YouTube footage of the incident.
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/sep/11/the-pulse-5/
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/
All Tomorrow's Parties lineup announced.
All Tomorrow's Parties, a London-based festival that recently expanded into the United States, has just announced the 30-act lineup for its NYC show. Easily the most buzzed-about act is the recently reformed My Bloody Valentine, who garnered massive critical acclaim with their 1991 shoegaze masterpiece Loveless before going on hiatus. The group will make its first U.S. concert appearance in a little over a decade and a half at ATP. Built to Spill, Meat Puppets, Thurston Moore (of Sonic Youth) and Tortoise will also appear, playing their definitive albums in full, while groups such as Mogwai, Polvo and Shellac will appear to play more traditional sets. The festival will take place in late September.
My Bloody Valentine - "You Made Me Realise"
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/apr/24/the-pulse26713/
My Bloody Valentine - "You Made Me Realise"
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/apr/24/the-pulse26713/
Coldplay release Viva la Vida details.
Hyper-popular alt-rockers Coldplay have recently released information surrounding the release of their highly anticipated fourth album – the full title of which is Viva la Vida or Death and All His Friends (that mouthful was apparently inspired by Frida Kahlo). According to Chris Martin, the band's latest has been highly influenced by the "sights, sounds and flavors of Latin America and Spain." He also said there is experimentation and exploration, but the music is "real and honest". Hmm. The album, produced by legendary electriconica musician Brian Eno, is due out June 17 via Capitol.
Coldplay - "The Scientist": (from A Rush of Blood to the Head; 2002)
http://www.youtube.com/watch?v=EqWLpTKBFcU
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/apr/24/the-pulse26713/
Coldplay - "The Scientist": (from A Rush of Blood to the Head; 2002)
http://www.youtube.com/watch?v=EqWLpTKBFcU
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/apr/24/the-pulse26713/
10 April 2008
Pitchfork.tv opens to the public.
Pitchfork Media – a popular site for online reviews of independent, hip-hop and electronic music – debuted its new satellite web site Pitchfork.tv on April 7. The goal of this new site is to provide high-quality video content for indie bands, who don't normally get the same high quality media coverage as their major-label brethren. The web site, which is notable for its exceptionally high-quality video streams, allows users to view any of the hosted videos – which includes pre-recorded concerts, music videos and mini-documentaries – on-demand, at any time, and completely free of charge. The site also allows for embedding in blogs.
Try out Pitchfork.tv now!: http://pitchfork.com/tv/
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/apr/10/the-pulse26512/
Try out Pitchfork.tv now!: http://pitchfork.com/tv/
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/apr/10/the-pulse26512/
03 April 2008
Panic at the Disco - Pretty. Odd.
Sgt. Pepper's Lonely Hearts Club Band is an undisputed classic. Arguably the greatest album ever made by The Beatles – who, by general consensus, are the greatest band the world has ever seen – it was a milestone release in terms of studio innovation, cohesiveness and even album art. And the music? Sgt. Pepper's sounds remarkably fresh in a modern context – every bit as brilliant and engaging as it was more than 40 years ago.
Apparently, Vegas quartet Panic at the Disco (observe the freshly removed exclamation point!) are fans of Sgt. Pepper's as well – so much so that they've modeled their latest album, Pretty. Odd., after it to a tee. They've got the same thick atmospherics, gobs of back up instrumentation from horns and strings and even the same sort of faux-live album introduction. The resemblance between the two albums is uncanny.
This is hardly a surprise, of course – My Chemical Romance aped Queen for Welcome to the Black Parade, and The Killers borrowed the songs on Sam's Town from the Big Book of Bruce Springsteen. At this rate, it was only so long before the Fab Four became the next target for an super-popular pop-punk outfit. What sets Panic at the Disco apart, however, is that their album is actually quite good.
Repeated listens reveal the band's similarity to The Beatles is, for the most part, superficial. Panic doesn't have the ability to write pop songs the way The Beatles did, and in all likelihood, they never will. While the group borrows heavily from the psychedelic atmosphere of Sgt. Pepper's, they are still writing the same variety of unabashed pop-punk music they always have – if only in a markedly different context.
This newfound focus on texture pays off in spades. Regardless of what the band's detractors might say, ambition suits Panic at the Disco wonderfully. Pretty. Odd. maintains the pop sensibilities of Panic's mediocre debut but reframes them in lush orchestral flourishes and ornate production techniques. The group's songwriting may have improved only marginally – brilliant songs such as "She's a Handsome Woman" and "When the Day Met the Night" excluded – but their songs sound much better framed with trumpets and violins than the flavor-of-the-moment synthesizers that characterized A Fever You Can't Sweat Out. If nothing else, Pretty. Odd. is worth listening to for its exorbitant production – this album must have cost Pete Wentz's label a fortune to make.
Panic at the Disco - "Nine in the Afternoon"
There are problems, to be sure. Frontman Brendon Urie's emo yelp doesn't quite gel with the band's new sound – although back-up singer Ryan Ross sounds great when he takes center stage in album highlight "Behind the Sea." Pretty. Odd. also suffers from a lack of songwriting variety toward its tail-end, in spite of quirky interludes such as "I Have Friends in Holy Spaces" and "Folkin' Around." However, the whole of Pretty. Odd. congeals into an album that is mischievous, clever and (most importantly) lots of fun.
Although Panic is far from reaching the same heights The Beatles once scaled, they have released a follow-up album good enough to match their immense popularity. Sure, music fans might be better off dusting off Sgt. Pepper's instead of purchasing Pretty. Odd., but Panic's latest far outpaces the superficial glitz of their debut and indicates that these Vegas post-teens might actually have something worthwhile to share with us.
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/apr/03/dont-panic-pretty-odd-exceeds-expectations/
Apparently, Vegas quartet Panic at the Disco (observe the freshly removed exclamation point!) are fans of Sgt. Pepper's as well – so much so that they've modeled their latest album, Pretty. Odd., after it to a tee. They've got the same thick atmospherics, gobs of back up instrumentation from horns and strings and even the same sort of faux-live album introduction. The resemblance between the two albums is uncanny.
This is hardly a surprise, of course – My Chemical Romance aped Queen for Welcome to the Black Parade, and The Killers borrowed the songs on Sam's Town from the Big Book of Bruce Springsteen. At this rate, it was only so long before the Fab Four became the next target for an super-popular pop-punk outfit. What sets Panic at the Disco apart, however, is that their album is actually quite good.
Repeated listens reveal the band's similarity to The Beatles is, for the most part, superficial. Panic doesn't have the ability to write pop songs the way The Beatles did, and in all likelihood, they never will. While the group borrows heavily from the psychedelic atmosphere of Sgt. Pepper's, they are still writing the same variety of unabashed pop-punk music they always have – if only in a markedly different context.
This newfound focus on texture pays off in spades. Regardless of what the band's detractors might say, ambition suits Panic at the Disco wonderfully. Pretty. Odd. maintains the pop sensibilities of Panic's mediocre debut but reframes them in lush orchestral flourishes and ornate production techniques. The group's songwriting may have improved only marginally – brilliant songs such as "She's a Handsome Woman" and "When the Day Met the Night" excluded – but their songs sound much better framed with trumpets and violins than the flavor-of-the-moment synthesizers that characterized A Fever You Can't Sweat Out. If nothing else, Pretty. Odd. is worth listening to for its exorbitant production – this album must have cost Pete Wentz's label a fortune to make.
Panic at the Disco - "Nine in the Afternoon"
There are problems, to be sure. Frontman Brendon Urie's emo yelp doesn't quite gel with the band's new sound – although back-up singer Ryan Ross sounds great when he takes center stage in album highlight "Behind the Sea." Pretty. Odd. also suffers from a lack of songwriting variety toward its tail-end, in spite of quirky interludes such as "I Have Friends in Holy Spaces" and "Folkin' Around." However, the whole of Pretty. Odd. congeals into an album that is mischievous, clever and (most importantly) lots of fun.
Although Panic is far from reaching the same heights The Beatles once scaled, they have released a follow-up album good enough to match their immense popularity. Sure, music fans might be better off dusting off Sgt. Pepper's instead of purchasing Pretty. Odd., but Panic's latest far outpaces the superficial glitz of their debut and indicates that these Vegas post-teens might actually have something worthwhile to share with us.
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/apr/03/dont-panic-pretty-odd-exceeds-expectations/
Radiohead ask fans to remix "Nude".
The Starbucks nearest you may have been selling copies of In Rainbows since early January, but that doesn't mean that Radiohead is done promoting their new album just yet. Way across the pond in England, Radiohead has just released the woozy "Nude" as their second single. To commemorate the event, the band is hosting a remix contest that's open to everybody – including you! All you need to do is (1) buy the raw tracks from iTunes, (2) do a bit of mixing and matching on your own and (3) upload the results to radioheadremix.com. The best remix will be determined by an online vote.
Radiohead - "Nude"
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/apr/03/pulse/
Radiohead - "Nude"
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/apr/03/pulse/
20 March 2008
Television - Marquee Moon
Resting somewhere between classic rock and new wave, Television's 1977 debut Marquee Moon played a crucial part in shaping the sound of the still-nascent post-punk movement. At the time of its release, Joy Division was in the midst of cleaning up their sound somewhere in Manchester, and the convention-challenging act Sex Pistols would not release Never Mind the Bollocks for almost another year. Television was one of the first – and most important – punk acts of the 1970s, having formed at the scene's very inception.
Even if Television is widely identified as a punk band, however, they didn't really fit the ethic. In contrast to the dogmatic amateurism of colleagues such as the Ramones or Sex Pistols, Television flaunted their technical chops with virtuoso guitar lines and intricate songwriting. Throughout each of Marquee Moon's eight tracks, frontman Tom Verlaine's guitar sets the song's groundwork with spacey and highly impressionistic guitar work, while his counterpart Richard Lloyd pounds out immaculate, superhumanly precise solos. As a team, these dueling guitarists brought out the best in one another and created music that was revolutionary in its day and still sounds fresh to modern ears.
So forget the historical context of Marquee Moon – what really makes this album a stone-cold classic is the timeless guitar work. Simply put, Marquee Moon is a collection of the eight greatest Guitar Hero songs that have yet to be licensed by RedOctane (excluding "Stairway to Heaven"). The fantastic interplay between Verlaine and Lloyd simply cannot be understated, nor can the fist-pounding awesomeness of their music. Just listen to full-on rave-ups such as "See No Evil" or "Friction" for evidence – it's nigh impossible to chart the ebb and flow of the guitar work on these songs. This complexity serves to enhance the songs' driving force rather than obfuscating it.
Television - "See No Evil"; live (???)
The effect of these guitars is greatly complemented by the album's production, which is crisp, simple and unfettered. Marquee Moon is an album of economy and precision, bursting with guitar hooks that are complex but rarely indulgent. Bassist Fred Smith and drummer Billy Ficca deserve a lot of credit as well – while guitar work is clearly the cornerstone of Television's sound, these two musicians provide perfect accents to the guitar lines with simple, effective bass flares and supple drum fills. Verlaine's elliptical songwriting also fits perfectly with Television's intricate guitar work. His impressionistic, pseudo-poetic lyrics and nasally vocals may irritate some listeners, but they are refreshing elements of humanity and imperfection in an album that is otherwise immaculate and precise.
Perhaps Marquee Moon doesn't sound quite as original as it might have in 1977. Up-and-coming post-punk revivalists continue to rip off Television's double-guitar attack, and as a movement, punk has somehow devolved into thinly concealed boy bands like Fall Out Boy and Panic! at the Disco. After a little over 30 years, however, Marquee Moon still sounds bold and fresh. Television wrote music that doesn't need context or history to appreciate. They simply wrote great songs with some of the greatest guitar work of all time to complement it. Or perhaps cultural relevance is important. All the album needs now is an endorsement in the next Guitar Hero.
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/mar/20/television-remains-timeless/
Even if Television is widely identified as a punk band, however, they didn't really fit the ethic. In contrast to the dogmatic amateurism of colleagues such as the Ramones or Sex Pistols, Television flaunted their technical chops with virtuoso guitar lines and intricate songwriting. Throughout each of Marquee Moon's eight tracks, frontman Tom Verlaine's guitar sets the song's groundwork with spacey and highly impressionistic guitar work, while his counterpart Richard Lloyd pounds out immaculate, superhumanly precise solos. As a team, these dueling guitarists brought out the best in one another and created music that was revolutionary in its day and still sounds fresh to modern ears.
So forget the historical context of Marquee Moon – what really makes this album a stone-cold classic is the timeless guitar work. Simply put, Marquee Moon is a collection of the eight greatest Guitar Hero songs that have yet to be licensed by RedOctane (excluding "Stairway to Heaven"). The fantastic interplay between Verlaine and Lloyd simply cannot be understated, nor can the fist-pounding awesomeness of their music. Just listen to full-on rave-ups such as "See No Evil" or "Friction" for evidence – it's nigh impossible to chart the ebb and flow of the guitar work on these songs. This complexity serves to enhance the songs' driving force rather than obfuscating it.
Television - "See No Evil"; live (???)
The effect of these guitars is greatly complemented by the album's production, which is crisp, simple and unfettered. Marquee Moon is an album of economy and precision, bursting with guitar hooks that are complex but rarely indulgent. Bassist Fred Smith and drummer Billy Ficca deserve a lot of credit as well – while guitar work is clearly the cornerstone of Television's sound, these two musicians provide perfect accents to the guitar lines with simple, effective bass flares and supple drum fills. Verlaine's elliptical songwriting also fits perfectly with Television's intricate guitar work. His impressionistic, pseudo-poetic lyrics and nasally vocals may irritate some listeners, but they are refreshing elements of humanity and imperfection in an album that is otherwise immaculate and precise.
Perhaps Marquee Moon doesn't sound quite as original as it might have in 1977. Up-and-coming post-punk revivalists continue to rip off Television's double-guitar attack, and as a movement, punk has somehow devolved into thinly concealed boy bands like Fall Out Boy and Panic! at the Disco. After a little over 30 years, however, Marquee Moon still sounds bold and fresh. Television wrote music that doesn't need context or history to appreciate. They simply wrote great songs with some of the greatest guitar work of all time to complement it. Or perhaps cultural relevance is important. All the album needs now is an endorsement in the next Guitar Hero.
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/mar/20/television-remains-timeless/
13 March 2008
Nine Inch Nails release Ghosts online.
Following in the footsteps of Radiohead's In Rainbows and Saul Williams' Niggy Tardust (which was, in fact, produced by Trent Reznor), the latest Nine Inch Nails release is currently available in its entirety online. Dubbed Ghosts I-IV, the album consists of several ambient movements that were composed over a period of 10 weeks last autumn. The first movement of the album can be downloaded for free, the next three movements can be downloaded in high-quality audio for $5. The disc is expected to see a physical release sometime in April.
Nine Inch Nails - "Head Like a Hole": (from Pretty Hate Machine; 1989)
http://www.youtube.com/watch?v=CTs5SoOteQQ
Originally published for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/mar/13/the-pulse/
Nine Inch Nails - "Head Like a Hole": (from Pretty Hate Machine; 1989)
http://www.youtube.com/watch?v=CTs5SoOteQQ
Originally published for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/mar/13/the-pulse/
21 February 2008
Klaxons cover Rihanna for the BRIT awards.
These days, it seems that everybody wants to offer their interpretation of Rihanna's massive single "Umbrella" – Mandy Moore, Chris Brown and now the British indie outfit Klaxons. However, the Klaxons had the special honor of covering the song with Rihanna herself last night at the annual BRIT Awards. Their interpretation was well-received, the Klaxons offering a more electronic, guitar-heavy backing for Rihanna's pop inflections. Both were nominated for awards – Rihanna as best international act, and the Klaxons as best breakthrough act. Despite their awesome performance, neither one of the artists ended up taking home an award.
Klaxons & Rihanna perform at the Brit Awards; 2/20/08
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/feb/21/the-pulse26004/
Klaxons & Rihanna perform at the Brit Awards; 2/20/08
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/feb/21/the-pulse26004/
Murder by Death - Fuego! [EP]
Murder by Death is not a band known to shy away from ambitious concept records. For their sophomore album, Who Will Survive and What Will Be Left of Them?, the group composed an intricate song cycle based on a story involving the devil, Mexico and oil. Equally ambitious follow-up In Bocca al Lupo consisted of songs detailing various characters struggling through each level of Dante's version of hell. These hyper-literate stylings, backed by saloon-rock and cello swells, have earned the band a passionate (if relatively small) number of followers.
Although the band recently signed a new record deal with Vagrant Records, it seems their old habits have remained intact. Their forthcoming album, Red of Tooth and Claw, sounds every bit as elaborate as their past efforts. Frontman Adam Turla described the new record as "Homer's odyssey of revenge, only without the honorable character at the center." Fuego!, a three-song EP, is meant to whet our appetites for the band's forthcoming full-length.
The Fuego! EP starts off strong with its title track. Here, Turla dusts off his best Johnny Cash croon for a song of gin, flames, bones and lust. It's a bit disorienting to hear Turla proclaim licentious phrases such as "I want you!" as he imitates Cash's voice, but ultimately, the song works. Jangly guitars, muscular percussion and a subtly danceable bass line coalesce into a classic Murder by Death piece. Although the energetic cut doesn't quite live up to the band's best moments, such as the hair-raising emotional climax of Who Will Survive's "Killbot 2000", it's a great song in its own right.
Murder by Death perform "Fuego!" in Washington DC; 4/10/08
Following "Fuego!" is a live cover of Cher's 1966 hit single "Bang Bang (My Baby Shot Me Down)." Here, Turla drops the Cash façade for vocal stylings more in line with Jeff Buckley. Clocking in at 2.5 minutes, Murder by Death offers a bare, uninteresting interpretation of the track. For the most part, the song consists of vocals and a few light strums on Turla's electric guitar. Ultimately, the song is a pleasant-sounding yet forgettable interlude, segueing nicely into the EP's final track.
Fuego!'s three tracks are capped off by "Theme (for Ennio Morricone)," a shout-out to the composer of such legendary spaghetti Western film soundtracks as The Good, the Bad and the Ugly. The track is an attempt to re-capture Morricone's epic musical statements, using full-time cellist Sarah Balliet to the band's fullest advantage. Balliet's gorgeous string balladry is easily the strongest part of the song, passionately played to achieve an acute sense of drama. Unfortunately, producer Trina Shoemaker (Queens of the Stone Age, Iggy Pop) leaves Balliet's strings low in the final mix, crippling a song that should have been cathartic and soaring. You can almost feel the band straining towards an epic climax the strings suggest, but instead of achieving the catharsis it promises, "Theme" meanders aimlessly for its 4-minute run-time.
And then it's over. Even though Fuego! is meant to get fans excited for Murder by Death's upcoming album, it leaves little more than an ambivalent aftertaste. To be fair, all of these songs are very solid. At the end of the day, however, they're more ordinary than outstanding. Hopefully the band is holding a few tricks up its sleeve for Red of Tooth and Claw. If not, there isn't much to get excited about.
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/feb/21/fuego-fizzles-and-fades/
Although the band recently signed a new record deal with Vagrant Records, it seems their old habits have remained intact. Their forthcoming album, Red of Tooth and Claw, sounds every bit as elaborate as their past efforts. Frontman Adam Turla described the new record as "Homer's odyssey of revenge, only without the honorable character at the center." Fuego!, a three-song EP, is meant to whet our appetites for the band's forthcoming full-length.
The Fuego! EP starts off strong with its title track. Here, Turla dusts off his best Johnny Cash croon for a song of gin, flames, bones and lust. It's a bit disorienting to hear Turla proclaim licentious phrases such as "I want you!" as he imitates Cash's voice, but ultimately, the song works. Jangly guitars, muscular percussion and a subtly danceable bass line coalesce into a classic Murder by Death piece. Although the energetic cut doesn't quite live up to the band's best moments, such as the hair-raising emotional climax of Who Will Survive's "Killbot 2000", it's a great song in its own right.
Murder by Death perform "Fuego!" in Washington DC; 4/10/08
Following "Fuego!" is a live cover of Cher's 1966 hit single "Bang Bang (My Baby Shot Me Down)." Here, Turla drops the Cash façade for vocal stylings more in line with Jeff Buckley. Clocking in at 2.5 minutes, Murder by Death offers a bare, uninteresting interpretation of the track. For the most part, the song consists of vocals and a few light strums on Turla's electric guitar. Ultimately, the song is a pleasant-sounding yet forgettable interlude, segueing nicely into the EP's final track.
Fuego!'s three tracks are capped off by "Theme (for Ennio Morricone)," a shout-out to the composer of such legendary spaghetti Western film soundtracks as The Good, the Bad and the Ugly. The track is an attempt to re-capture Morricone's epic musical statements, using full-time cellist Sarah Balliet to the band's fullest advantage. Balliet's gorgeous string balladry is easily the strongest part of the song, passionately played to achieve an acute sense of drama. Unfortunately, producer Trina Shoemaker (Queens of the Stone Age, Iggy Pop) leaves Balliet's strings low in the final mix, crippling a song that should have been cathartic and soaring. You can almost feel the band straining towards an epic climax the strings suggest, but instead of achieving the catharsis it promises, "Theme" meanders aimlessly for its 4-minute run-time.
And then it's over. Even though Fuego! is meant to get fans excited for Murder by Death's upcoming album, it leaves little more than an ambivalent aftertaste. To be fair, all of these songs are very solid. At the end of the day, however, they're more ordinary than outstanding. Hopefully the band is holding a few tricks up its sleeve for Red of Tooth and Claw. If not, there isn't much to get excited about.
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/feb/21/fuego-fizzles-and-fades/
07 February 2008
White Stripes sued for uncleared sample.
Blues-rock outfit The White Stripes came under fire this week for an uncleared sample on their album De Stijl, which came out a little more than eight years ago. The track in question ("Jumble, Jumble") contains a 10-second excerpt from Quebec radio host Dominique Payette's show. Payette is currently suing for $70,000 and demanding that De Stijl be immediately removed from stores. Her argument? The use of the recording is a violation of her privacy. It remains to be seen how this case will be settled, but hopefully the courts will flesh out how exactly the re-proportioning of a public broadcast compromises one's privacy.
The Whites Stripes - "Jumble, Jumble" (from De Stijl; 2000)
http://www.youtube.com/watch?v=Cfu5DdH-I-A
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/feb/07/the-pulse25812/
The Whites Stripes - "Jumble, Jumble" (from De Stijl; 2000)
http://www.youtube.com/watch?v=Cfu5DdH-I-A
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/feb/07/the-pulse25812/
DRM & the music industry.
It's no secret that the digital age is redefining the value of music and challenging traditional distribution models. In a world where songs can be purchased either on an $18 CD or downloaded for free from a P2P client, consumers are increasingly turning to illegal file-sharing. Many digital music vendors have tried to combat the convenience of P2P by setting up online music stores, but because of restrictive copyright contracts, these files have generally been crippled by DRM.
DRM, or digital rights management, is a technology that allows vendors to limit access rights to digital music. Not surprisingly, it's an extraordinarily controversial technology. On one hand, music labels say DRM curbs file-sharing and prevents unauthorized distribution. On the other, consumers argue that DRM unfairly restricts their ability to use the product they have purchased – it often prevents users from uploading to portable devices or sharing a new song with a friend.
However, the tides may be turning in the favor of these consumers – DRM appears to be on its way out. In the first week of January, major online music vendor Napster announced that it had convinced all four major labels (Universal, Sony, Warner and BMI) to allow protection-free MP3 downloads. Previously, the company had offered DRM-protected Windows Media files, which couldn't be played on other computers or uploaded to iPods.
Napster is just one of many companies that have made the leap to the MP3 format. iTunes recently launched a service that allows users to buy higher-quality MP3 files for a little extra cash. Online retail giant Amazon.com also struck a deal with major labels recently allowing for MP3 distribution. Even Wal-Mart has gotten in on the action – the mega-corporation now sells protection-free songs for as low as 80 cents from its Web site.
The idea is hardly a revolutionary one. In fact, these companies are lagging far behind online services such as eMusic, which has offered protection-free MP3 downloads since the late '90s. However, this marks the first time that major labels have willingly allowed royalty-free downloads. Major labels currently control about 80 percent of the American music market and own the rights to virtually all popular music. Thus, these deals mark a serious development in online music.
It is not yet clear how Napster is going to handle a pricing model for these MP3s, or whether its venture will end up turning a profit. It also remains to be seen whether iTunes, Amazon.com or eMusic will be able to make much money as MP3 vendors. Even with the answers to these questions in the air, however, it's refreshing to see these companies at the forefront of another baby step from slow-to-adapt major labels.
In fact, other promising developments are cropping up throughout the Internet. Most recently, social networking site Last.fm has convinced major labels to allow the streaming of an entire song on demand. Previously, Last.fm users could only preview 30-second snippets of any given song. Though CD prices have yet to fall to a reasonable level and major labels have yet to take advantage of P2P's communal muscle, it appears that the record industry is finally lumbering in the right direction.
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/feb/07/time-to-free-the-music/
DRM, or digital rights management, is a technology that allows vendors to limit access rights to digital music. Not surprisingly, it's an extraordinarily controversial technology. On one hand, music labels say DRM curbs file-sharing and prevents unauthorized distribution. On the other, consumers argue that DRM unfairly restricts their ability to use the product they have purchased – it often prevents users from uploading to portable devices or sharing a new song with a friend.
However, the tides may be turning in the favor of these consumers – DRM appears to be on its way out. In the first week of January, major online music vendor Napster announced that it had convinced all four major labels (Universal, Sony, Warner and BMI) to allow protection-free MP3 downloads. Previously, the company had offered DRM-protected Windows Media files, which couldn't be played on other computers or uploaded to iPods.
Napster is just one of many companies that have made the leap to the MP3 format. iTunes recently launched a service that allows users to buy higher-quality MP3 files for a little extra cash. Online retail giant Amazon.com also struck a deal with major labels recently allowing for MP3 distribution. Even Wal-Mart has gotten in on the action – the mega-corporation now sells protection-free songs for as low as 80 cents from its Web site.
The idea is hardly a revolutionary one. In fact, these companies are lagging far behind online services such as eMusic, which has offered protection-free MP3 downloads since the late '90s. However, this marks the first time that major labels have willingly allowed royalty-free downloads. Major labels currently control about 80 percent of the American music market and own the rights to virtually all popular music. Thus, these deals mark a serious development in online music.
It is not yet clear how Napster is going to handle a pricing model for these MP3s, or whether its venture will end up turning a profit. It also remains to be seen whether iTunes, Amazon.com or eMusic will be able to make much money as MP3 vendors. Even with the answers to these questions in the air, however, it's refreshing to see these companies at the forefront of another baby step from slow-to-adapt major labels.
In fact, other promising developments are cropping up throughout the Internet. Most recently, social networking site Last.fm has convinced major labels to allow the streaming of an entire song on demand. Previously, Last.fm users could only preview 30-second snippets of any given song. Though CD prices have yet to fall to a reasonable level and major labels have yet to take advantage of P2P's communal muscle, it appears that the record industry is finally lumbering in the right direction.
Originally written for the Cavalier Daily:
http://www.cavalierdaily.com/news/2008/feb/07/time-to-free-the-music/
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