here, each of these songs is approachable and fun to casual and hardcore fans alike.
Notably, Pavilion is the first release for which the band chose to include a lyrics sheet. It’s no coincidence, then, that the band’s lyrics are more fully realized than usual. The crib sheet reveals an album full of ruminations about family, childhood and love. The best lines often come from Avey Tare, whose illustrations of innocence and youthful desire are simple yet evocative. Oftentimes, Animal Collective will use musical elements to complement these lyrics — for example, “Daily Routine” uses jarring synth stabs to simulate an alarm clock. These touches greatly enhance the songs by keeping the listener grounded in the subject matter.
Much more than other contemporary artists, Animal Collective are truly pushing the boundaries of pop music and blazing new pathways in the process. With each new album, the band’s increasing accessibility allows more and more music fans to join in the conversation. Though Merriweather Post Pavilion is simply too weird to ever become a Billboard hit, it’s certainly their most easily digestible and enjoyable record to date.
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2009/jan/15/pavilion-is-a-step-forward/
04 December 2008
Stephen Colbert vs. Kanye West.
Earlier this week, Stephen Colbert challenged Kanye West to a sales figure showdown. Pitting his own hubris against Mr. West’s, he challenged Colbert Nation to humiliate Kanye and dethrone 808s & Heartbreak as the #1 iTunes album by buying up Colbert’s holiday compilation, A Colbert Christmas: The Greatest Gift of All. With that, Colbert christened his spirited album promotion as “Operation Humble Kanye”. Kanye responded in kind by asking, “Who the fuck is Stephen Colbert?” A showdown between the two figures may well be in the works, though neither Comedy Central nor Kanye West’s publicists have said anything as of publication time.
"Operation Humble Kanye" on the Colbert Report
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/dec/04/the-pulse-15/
| The Colbert Report | Mon - Thurs 11:30pm / 10:30c | |||
| Operation Humble Kanye | ||||
| ||||
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/dec/04/the-pulse-15/
13 November 2008
OutKast to release three albums in 2009.
Big Boi, one half of the acclaimed OutKast duo, has long been planning his forthcoming solo album (titled Sir Luscious Left Foot... Son of Chio Dusty). However, it turns out that the album won’t be the only thing OutKast releases this year. As revealed in a recent MTV.com interview, Andre 3000 is also planning his own solo release, and a full-fledged OutKast record is slated to be released later in the year. Ever the dilettante, Big Boi is also scheduled to appear on the Nov. 25 episode of Law & Order: Special Victims Unit.
OutKast - "Ms. Jackson": (from Stankonia; 2000)
http://www.youtube.com/watch?v=CPb2ZuvQxcA
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/nov/13/the-pulse-13/
OutKast - "Ms. Jackson": (from Stankonia; 2000)
http://www.youtube.com/watch?v=CPb2ZuvQxcA
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/nov/13/the-pulse-13/
23 October 2008
Lil' Wayne to release second Carter III
It’s been a big year for Lil’ Wayne — his blockbuster LP Tha Carter III has sold record millions on the strength of singles like “Lollipop” and “A Milli.” Perhaps hoping to capitalize on that success, Lil’ Wayne recently reported in an MTV.com interview that his next album will be called the exact same name. That’s right — while Wayne’s next opus will contain all new songs and content, it will still be called Tha Carter III. It is still unclear whether Wayne is serious or whether this is some sort of bizarre joke, but the rap giant insists he’s completely serious. As of publication, there is no release information for the second Tha Carter III.
Lil' Wayne - "A Milli"
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/oct/23/the-pulse-11/
Lil' Wayne - "A Milli"
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/oct/23/the-pulse-11/
Jay-Z - Reasonable Doubt
Given that Jay-Z will be headlining John Paul Jones Arena in a few days, it seems appropriate to revisit the career of one of mainstream rap’s most ubiquitous talents. These days, Billboard chart toppers such as “99 Problems” and “Izzo (H.O.V.A.)” are the cornerstones of Jay-Z’s reputation. However, it was 1996’s Reasonable Doubt that served as the stone-cold classic debut upon which Jay-Z built his initial reputation. A world away from his later work, Reasonable Doubt showcases a young Jay-Z supremely confident in his skills even before he burst into our society’s collective consciousness.
Before he earned his name as one of hip-hop’s most notorious businessmen, Jay-Z was a hustler on the streets of New York. He rapped about what he knew — drugs, crime, law, poverty — and he was very, very good at it. Despite his talent, major labels were uninterested in signing such a little-known artist. In an early example of his entrepreneurial flair, Jay-Z responded by founding Roc-A-Fella Records with friends Dame Dash and Kareem Biggs. He proceeded to round up some of the most notable East Coast producers to work on his beats and even scored a guest verse from fellow New Yorker Notorious B.I.G. The resulting album was a hip-hop landmark and perhaps the finest of Jay-Z’s career.
In many ways, Jay-Z’s first album showcases the same traits we’ve grown to love from him — his cool confidence, his wittiness and wordplay, his sense of class and character, his raw ambition and disarming honesty. Nevertheless, the street-wise subject matter and emotional gravitas of Reasonable Doubt is worlds away from the plush money raps that would characterize his later work. Reasonable Doubt is an engaging portrayal of Jay-Z’s life in the Marcy housing projects of New York. The music is a mess of his complex sentiments — dark yet celebratory, playful yet somber, gritty yet luxurious. “Dead Presidents II” and “Regrets” are among the most affecting songs he has ever recorded, yet “22 Two’s” and “Friend or Foe” have a playful, tongue-in-cheek vibe.
Jay-Z - "Dead Presidents"
Jay-Z’s observations of the drug trade are sharp and clever. He is constantly aware of the dangers and complications inherent to his line of work, yet his desire to live large presents him with no other options. As he proclaims on the triumphant “Can I Live,” “I’d rather die enormous than live dormant.” Ultimately, Jay-Z’s ruminations on the drug biz are less enthusiastic or arrogant than they are nuanced and analytical.
As mentioned earlier, production was handled by some of the best East Coast’s finest beatsmiths at the time – notably, the roster included such talents as Ski, DJ Premier and Clark Kent. The overall sound is one heavily influenced by soul, funk and jazz, creating a vibe of both indulgence and relaxation. Particularly notable are the beats for “Dead Presidents II” and “Regrets,” somber tracks that greatly heighten the emotional content of Jay-Z’s lyrics.
Reasonable Doubt may be the lowest-charting Jay-Z album to date, but it’s his most influential and perhaps his greatest — only 2001’s fantastic The Blueprint can rival his debut. Before seeing Jay-Z Saturday, it’s definitely worth doing your homework and giving this classic a close listen.
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/oct/23/beyond-a-reasonable-doubt/
Before he earned his name as one of hip-hop’s most notorious businessmen, Jay-Z was a hustler on the streets of New York. He rapped about what he knew — drugs, crime, law, poverty — and he was very, very good at it. Despite his talent, major labels were uninterested in signing such a little-known artist. In an early example of his entrepreneurial flair, Jay-Z responded by founding Roc-A-Fella Records with friends Dame Dash and Kareem Biggs. He proceeded to round up some of the most notable East Coast producers to work on his beats and even scored a guest verse from fellow New Yorker Notorious B.I.G. The resulting album was a hip-hop landmark and perhaps the finest of Jay-Z’s career.
In many ways, Jay-Z’s first album showcases the same traits we’ve grown to love from him — his cool confidence, his wittiness and wordplay, his sense of class and character, his raw ambition and disarming honesty. Nevertheless, the street-wise subject matter and emotional gravitas of Reasonable Doubt is worlds away from the plush money raps that would characterize his later work. Reasonable Doubt is an engaging portrayal of Jay-Z’s life in the Marcy housing projects of New York. The music is a mess of his complex sentiments — dark yet celebratory, playful yet somber, gritty yet luxurious. “Dead Presidents II” and “Regrets” are among the most affecting songs he has ever recorded, yet “22 Two’s” and “Friend or Foe” have a playful, tongue-in-cheek vibe.
Jay-Z - "Dead Presidents"
Jay-Z’s observations of the drug trade are sharp and clever. He is constantly aware of the dangers and complications inherent to his line of work, yet his desire to live large presents him with no other options. As he proclaims on the triumphant “Can I Live,” “I’d rather die enormous than live dormant.” Ultimately, Jay-Z’s ruminations on the drug biz are less enthusiastic or arrogant than they are nuanced and analytical.
As mentioned earlier, production was handled by some of the best East Coast’s finest beatsmiths at the time – notably, the roster included such talents as Ski, DJ Premier and Clark Kent. The overall sound is one heavily influenced by soul, funk and jazz, creating a vibe of both indulgence and relaxation. Particularly notable are the beats for “Dead Presidents II” and “Regrets,” somber tracks that greatly heighten the emotional content of Jay-Z’s lyrics.
Reasonable Doubt may be the lowest-charting Jay-Z album to date, but it’s his most influential and perhaps his greatest — only 2001’s fantastic The Blueprint can rival his debut. Before seeing Jay-Z Saturday, it’s definitely worth doing your homework and giving this classic a close listen.
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/oct/23/beyond-a-reasonable-doubt/
16 October 2008
Franz Ferdinand reveal album info.
It looks as though the interminable wait for the follow-up to Franz Ferdinand’s excellent You Could Have It So Much Better — released way back in October 2005 — is finally coming to a close. The next Franz album, titled Tonight, will see a U.S. release Jan. 27. Frontman Alex Kapronos has stated that the album will be more dance-oriented than the rock that characterized Ferdinand’s first two albums. “Lucid Dreams,” which was featured on Madden NFL 2009 and apparently written from the perspective of a globe-trotting European, is the only song released from the album so far.
Franz Ferdinand - "Take Me Out": (from Franz Ferdinand; 2004)
http://www.youtube.com/watch?v=QM4dxI0mO1k
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/oct/16/the-pulse-10/
Franz Ferdinand - "Take Me Out": (from Franz Ferdinand; 2004)
http://www.youtube.com/watch?v=QM4dxI0mO1k
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/oct/16/the-pulse-10/
02 October 2008
TV on the Radio - Dear Science
TV on the Radio is more than just a band — it is a generational phenomenon. Just as The Beatles spearheaded the free-wheeling hippie spirit of the 1960s and Nirvana embodied the apathy of the early 1990s, TV on the Radio articulates the claustrophobia of the new millennium. Its music doesn’t offer any answers or sound any alarms, but it expresses what many of us feel in the Information Age — overstimulation. Technology has made the world smaller, more complex and more volatile. TV on the Radio is a band borne of these circumstances — politically aware, brazenly emotional, confused and restless. The group is an invaluable artifact of our generation, and one of the most important bands going today.
One would be forgiven for harboring unreasonably high expectations for the band’s new album, Dear Science. Its last, Return to Cookie Mountain, was not only one of the finest records of the new millennium, but also one of the most original. Notoriously difficult to pigeon-hole into a specific genre, TV on the Radio’s sound lies somewhere at the impossible junction of art rock, post-punk, jazz, funk and trip-hop. Return to Cookie Mountain brought those myriad influences together in a way that, for the first time in the group’s history, sounded complete and organic.
Dear Science is drastically different from its predecessor — it’s funkier and angrier, more direct and much catchier — but it’s just as good. Guitarist/producer David Sitek has peeled away much of the sonic sludge that characterized the band’s earlier work, producing a record that sounds squeaky clean in comparison to its siblings. Songwriting duties are evenly split between co-frontmen Tunde Adebimpe and Kyp Malone, distinct personalities with some of the most expressive, versatile voices in rock music. They make for great counterpoints — Adebimpe’s songs are overt and impassioned, while Malone’s are subtle and contemplative.
“Dancing Choose” is an excellent snapshot of the nervous tension underlying Adebimpe’s work. The song, a fierce indictment of our unconscious media consumption, is both charmingly awkward and seething with vitriolic anger. Adebimpe is barely able to contain his frustration, half-rapping his forceful verses before hitting a relatively subdued, melodic chorus.
"Dancing Choose" on the Late Show With David Letterman; 9/26/2008
Malone’s music, on the other hand, is best exemplified by “Golden Age”. Musically, the song is the polar opposite of “Dancing Choose” — a sexy dance track complete with a slinky Michael Jackson bass line and soaring disco strings. Malone has little of Adebimpe’s intensity but he compensates with a keen sense of melody and fantastic vocal work.
These two songs (both of which have been released as singles) may serve as Dear Science’s most immediate highlights, but in truth, there isn’t a weak point to be found on the record. It’s all aces, from the headlong opener “Halfway Home” to the perversely celebratory closer “Lover’s Day.”
In light of the presidential race that seems to grow more urgent with each passing day and a critically wounded financial structure hovering at the precipice of collapse, Dear Science’s message of uncertainty and ambiguity couldn’t have been better synchronized with the zeitgeist. We may not know what direction the world is headed in, but at least we’ve got the perfect soundtrack to accompany our rapid descent into chaos.
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/oct/02/science-enhances-tv/
One would be forgiven for harboring unreasonably high expectations for the band’s new album, Dear Science. Its last, Return to Cookie Mountain, was not only one of the finest records of the new millennium, but also one of the most original. Notoriously difficult to pigeon-hole into a specific genre, TV on the Radio’s sound lies somewhere at the impossible junction of art rock, post-punk, jazz, funk and trip-hop. Return to Cookie Mountain brought those myriad influences together in a way that, for the first time in the group’s history, sounded complete and organic.
Dear Science is drastically different from its predecessor — it’s funkier and angrier, more direct and much catchier — but it’s just as good. Guitarist/producer David Sitek has peeled away much of the sonic sludge that characterized the band’s earlier work, producing a record that sounds squeaky clean in comparison to its siblings. Songwriting duties are evenly split between co-frontmen Tunde Adebimpe and Kyp Malone, distinct personalities with some of the most expressive, versatile voices in rock music. They make for great counterpoints — Adebimpe’s songs are overt and impassioned, while Malone’s are subtle and contemplative.
“Dancing Choose” is an excellent snapshot of the nervous tension underlying Adebimpe’s work. The song, a fierce indictment of our unconscious media consumption, is both charmingly awkward and seething with vitriolic anger. Adebimpe is barely able to contain his frustration, half-rapping his forceful verses before hitting a relatively subdued, melodic chorus.
Malone’s music, on the other hand, is best exemplified by “Golden Age”. Musically, the song is the polar opposite of “Dancing Choose” — a sexy dance track complete with a slinky Michael Jackson bass line and soaring disco strings. Malone has little of Adebimpe’s intensity but he compensates with a keen sense of melody and fantastic vocal work.
These two songs (both of which have been released as singles) may serve as Dear Science’s most immediate highlights, but in truth, there isn’t a weak point to be found on the record. It’s all aces, from the headlong opener “Halfway Home” to the perversely celebratory closer “Lover’s Day.”
In light of the presidential race that seems to grow more urgent with each passing day and a critically wounded financial structure hovering at the precipice of collapse, Dear Science’s message of uncertainty and ambiguity couldn’t have been better synchronized with the zeitgeist. We may not know what direction the world is headed in, but at least we’ve got the perfect soundtrack to accompany our rapid descent into chaos.
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/oct/02/science-enhances-tv/
Jack White, Alicia Keys write Bond theme.
Blues-rocker Jack White (better known as the frontman for The White Stripes and The Raconteurs) and piano-crooner Alicia Keys recently collaborated on the latest James Bond theme, titled “Another Way to Die.” The up-tempo rocker sounds much looser and much grittier than past Bond themes, which may be intended to reflect the franchise’s shift in tone and direction since Daniel Craig was cast as 007. A music video was also released, featuring White and Keys kicking out their latest jam in front of frequently changing computer-generated backdrops. The next Bond film, titled Quantum of Solace, is currently slated for a mid-November release.
Jack White & Alicia Keys - "Another Way to Die"
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/oct/02/the-pulse-8/
Jack White & Alicia Keys - "Another Way to Die"
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/oct/02/the-pulse-8/
25 September 2008
Kanye West launches "Alligator Boots".
Kanye West got the blogosphere talking a couple weeks ago with his vocoder-only new single “Love Lockdown,” and with his latest announcement, it seems he’s ready to fire up keyboards everywhere once more. Kanye, fellow rapper Rhymefest and Jackhole Productions will be teaming together to produce a puppet-centric television show called “Alligator Boots.” Kanye will be hosting the pilot episode, but he intends to have a new guest host for every following episode. The series will feature original music from both rappers. While the show is still in the works, Comedy Central is currently considering adding it to its 2009 roster.
Watch a preview of the Alligator Boots project.
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/sep/25/the-pulse-7/
Watch a preview of the Alligator Boots project.
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/sep/25/the-pulse-7/
18 September 2008
Pink Floyd's Rick Wright passes away.
Longtime Pink Floyd member Rick Wright passed away Monday after a “relatively short struggle with cancer,” according to former bandmate David Gilmour’s Web site. Wright was one of Pink Floyd’s founding members and made several valuable contributions to such classic albums as Dark Side of the Moon and Wish You Were Here. While he primarily served as the band’s keyboardist, he also has numerous vocal and songwriting credits to his name. As of yesterday, Wright’s family has “requested that their privacy is respected at this difficult time.”
Pink Floyd playing Wright's "The Great Gig in the Sky" live:
http://www.youtube.com/watch?v=lBWY3bli92Y
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/sep/18/the-pulse-6/
Pink Floyd playing Wright's "The Great Gig in the Sky" live:
http://www.youtube.com/watch?v=lBWY3bli92Y
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/sep/18/the-pulse-6/
11 September 2008
Oasis singer assaulted at Toronto gig.
Last Sunday, Oasis guitarist Noel Gallagher was bum-rushed at Toronto’s Virgin Festival. According to reports, 47-year-old Daniel Sullivan entered the stage from the rear entrance and ran up to shove Mr. Gallagher forward. Noel fell on his monitor speakers, bruising his ribs and hip in the process. Though the band managed to finish their set, they were forced to cancel their next gig while Noel’s injuries were diagnosed and treated. While Sullivan has been charged with assault by Toronto police, he has since been released and is due in court on Oct. 24.
YouTube footage of the incident.
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/sep/11/the-pulse-5/
YouTube footage of the incident.
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/sep/11/the-pulse-5/
04 September 2008
Sufjan Stevens scores Portman short.
The maestro behind such state-themed chamber pop classics as 2003’s Michigan and 2005’s Illinois is currently slated to write musical accompaniment to an upcoming short directed by Natalie Portman. The film, called Eve, is a 22-minute affair starring Lauren Bacall and Ben Gazzara. Portman, an admitted fan of Sufjan’s work, said she contacted him directly for help. Apparently, she was very pleased with the outcome. According to Stevens’ label Ashmatic Kitty, the soundtrack will consist of several brief piano instrumentals. There is still no news as to Stevens’ next full-length.
Sufjan Stevens - "John Wayne Gacy, Jr.": (from Illinois; 2005)
http://www.youtube.com/watch?v=otx49Ko3fxw
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/sep/04/the-pulse-3/
Sufjan Stevens - "John Wayne Gacy, Jr.": (from Illinois; 2005)
http://www.youtube.com/watch?v=otx49Ko3fxw
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/sep/04/the-pulse-3/
28 August 2008
T.I.'s "Swagga Like Us" leaks to internet.
Over the weekend, T.I.’s “Swagger Like Us” leaked onto the Internet, and the minds of bloggers everywhere imploded. The credits for “Swagger Like Us” read like a who’s who of mainstream rap — T.I. brings along Kanye West (who produced the song as well), Jay-Z and Lil’ Wayne for guest verses. As if the song wasn’t marketable enough, “Swagger Like Us” also samples M.I.A’s red-hot Pineapple Express anthem, “Paper Planes.” Unfortunately, it doesn’t quite live up its promise — Kanye’s beat is mediocre at best, and none of the four verses are particularly memorable. Still, putting all that talent on one track makes for a great marketing strategy.
T.I. - "Swagga Like Us" (feat. Kanye West, Lil' Wayne & Jay-Z): (from Paper Trail; 2008)
http://www.youtube.com/watch?v=TiS9-yPvBnY
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/aug/28/the-pulse-4/
T.I. - "Swagga Like Us" (feat. Kanye West, Lil' Wayne & Jay-Z): (from Paper Trail; 2008)
http://www.youtube.com/watch?v=TiS9-yPvBnY
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/aug/28/the-pulse-4/
23 August 2008
Beck - Modern Guilt
Since entering the nation’s consciousness more than a decade ago with his super-hit “Loser,” Beck has built up a gloriously diverse resume. Following Mellow Gold (the album that birthed that first hit), his styles have veered sharply from the junkyard pop of Odelay to the sexed-up raves of Midnite Vultures to the heartsick lament of Sea Change. The man has been notoriously difficult to pin down, changing styles so often it’s become an inextricable part of his musical identity.
For the past several years, however, it seemed Beck was in a rut. His last two albums – Guero and The Information – were largely soulless rehashes of his past work. While they each had their moments, the reinvention that once characterized Beck’s work appeared to have fallen by the wayside.
Thankfully, Modern Guilt finds Beck getting back on track as he sheds his skin yet another time. This time around, he’s tried his hand at 1960s psychedelia, and in the process, written his first meaningful musical departure since the 2002 Sea Change.
To helm the production of his latest opus, Beck has called upon DJ Danger Mouse. Danger Mouse is an inspired choice. Between his day job in the soulful Gnarls Barkley and those infamous Jay-Z/Beatles mash-ups, it’s clear that Mouse is firmly rooted in the 1960s aesthetic. His knob-switching lends an authentically retro vibe to the project – with its dry production and psychedelic instrumentation, Modern Guilt practically begs to be played on vinyl.
Despite Danger Mouse’s influence, however, the album is Beck’s baby. Press releases indicate that Beck spent extraordinary hours in the studio while recording Modern Guilt, and his perfectionist devotion to the album shines through here. When Beck initially began writing material for Modern Guilt, he intended for the album to be an exercise in brevity with 10 2-minute songs. While this idea was eventually abandoned, Beck’s focus on minute detail is still evident – each of the songs here is intricate and concise, packing a greater punch for its succinctness.
Ironically then, the best song on Modern Guilt is its longest – advance single “Chemtrails” serves as the album’s thrilling peak (not to mention one of the greatest songs of Beck’s career). Beck’s lilting vocal melody hovers over echoing piano notes and a nimble bass line as he sings ominously of airborne chemicals and a sea full of drowning people. The song’s lethargic pace is undercut by guest Joey Waronker’s ferocious drum work – a surprisingly effective contrast that highlights the menace behind Beck’s lyrics, otherwise obscured by his weary delivery. “Chemtrails” makes full use of its nearly 5-minute runtime, slowly building up tension and then releasing it with an exhilarating false ending.
Beck performs "Chemtrails" live in Amsterdam; 7/1/08
Of course, there are several other fantastic songs to be found on Modern Guilt. Consider the old-school rave-up of “Gamma Ray”, the Spoon-esque groove of the title track and the soul-crushing closer “Volcano” – each is a masterful execution of Beck’s latest genre experiment (and a ton of fun to boot).
The album isn’t quite perfect — the middle section drags a bit, and the bass frequency is uncomfortably high in the mix – but all in all, it’s a great return to form from California’s musical chameleon. Even if Modern Guilt doesn’t quite recapture the ramshackle brilliance of Beck’s seminal work, it’s still one of his most consistently satisfying albums to date. Perhaps most importantly, it’ll get listeners excited about guessing his next direction again.
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/aug/23/becks-latest-effort-is-a-guiltless-pleasure/
For the past several years, however, it seemed Beck was in a rut. His last two albums – Guero and The Information – were largely soulless rehashes of his past work. While they each had their moments, the reinvention that once characterized Beck’s work appeared to have fallen by the wayside.
Thankfully, Modern Guilt finds Beck getting back on track as he sheds his skin yet another time. This time around, he’s tried his hand at 1960s psychedelia, and in the process, written his first meaningful musical departure since the 2002 Sea Change.
To helm the production of his latest opus, Beck has called upon DJ Danger Mouse. Danger Mouse is an inspired choice. Between his day job in the soulful Gnarls Barkley and those infamous Jay-Z/Beatles mash-ups, it’s clear that Mouse is firmly rooted in the 1960s aesthetic. His knob-switching lends an authentically retro vibe to the project – with its dry production and psychedelic instrumentation, Modern Guilt practically begs to be played on vinyl.
Despite Danger Mouse’s influence, however, the album is Beck’s baby. Press releases indicate that Beck spent extraordinary hours in the studio while recording Modern Guilt, and his perfectionist devotion to the album shines through here. When Beck initially began writing material for Modern Guilt, he intended for the album to be an exercise in brevity with 10 2-minute songs. While this idea was eventually abandoned, Beck’s focus on minute detail is still evident – each of the songs here is intricate and concise, packing a greater punch for its succinctness.
Ironically then, the best song on Modern Guilt is its longest – advance single “Chemtrails” serves as the album’s thrilling peak (not to mention one of the greatest songs of Beck’s career). Beck’s lilting vocal melody hovers over echoing piano notes and a nimble bass line as he sings ominously of airborne chemicals and a sea full of drowning people. The song’s lethargic pace is undercut by guest Joey Waronker’s ferocious drum work – a surprisingly effective contrast that highlights the menace behind Beck’s lyrics, otherwise obscured by his weary delivery. “Chemtrails” makes full use of its nearly 5-minute runtime, slowly building up tension and then releasing it with an exhilarating false ending.
Beck performs "Chemtrails" live in Amsterdam; 7/1/08
Of course, there are several other fantastic songs to be found on Modern Guilt. Consider the old-school rave-up of “Gamma Ray”, the Spoon-esque groove of the title track and the soul-crushing closer “Volcano” – each is a masterful execution of Beck’s latest genre experiment (and a ton of fun to boot).
The album isn’t quite perfect — the middle section drags a bit, and the bass frequency is uncomfortably high in the mix – but all in all, it’s a great return to form from California’s musical chameleon. Even if Modern Guilt doesn’t quite recapture the ramshackle brilliance of Beck’s seminal work, it’s still one of his most consistently satisfying albums to date. Perhaps most importantly, it’ll get listeners excited about guessing his next direction again.
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/aug/23/becks-latest-effort-is-a-guiltless-pleasure/
Nine Inch Nails come to Charlottesville
Industrial rock giants Nine Inch Nails recently extended a second leg for their Lights in the Sky tour, and Charlottesville’s own John Paul Jones Arena is one of the many venues on the agenda. The group, which is essentially the pet project of frontman Trent Reznor, is touring in support of its excellent recent albums (Reznor’s first since striking out on his own after breaking from Interscope) – the ambient Ghosts I-IV and traditional rocker The Slip. The group plans to incorporate these songs into a setlist fleshed out by old classics. Tickets will go on sale Sept. 5 at the JPJ box office, with special student pricing available for a limited time.
Nine Inch Nails - "Closer": (from The Downward Spiral; 1994)
http://www.youtube.com/watch?v=C4VAv8y2hHM
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/aug/23/the-pulse-2/
Nine Inch Nails - "Closer": (from The Downward Spiral; 1994)
http://www.youtube.com/watch?v=C4VAv8y2hHM
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/aug/23/the-pulse-2/
12 August 2008
Kanye West - "Champion"
Kanye West - "Champion"
"Champion", one of the standout tracks from last year's Graduation, recently got video treatment. Who knew that a Kanye puppet would be so adorable?!
Jay-Z - "Jockin' Jay-Z" (prod. Kanye West)
A couple days ago, Jay-Z debuted a verse from "Jockin' Jay-Z" at Kanye's MSG show. Everybody lost their shit – it sounded like American Gangster really had revitalized the rap legend, and another great album was in the works.
But the studio cut, featuring notably less enthusiastic vocals than Hova's inaugural live performance, isn't quite as thrilling. Jay-Z has done much better with minimal beats before – check American Gangster's "Hello Brooklyn 2.0" for evidence – and his wordplay isn't nearly as clever as we saw on his last advance single, "Blue Magic." And let's be honest, that "'cause I like money bitch!" line is embarrassingly terrible (as is his awkward revival of the Oasis feud). His flow is decent, but Jay's performance lacks presence and energy (maybe his voice is simply too low in the mix). In any case, I hope this isn't an indicator of what to expect for The Blueprint 3.
Kanye fares a little better. While I do miss the sped-up soul of The College Dropout and Late Registration, the loose grind of "Jockin' Jay-Z" shows Kanye trying his hand at a new style of beat and, for the most part, succeeding. "Jockin' Jay-Z" is vaguely reminiscent of Black Star's "Definition", propelled by a frenetic, repetitive guitar hook and a stark drum beat. It's an exciting production, sure to get your blood pumping and your hands in the air. And, as we saw last Wednesday, it certainly packs a punch in an arena setting.
Still, I'm skeptical about the recent direction of Kanye's production. Kanye's strength has never been rhythm – he's much better with texture and layering. Lately, we've seen Kanye stripping down the layers of his music and going for a simpler approach, focusing less on sampling and more on synths. While I applaud his decision to branch out, I also wonder if he is compromising his greatest strengths. Sure, Graduation had a handful of jaw-dropping moments ("Flashing Lights", "I Wonder"), but those songs don't quite chalk up to his past masterpieces ("Slow Jamz", "The New Workout Plan", "Diamonds from Sierra Leone", "Gone", etc.).
All in all, "Jockin' Jay-Z" is fun but kind of soulless, which is disappointing when considering the incredible collaborations that Mr. West and Mr. Carter had on the original Blueprint. It's a decent song, to be sure, but hardly anything special. I really hope that the duo have another "Heart of the City" or "Izzo" up their sleeves, but after hearing "Jockin' Jay-Z", I wouldn't put money on it.
Live debut of "Jockin' Jay-Z" at MSG; 8/6/2008
But the studio cut, featuring notably less enthusiastic vocals than Hova's inaugural live performance, isn't quite as thrilling. Jay-Z has done much better with minimal beats before – check American Gangster's "Hello Brooklyn 2.0" for evidence – and his wordplay isn't nearly as clever as we saw on his last advance single, "Blue Magic." And let's be honest, that "'cause I like money bitch!" line is embarrassingly terrible (as is his awkward revival of the Oasis feud). His flow is decent, but Jay's performance lacks presence and energy (maybe his voice is simply too low in the mix). In any case, I hope this isn't an indicator of what to expect for The Blueprint 3.
Kanye fares a little better. While I do miss the sped-up soul of The College Dropout and Late Registration, the loose grind of "Jockin' Jay-Z" shows Kanye trying his hand at a new style of beat and, for the most part, succeeding. "Jockin' Jay-Z" is vaguely reminiscent of Black Star's "Definition", propelled by a frenetic, repetitive guitar hook and a stark drum beat. It's an exciting production, sure to get your blood pumping and your hands in the air. And, as we saw last Wednesday, it certainly packs a punch in an arena setting.
Still, I'm skeptical about the recent direction of Kanye's production. Kanye's strength has never been rhythm – he's much better with texture and layering. Lately, we've seen Kanye stripping down the layers of his music and going for a simpler approach, focusing less on sampling and more on synths. While I applaud his decision to branch out, I also wonder if he is compromising his greatest strengths. Sure, Graduation had a handful of jaw-dropping moments ("Flashing Lights", "I Wonder"), but those songs don't quite chalk up to his past masterpieces ("Slow Jamz", "The New Workout Plan", "Diamonds from Sierra Leone", "Gone", etc.).
All in all, "Jockin' Jay-Z" is fun but kind of soulless, which is disappointing when considering the incredible collaborations that Mr. West and Mr. Carter had on the original Blueprint. It's a decent song, to be sure, but hardly anything special. I really hope that the duo have another "Heart of the City" or "Izzo" up their sleeves, but after hearing "Jockin' Jay-Z", I wouldn't put money on it.
Live debut of "Jockin' Jay-Z" at MSG; 8/6/2008
14 July 2008
Summer music '07.
Coldplay – Viva la Vida or Death and All His Friends (June 17)
Chris Martin's crucially flawed idea of "progress" is to cut and paste work from other innovative bands into his own. Simply rewriting the violin stabs from Velvet Underground's "Venus in Furs" into "Yes" doesn't make the song great, though, and anybody at all familiar with My Bloody Valentine will scoff at "Chinese Sleep Chant." Yet one has to respect the lads of Coldplay for their ambition. Even after the bloated X&Y sold like hotcakes, they are more interested in expanding their sound than offering a commercial retread. While they aren't nearly as talented as they think they are – and they remain far from the heights of their heroes U2 and Radiohead – Viva la Vida is still intriguing as a pantheon to Coldplay's lofty aspirations.
Coldplay - "Viva la Vida": (from Viva la Vida...; 2008)
http://www.youtube.com/watch?v=44xirQ55IgA
Lil' Wayne – Tha Carter III (June 10)
"Lollipop" has been topping radio charts for a long time now, but it's not an easy song to appreciate. In fact, at first blush, it's a tasteless track full of vulgar innuendo and inexcusably terrible lyrics. Upon closer listen, however, one begins to appreciate it. Lil' Wayne's newfound infatuation with T-Pain-style vocoders congeals with Static Major's vocal hook and Deezle's futuristic production to create something dense, alien and compelling. The advance single for Lil' Wayne's oft-delayed Tha Carter III is a handy avatar for the album as a whole. First impressions may leave a bad aftertaste, but it's a grower. Tha Carter III is over-the-top, overlong and, if you give it time, a rewarding piece of work from one of mainstream rap's finest.
Lil' Wayne - "Lollipop" (feat. Static Major): (from Tha Carter III; 2008)
http://www.youtube.com/watch?v=740d8sTpM7U
Nine Inch Nails – The Slip (May 5)
If there's one good thing today's major labels have accomplished, it's the inspiration of Trent Reznor. Thanks to his acrimonious break with Interscope and his frustration with the industry's near-sighted distribution tactics, Reznor decided to meet fans on their own terms by releasing The Slip as a free download with a Creative Commons license. The best thing about his latest album isn't the price, however – it's the music. The Slip is the single greatest Nine Inch Nails record since the band's seminal breakthrough, 1994's The Downward Spiral. Sure, Reznor may fret over his relevancy on "Discipline" and "Echoplex," but the music speaks for itself. The Slip proves the aging industrial rock icon is pertinent as ever.
Nine Inch Nails - "Discipline": (from The Slip; 2008)
http://www.youtube.com/watch?v=I1ZMKfFHU3U
Weezer – Weezer (June 3)
Weezer's third eponymous album (colloquially referred to as "the red album") is essentially an homage to Rivers Cuomo's mid life crisis. After three albums of passable (but mostly stagnant and predictable) power pop, he and his trusty band of nerd rockers set out to create their wackiest, weirdest, most off-the-cuff set of songs to date. For evidence, check "Greatest Man That Ever Lived," an epic whose 6-minute span sees Cuomo try his hand at baroque counterpoint, rap, virtuosic falsetto, spoken verse and, of course, those familiar crunchy guitars. It's not quite the return to form old-school fans had been hoping for, but Weezer's latest is easily the best of their post-millennial releases – and a ton of fun to boot.
Weezer - "Pork and Beans": (from Weezer; 2008)
http://www.youtube.com/watch?v=muP9eH2p2PI
Death Cab for Cutie – Narrow Stairs (May 13)
When the 8.5-minute stalker anthem "I Will Possess Your Heart" hit radio stations in mid-March, the song's long length and emphasis on texture had fans speculating that Death Cab had a big change in store. Then the band released Narrow Stairs, and it became apparent that the album really is little more than a more muscular version of Plans. There is some experimentation scattered throughout the disc, but the boys in Death Cab seem as though they are treading water. This is not to say Narrow Stairs is a bad album – in fact, songs such as "Cath..." and "I Will Possess Your Heart" rank among the band's best work. At the end of the day, however, Narrow Stairs feels like more of the same from an increasingly mediocre group.
Death Cab for Cutie - "I Will Possess Your Heart": (from Narrow Stairs; 2008)
http://www.mtv.com/videos/death-cab-for-cutie/223342/i-will-possess-your-heart.jhtml
Girl Talk – Feed the Animals (June 19)
Greg Gillis is the ultimate party guy. For those of you unfamiliar with his work, Gillis (better known as Girl Talk) earned his fame by elevating mash-up music from a novelty to an art form. Cramming as many as 30 songs into a single 3-minute piece, his first big break came with 2006's Night Ripper – a frenetic, hyperactive affair that found Nirvana slotted next to Notorious B.I.G. Feed the Animals takes Night Ripper a logical step forward – here, Gillis has allowed the mash-ups to gestate longer and spent more time finding samples that really gel with one another. Rich Boy and Aphex Twin? Lil' Wayne and Red Hot Chili Peppers? Radiohead and Jay-Z? Gillis will find ways to mesh them – and better still, he'll make you dance while he's at it.
Girl Talk - "Shut the Club Down": (from Feed the Animals; 2008)
http://www.youtube.com/watch?v=VMyyg3G1bt4
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/jul/14/tableaus-guide-to-summer-music/
Chris Martin's crucially flawed idea of "progress" is to cut and paste work from other innovative bands into his own. Simply rewriting the violin stabs from Velvet Underground's "Venus in Furs" into "Yes" doesn't make the song great, though, and anybody at all familiar with My Bloody Valentine will scoff at "Chinese Sleep Chant." Yet one has to respect the lads of Coldplay for their ambition. Even after the bloated X&Y sold like hotcakes, they are more interested in expanding their sound than offering a commercial retread. While they aren't nearly as talented as they think they are – and they remain far from the heights of their heroes U2 and Radiohead – Viva la Vida is still intriguing as a pantheon to Coldplay's lofty aspirations.
Coldplay - "Viva la Vida": (from Viva la Vida...; 2008)
http://www.youtube.com/watch?v=44xirQ55IgA
Lil' Wayne – Tha Carter III (June 10)
"Lollipop" has been topping radio charts for a long time now, but it's not an easy song to appreciate. In fact, at first blush, it's a tasteless track full of vulgar innuendo and inexcusably terrible lyrics. Upon closer listen, however, one begins to appreciate it. Lil' Wayne's newfound infatuation with T-Pain-style vocoders congeals with Static Major's vocal hook and Deezle's futuristic production to create something dense, alien and compelling. The advance single for Lil' Wayne's oft-delayed Tha Carter III is a handy avatar for the album as a whole. First impressions may leave a bad aftertaste, but it's a grower. Tha Carter III is over-the-top, overlong and, if you give it time, a rewarding piece of work from one of mainstream rap's finest.
Lil' Wayne - "Lollipop" (feat. Static Major): (from Tha Carter III; 2008)
http://www.youtube.com/watch?v=740d8sTpM7U
Nine Inch Nails – The Slip (May 5)
If there's one good thing today's major labels have accomplished, it's the inspiration of Trent Reznor. Thanks to his acrimonious break with Interscope and his frustration with the industry's near-sighted distribution tactics, Reznor decided to meet fans on their own terms by releasing The Slip as a free download with a Creative Commons license. The best thing about his latest album isn't the price, however – it's the music. The Slip is the single greatest Nine Inch Nails record since the band's seminal breakthrough, 1994's The Downward Spiral. Sure, Reznor may fret over his relevancy on "Discipline" and "Echoplex," but the music speaks for itself. The Slip proves the aging industrial rock icon is pertinent as ever.
Nine Inch Nails - "Discipline": (from The Slip; 2008)
http://www.youtube.com/watch?v=I1ZMKfFHU3U
Weezer – Weezer (June 3)
Weezer's third eponymous album (colloquially referred to as "the red album") is essentially an homage to Rivers Cuomo's mid life crisis. After three albums of passable (but mostly stagnant and predictable) power pop, he and his trusty band of nerd rockers set out to create their wackiest, weirdest, most off-the-cuff set of songs to date. For evidence, check "Greatest Man That Ever Lived," an epic whose 6-minute span sees Cuomo try his hand at baroque counterpoint, rap, virtuosic falsetto, spoken verse and, of course, those familiar crunchy guitars. It's not quite the return to form old-school fans had been hoping for, but Weezer's latest is easily the best of their post-millennial releases – and a ton of fun to boot.
Weezer - "Pork and Beans": (from Weezer; 2008)
http://www.youtube.com/watch?v=muP9eH2p2PI
Death Cab for Cutie – Narrow Stairs (May 13)
When the 8.5-minute stalker anthem "I Will Possess Your Heart" hit radio stations in mid-March, the song's long length and emphasis on texture had fans speculating that Death Cab had a big change in store. Then the band released Narrow Stairs, and it became apparent that the album really is little more than a more muscular version of Plans. There is some experimentation scattered throughout the disc, but the boys in Death Cab seem as though they are treading water. This is not to say Narrow Stairs is a bad album – in fact, songs such as "Cath..." and "I Will Possess Your Heart" rank among the band's best work. At the end of the day, however, Narrow Stairs feels like more of the same from an increasingly mediocre group.
Death Cab for Cutie - "I Will Possess Your Heart": (from Narrow Stairs; 2008)
http://www.mtv.com/videos/death-cab-for-cutie/223342/i-will-possess-your-heart.jhtml
Girl Talk – Feed the Animals (June 19)
Greg Gillis is the ultimate party guy. For those of you unfamiliar with his work, Gillis (better known as Girl Talk) earned his fame by elevating mash-up music from a novelty to an art form. Cramming as many as 30 songs into a single 3-minute piece, his first big break came with 2006's Night Ripper – a frenetic, hyperactive affair that found Nirvana slotted next to Notorious B.I.G. Feed the Animals takes Night Ripper a logical step forward – here, Gillis has allowed the mash-ups to gestate longer and spent more time finding samples that really gel with one another. Rich Boy and Aphex Twin? Lil' Wayne and Red Hot Chili Peppers? Radiohead and Jay-Z? Gillis will find ways to mesh them – and better still, he'll make you dance while he's at it.
Girl Talk - "Shut the Club Down": (from Feed the Animals; 2008)
http://www.youtube.com/watch?v=VMyyg3G1bt4
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/jul/14/tableaus-guide-to-summer-music/
24 April 2008
Charlottesville's Satellite Ballroom closes.
A little more than three years ago, Satellite Ballroom converted a Plan 9 Music sublet into a hotspot for local and independent music. During its short tenure on the Corner, the venue has become an impressively vital source of live entertainment – largely thanks to the persistent efforts of Satellite booking agent Danny Shea. "I had a list of bands that I would be really happy to have come, and I've been surprised at how many bands I've been able to scratch off that list," Shea said. These scratched names have included indie acts as popular and eclectic as Yo La Tengo, Animal Collective, Girl Talk, Deerhoof and Vashti Bunyan.
Yet all good things come to an end, it seems. As was announced this Monday, Plan 9 is allowing its lease on the Corner to expire – thereby expulsing Satellite Ballroom, a subtenant. The implications for Charlottesville's local music scene are grim. As the only medium-sized venue in town, Satellite Ballroom's closing will leave a substantial gap for the live music scene in its wake. For the time being, there are many popular music acts – ones too big for the Twisted Branch Tea Bazaar, but too small for the Pavilion – who will lack an appropriately sized venue.
James Ford, contributor to the Charlottesville music blog Nailgun Media, points out that the Satellite Ballroom situation is merely the latest in a long string of music venue closings. "In the two to three years that I've been here, I've seen the range of available venues narrow significantly," Ford said. Starr Hill recently merged with the now-closing Satellite Ballroom, Gravity Lounge has long been announcing its closing (even if it hasn't gotten around to it yet) and house parties are becoming ever rarer. Even if the Pavilion and John Paul Jones Arena continue to thrive, these larger venues fail to cultivate the same sense of community and cater only to those with bigger wallets and more mainstream musical preferences.
Venue closings continue to narrow the amount of choice that Charlottesville's music fans have – especially for supporters of local music, or those with less conventional tastes. One of the most notable symptoms of these closings is that hip hop artists are almost never able to book shows, even though there a number of local acts who would love the opportunity to perform. The problem, however, extends to small-time artists from all genres. "I get e-mails weekly, from people out of town, who are having trouble setting up a show here, and I'm not even officially a booking agent," Ford said.
There is some hope, however. Satellite Ballroom is currently in the midst of searching for a new venue, and the promotional group Red Light Management (who recently invested in Satellite Ballroom) has a significant interest in making the relocation a success. "We are a little bit in scramble mode," Shea said. "We all felt like we'd be able to work out an extension for the lease, but apparently that's not the case." So while the demise of Satellite Ballroom isn't set in stone, the venue's future isn't clear either.
If one thing is certain, it's that Charlottesville has a community hungry for Satellite's music. Many students have worked hard to raise awareness of the situation via Facebook, and the "Satellite Unite" group has been organizing a letter writing campaign to Satellite lot owner Terry Vassalos. Furthermore, there are many community members who continue working hard to bring great music to Charlottesville. "There are a lot of dedicated, hard-working people organizing concerts here because they care about it," Ford said. Shea echoes these sentiments, albeit more reservedly. "On one hand, you can figure that it will sort itself out, that there's enough energy in this town. On the other hand, I'm a pretty big believer in not taking anything for granted."
It's unclear whether or not Satellite Ballroom or a comparatively sized venue will return, but one thing is certain – recovering from this loss will take a lot of hard work from the very same people who have already done so much to bring great music to Charlottesville all these years. As Shea commented, "This business is a labor of love – nobody is going to get rich, and you're lucky if you get it to work." Let's hope that fortune ends up on the side of people such as him.
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/apr/24/satellite-ballroom-closing/
Yet all good things come to an end, it seems. As was announced this Monday, Plan 9 is allowing its lease on the Corner to expire – thereby expulsing Satellite Ballroom, a subtenant. The implications for Charlottesville's local music scene are grim. As the only medium-sized venue in town, Satellite Ballroom's closing will leave a substantial gap for the live music scene in its wake. For the time being, there are many popular music acts – ones too big for the Twisted Branch Tea Bazaar, but too small for the Pavilion – who will lack an appropriately sized venue.
James Ford, contributor to the Charlottesville music blog Nailgun Media, points out that the Satellite Ballroom situation is merely the latest in a long string of music venue closings. "In the two to three years that I've been here, I've seen the range of available venues narrow significantly," Ford said. Starr Hill recently merged with the now-closing Satellite Ballroom, Gravity Lounge has long been announcing its closing (even if it hasn't gotten around to it yet) and house parties are becoming ever rarer. Even if the Pavilion and John Paul Jones Arena continue to thrive, these larger venues fail to cultivate the same sense of community and cater only to those with bigger wallets and more mainstream musical preferences.
Venue closings continue to narrow the amount of choice that Charlottesville's music fans have – especially for supporters of local music, or those with less conventional tastes. One of the most notable symptoms of these closings is that hip hop artists are almost never able to book shows, even though there a number of local acts who would love the opportunity to perform. The problem, however, extends to small-time artists from all genres. "I get e-mails weekly, from people out of town, who are having trouble setting up a show here, and I'm not even officially a booking agent," Ford said.
There is some hope, however. Satellite Ballroom is currently in the midst of searching for a new venue, and the promotional group Red Light Management (who recently invested in Satellite Ballroom) has a significant interest in making the relocation a success. "We are a little bit in scramble mode," Shea said. "We all felt like we'd be able to work out an extension for the lease, but apparently that's not the case." So while the demise of Satellite Ballroom isn't set in stone, the venue's future isn't clear either.
If one thing is certain, it's that Charlottesville has a community hungry for Satellite's music. Many students have worked hard to raise awareness of the situation via Facebook, and the "Satellite Unite" group has been organizing a letter writing campaign to Satellite lot owner Terry Vassalos. Furthermore, there are many community members who continue working hard to bring great music to Charlottesville. "There are a lot of dedicated, hard-working people organizing concerts here because they care about it," Ford said. Shea echoes these sentiments, albeit more reservedly. "On one hand, you can figure that it will sort itself out, that there's enough energy in this town. On the other hand, I'm a pretty big believer in not taking anything for granted."
It's unclear whether or not Satellite Ballroom or a comparatively sized venue will return, but one thing is certain – recovering from this loss will take a lot of hard work from the very same people who have already done so much to bring great music to Charlottesville all these years. As Shea commented, "This business is a labor of love – nobody is going to get rich, and you're lucky if you get it to work." Let's hope that fortune ends up on the side of people such as him.
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/apr/24/satellite-ballroom-closing/
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