worthy<-MUSIC

Midlake: The Trials of Van Occupanther

Ok, I am coming out of semi-retirement (at least in the music-blogging world!) to write about what I think is one of the best albums of my lifetime.  Yes, I said it.  Neutral Milk Hotel, Arcade Fire, Midlake.  And I mean it.  Seriously. 

I listen to a LOT of new music.  It is like a drug to me.  I do whatever it takes to listen to new music and have spent WAY too much of my lifetime money on getting my addicted paws on it.  That's why a service like Rhapsody was like hooking up an intrevenious drug.  And, just like a crackhead, I get very frustrated and annoyed when the latest and greatest doesn't hit Rhapsody in a timely manner.  Granted, these days that doesn't happen as often as it used to. But, in this case, the Rhapsody listeners are experiencing a GREAT misservice by not being permitted to listen to this one.  I, of course, have no idea who to fault here, the record companies or Rhapsody (although, if I had my guess I'd pin it on the record comany, for sure).

But, whatever the case, I am telling you here and now to do whatever it takes to get your grubby little paws on this one.  Sure, I have no idea what your tastes are, but if you are reading this site and already consider me someone to be trusted musically, then stop what you are doing and immediately head to your nearest CD store and buy this one.  Hell, buy 10 copies of it and give it to all your friends.  I mean, crap, I'm even telling you to go out to damn iTunes and buy the sucker even though I hate everything Mr. Jobs is professing these days (although, he's a damn rich dude, so what do I know?).  Listen to this album no matter what it takes.

I bought this one as an import about a month and a half ago and I have not been able to make myself listen to anything else, which is a HUGE deal for me.  I think I must have listened to this one at LEAST 100 times so far, nearly consecutively, with my Tuesdays taking a little bit of my time listening to the new releases but Midlake winning in the end.  It has been a loooooooong time since an album has taken this much of my attention.

So, why?  Well, let me first tell you that I am not an avid fan of any of the music to which every other review of this album has referred.  Early Fleetwood Mac?  I was still in the womb!  Alan Parsons Project?  "Eye In the Sky" would come crashing to the ground compared to this. 

First and foremost, this album is 100% flawless in execution.  For a small-time band from Austin to pull off this kind of recording this early in their career is nothing short of miraculous.  Secondly, their musicality is unmatched today.  From songwriting, to harmonies, to the secondary melodies, this group truly has a gift.  From song to song, I continually find myself unable to push the stop or skip buttons.  Each one is entrancing and each one has a life of it's own.

It is difficult these days to make an album that shows any sort of influence on its sleeves.  Most of the time, you would be discounted as simply a poor replica of the original. But, for the first time as long as I can remember, here we have a group who not only pulls in some fantastic music from the past as their reference point, but they surpass it in sheer songwriting and execution.

I am not yet sure when I will finally stop listening to this one repeatedly.  But, I can tell you that I am about to head up to bed.  And every night when I go to sleep it is with my headphones on....

Tonight I just wonder which song I will finally doze off to... will be sad that I didn't hear the whole thing again.

My Favorite So Far This Year

Gulag Orkestar
Beirut
Play

Absolutely loving this new disc by Beirut.  While I don't put it on the same level as The Aeroplane Over the Sea (one of my favorites of all time), it does exhibit many of the same qualities that define my love for that album.  The vintage quality, the reckless instrumentation, the outpouring of intimate emotion.  I am especially taken on this one by their command of melody, and "Postcards from Italy" absolutely breaks my heart halfway through when the trumpets make the 1st statement of the 2nd melody in the song.  So incredibly beautiful.  Swoon...

So I am also trying out the new Rhaplink above.  I know it doesn't offer all the links to all the music services, but it sure does make things easier for me.  Plus, now that Rhapsody is making it so easy for folks to listen to music even if they don't have Rhapsody accounts.  Brilliant.  And the sound quality on Rhapsody continues to outshine all of the other services.  Sure, Napster just went to a free model, but their streaming sound quality is just unbearable.

DRM still annoys the crap out of me and I have been enjoying eMusic to supplement my collection lately.  Its nice to have MP3s that will ALWAYS play in my portable player no matter what.... so I'm never left completely out in the cold.  Currently, I'm using WMP11 to sync all my music to my plater, even the Rhapsody tracks as last week I started having problems getting Rhapsody to sync correctly again.  Oh well.  Whatever it takes.

Aloha, Aloha

Some Echoes
Aloha
Play

Wow, three posts in a day!  Don't expect this kind of production on a regular basis!  Just testing a few things around here... Plus, there are a bunch of albums I've been into lately.

This one just came out today.  I've been looking forward to it for a while now as I really enjoyed their last release (which finished in the 18th spot on my Most Worthy 2004 list).  What we find on this release is more creative, hard-to-pin-down indie pop that is full of texture.  Funky rhythms and varied instrumentation give their sound a freshness that I really enjoy.  Plus, they write fantastic songs that keep me coming back for more.  Enjoy!

Groundbreaking to be Great?

Band of Horses - Everything All The Time
This one is definitely near or at the top of my list so far this year. Yeah, I know everyone has been saying that this one is not ground-breaking and sounds like Neil Young, etc, etc, etc. But, the fact of the matter is that this is great music and some fantastic songs. Sure, on my first listen I wondered if I was going to be able to handle the consistent heavy vocal reverb (a la My Morning Jacket), but that slowly faded out of my mind while the songs creeped their way in. I am especially in love with the song "The Funeral" and love having it cranked up in the headphones on a peaceful night. Enjoy!

Seats in This Genre's Theater Getting Full, But Room For This One

Tapes 'n Tapes - The Loon
There's been plenty written about this band so hopefully you've already listened to it. If not, give it a try. It fits in nicely next to Arcade Fire, Wolf Parade, CYHSY, etc. I love their use of textures and the way they somehow eek out a catchiness beneath all the chaos.

I Think They Like American Football

Muse - Origin of Symmetry
Kick Ass! This album, released internationally way back in 2001, has not been available in the US until this week. But, luckily for me, 2001 was back in my file sharing days and I got a hold of this one pretty much right after it came out. Anyway, with all the success of their last album, Absolution, this fantastic album has now crossed the pond and can be had legally. Good thing for us, too, as I personally think it is their best work to date.

I first fell in love with this band upon the release of their debut, Showbiz, in 1999. Their command of the soft/loud/soft thing was so intense and their incredible wall of sound was just so penetrating. But, they totally upped the ante with Origin Of Symmetry. "Bliss" remains one of my favorite Muse tunes and hell, one of my favorite Brit tunes ever. And "Hyper Music" is just so intense. Matt Bellamy's screaming in "Micro Cuts" reaches new heights and throughout the entire album he proves he is has the biggest, broadest voice and range in the UK, surpassing all other "falsettists" in the genre.

So, happy to have this in Rhapsody and happy the US gets to hear this one. But, then again, based on the number of people singing along to these songs at the Muse show here in Raleigh earlier this year, I'm guessing that most fans have already heard it... you naughty people you. Enjoy!

Thanks...

Sigur Ros - Takk...
Completely enjoying the new one from Icelanders Sigur Ros. I read somewhere that apparently much of this album is in their native Icelandic rather than their usual fabricated Hopelandic. Now I, in all my worldliness, can't tell the difference at all. But, I will say that this album is a definite step forward musically for the band. Sure, many critics will tell you that it is very similar to their previous recordings, but I think that's because it still sounds distinctly Sigur Ros. But, then again, who else is singing in weird high pitched voices with beautiful sweeping orchestrations?

This album has a distinctly more upbeat feel to me. I mean, shoot, there's even a short bit of an oompah band feel at the end of "Sé Lest." And in the 2nd track, "Glósóli" rises to new levels of intensity and beauty as the pulsating drums and heavily distorted guitars take over from the piano and tinkering bells. The first single, "Sæglópur" is simply gorgeous and possesses a level of grandeur unmatched in popular music today. Probably my favorite Sigur Ros piece to date.

If I may take the liberty of quoting reviewer "Vintage Eyes" who posted his thoughts on Amazon.com, "If () was music for a funeral, then Takk... must be what it's like when one reaches heaven." Well said. Enjoy!

Still Alive and Kicking

Shiny Toy Guns - We Are Pilots
Wow, how's that for a break? Been so busy with work, life, my other website, singing, and so many other things, that this website has taken some blows. And, to be perfectly honest, I got really sick of scrounging for new music in August... what a crappy summer of music! Oh, and you also have to add in the shattering of the screen of my iRiver H10 and I was really not listening to too much music for a bit. Of course, in my opinion, the screen should NOT have shattered so easily but iRiver has a completely different opinion so they are not willing to replace it via the warranty. Makes me nauseous to think about it... so I won't!

While the selections weren't plentiful, I did manage to find several great albums while I was away. I will just be posting them quickly here to get all caught up over the next week or so (hopefully). I won't comment too heavily on them as I just can't turn this thing back into a major work effort right now. Hope that's OK.

Ok, first up is the Shiny Toy Guns. Last I read these folks, from LA, are still unsigned but that won't last for long. While we have been immersed in the "New New Wave" movement harkening back to the best of the 80s, this band pulls it off better than any to date. Fire up this album and you'll be transported back to the blissful days of your youth (if you're my age). Go ahead and draw the blinds, close the door, turn it up and dance like no one is watching... just like you used to. Enjoy!

Dearly Missed Until Now

The Dears - No Cities Left
Before I talk about this album, I'll apologize again for not posting much again this week.  Work is still kicking my butt and my free time this week has been dedicated to getting another site off the ground.  Quite a bit less universal, a friend of mine and I are starting up a Raleigh-focused blog...  Which means that once again I am delving into an overpopulated arena to try to make my little bitty splash...  We're starting it because we both love to stay up on the goings on in our beloved city and we spend hours discussing.  So, much like I have done with this site here, we have decided to take these thoughts and conversations public.  If you're interested, check it out:

http://www.raleighing.com

And if you live in Raleigh or know anyone who does, please pass the word along!

Ok back to the music. I've had this one in my CD collection for a while now, but it looks like it finally made it into Rhapsody.  Not sure how long it has been out there but after noticing that Michael Penn's new one was out there and on SpinART too, I decided to check yet again for the Dears.  Well, lo and behold Rhapsody finally comes through.  Not sure what the hold up was getting SpinART onto Rhapsody as they have been on iTunes for quite some time.  Such is the mystery of online music...

So I am sure many of you have heard the Dears' single off this album.  You were probably like me saying, "Huh, this is a pretty cool Morrissey tune... a little more rockin' than he usually is..."  And then as the song progressed, I'm sure your thoughts were in line with mine, "This is a REALLY cool Morrissey tune... I'm digging the whole change midway through... nice groove."  And then as we get towards the end of the song, you had to have been thinking the same as me, "Holy CRAP, who knew Morrissey had it in him?  He's freaking screaming!  Who knew he actually had an emotion besides melancholy?"

Well, it wasn't Morrissey at all, but rather Murray Lightburn, lead singer for the Montreal band The Dears.  While none of the rest of the tracks on No Cities Left quite reach the heights or intensity of that first single, "Lost in the Plot," it is a strong album nonetheless.  It has been a fairly regular part of my rotation since I finally gave in and bought the CD a while back.  It is heavily influenced by Britpop of old, but luckily also has occasional flourishes that pull it front and center into your brain.  My only complaint is that it is long and sometimes difficult to wade all the way through.  But, if you can make it, I'm sure you'll agree that it was worth it.  Enjoy!

Rhapsodywhacking Anyone?

Richard Buckner & Jon Langford - Sir Dark Invader vs. The Fanglord
As all of my regular readers know, I usually include links to at least Rhapsody, iTunes and Amazon.  If available and I am not posting from somewhere remotely, I will also post Yahoo Music and MSN Music links.  As all you also know, I am only a Rhapsody subscriber, so I don't personally use the other links... I just provide them in order to try to be more universal.  Well, in the process I seem to have developed my own little game.  You see, since the world is still unfortunately under the spell of Mr. Jobs and his pretty little Apple, iTunes is still leading the digital music world  (Although, perhaps I have Mr. Jobs to thank for my new white shoes?  Which came first, the iPod or white-back-in-style?  Interesting, eh?).  Makes absolutely no sense to me.  I personally cannot afford to spend $10,000 to fill a 20GB player, but what do I know?  So, it is very rare that I find an album that is available in Rhapsody but not on any of the other services.  It's kinda like that Googlewhacking thing that was big a couple of years ago which involved finding search words that would produce only one result in Google.

So as you can probably guess by this post (and the absence of any icons besides Rhapsody and Amazon above... did I mention that Amazon doesn't count in my little game?), this album is currently a "Rhapsodywhack."  Woohoo, score one for Mr. Glaser!  I was very surprised to find this little gem at all, and very happy it was Rhapsody who got it first.  Richard Buckner is one of my all time favorite artists.  I was first won over by his debut, Bloomed, back when it was released in 1994, and would definitely put his sophomore release, Devotion + Doubt, among my favorite albums of all time.  Now, I haven't just blindly loved everything Richard has attempted, but I have maintained an appreciation for his desire to explore and challenge himself.  While last year's move to Merge Records was a welcome surprise, I was less than excited by his first release on that label, Dents and Shells.  I think I need to listen to it some more when I am in the right mood, but it has been sitting in my CD rack collecting dust for 10 months or so.

But this collaboration here with Jon Langford of the Mekons is a welcome jolt of newness.  Recorded back in 2002 in Sally Timm's (formerly of the Mekons, too) apartment, this pairing is unlikely yet produces exciting results.  While the addition of Jon's vocals to the product does nothing for me, his influence on the drive and edge of the music plays very well against Richard's smoky, well-worn voice and acoustic guitar.  The title of the album suggests a fight between the two men and their backgrounds, but I think what happens here is a fusing of two styles in a way that only two true artists could manage.  There are definitely times when you can easily distinguish the elements of the two styles running side by side through the song, but it always works.  Not a very long album (31 minutes), it is a great listen that keeps you wanting more.

Anyone else have any unexpected Rhapsodywhacks?  Or am I the only insane one who searches through multiple sources?  Yeah, that's what I thought...  It's usually the case.

Oh My...

Rick Springfield - The Day After Yesterday
Look, everyone! Rick Springfield bought a karaoke machine!

I'm In Math Club

Pitty Sing - Pitty Sing
So I first listened to this one back at the end of January in a record store right after it was released.  I was down in Charleston, SC for the Keane show and my friend and I were just wasting some time in a shop on King St.  This one had been on my listening list for a few weeks since the DJ on XM Radio's XMU station had gone on and on and on about this new band in her year end countdown.  So, expectations were somewhat high.

I sat at a listening station and listened to just about the whole thing.  Song after song I found myself saying, "Eh."  I mean, nothing really bowled me over.  It was listenable, but immediately derivative.  My friend immediately placed the major influence here:  Simple Minds.  Almost uncanny in their resemblance.  I have since read an article in which the band claimed not to have ever heard Simple Minds until someone pointed out the similarity... but once you hear this album you'll probably have as hard a time believing that as I do.  I mean sure, lead singer Paul Holmes was about 1 when The Breakfast Club came out, but this band is so 80's you'll think you've traveled back in time.

So, I didn't buy the album that day and for the most part had just filed them away in the list of bands that just didn't do it for me.  But, I was perusing the new additions to Rhapsody last week and I noticed that this album had finally been added.  So I downloaded it, loaded it on my player, and set about giving this band another chance.  I mean, why not?  Doesn't cost me any extra.  That's the beauty of the "to go" model that I am now addicted to.  Anyway, perhaps I am just in a more nostalgic mood these days, or perhaps I am just a bit more warmed up to the whole New New Wave bit that so many bands are pushing these days, but I am enjoying this one now.  Sure, it still could be a disc released 20 years ago, but it is damn entertaining.  No, it won't top my best of list for 2005 (although I might put it on my best of 1985 list) and maybe not even in my top 30 (or whatever number I choose this year).  But, it has garnered mutiple spins from me and I can imagine coming back to it when I am looking for something fun.  And hey, 80's is cool.  I even saw a Members Only jacket in the store the other day.  Too bad I don't still have my burgundy one.  I'd be retro cool.  Enjoy!

Knockout in the 3rd Round? Quite Possible...

Bloc Party - Silent Alarm
So, this album has been out for quite a while now, but is unfortunately still only available on Rhapsody via streaming (i.e. no "to go" allowed). I've been listening to it off and on since it came out and really enjoying it... But, just recently someone was gracious enough to give me a pack of free downloads on Rhapsody so I took the opportunity to buy this album, thus allowing me to download it and take it with my on my iRiver player.

I've now been listening to this one with headphones and in my car for the past couple of days now... and I at this point I'm beginning to wonder if another album will come along this year and overtake the top spot on my Most Worthy 2005 list... or if I should just go head and cement this one in that slot. It's going to be a tall order to surpass this one this year. Definitely the one to beat, in my humble opinion. Hell, in the first 60 seconds it skyrockets to the lead with what I think is the most powerful opening on anything this year... and its a powerful opening to a burner of a song, "Like Eating Glass." A perfect lead off for this soaring British art-punk album that will aggressively take hold of your attention, emotion, and opinion and not let go of any of it throughout it's entire 54 minutes. Finally, we have been presented a hyped album without that dreaded "over" word applying. Seems that most other eagerly awaited releases this year have fallen short of expectations (e.g. Kasabian). Not the case here. I'm not sure any amount of hype could have derailed this one...

While Bloc Party do fall into the same general territory of fellow Brits Franz Ferdinand, there is something else here. I think there are several elements to this. First, Block Party for the most part do not have their tongues planted in their cheeks, like the Franzers are want to do. This gives their music some more punch and more credibility as they don't depend on the clever or trite to entertain. Secondly, the songwriting here stays extremely tight. Songs are well-developed. Variation from track to track. Some great melodies mixed in. Thirdly, there music has an over dreamy sheen over it that injects that ever powerful, sweeping British soaring quality that fits so well here. I don't mean that American radio sheen. Not in the least. But that crisp, tight feeling that is at the same time warm and icey. Just like we like our British music.

This album is best played loud and in its entirety. The drums are so driving and some songs are so exciting that you'll have a hard time sitting still. This one's truly great. Not going to mention standout tracks as I really don't think of this album that way. Kinda like last year's Arcade Fire album. A solid work all the way through. Enjoy!

Rhapsody in Bohemia in Rhapsody

Grey Delisle - Iron Flowers
So how bold do you have to be to take on a cover of "Bohemian Rhapsody?"  Ok, and how much more bold would you have to be to make that cover the first track on your album?  Add to that the fact you're a female alt.country artist!  Talk about cohones!  um...ahem... figuratively, of course...  And how good do you have to be to actually pull it off?

Well, Grey Delisle is just that good.  She breathes new life into the incredibly overplayed Queen masterpiece by focusing on the quite beautiful, painful, disturbing ballad that starts and finishes the original.  This fragile melody is overshadowed in many peoples' minds by the bombast of the rock opera part of the song, pushed further into our psyches by the unforgettable rendition in the Wayne's World movie.  But here, the intensity of the song itself is brought out by the intensity of the delivery by Ms. Delisle.  I totally expected to hate it, but my reaction is now quite the opposite.

What follows this opening track is what a real alt.country album should be in my (albeit little) mind.  It's an album that seems to float in the nether-world between the genres... at times quite old-time country, at times straight singer-songwriter, and at times throwing in some avant-garde approach to instrumentation or songwriting that throws you offbalance a bit.  It's albums like this for which the alt.country tag had to be created.  Not fair to lump it at all with the popular country music of today, but not appropriate to completely ignore the country influence.

I think this album is making me really accept the fact that I am a true alt.country fan.  I've always considered myself just an occasional fan, always on the periphery.  But in all honesty, I really love a great alt.country album.  Like "Bloomed" and "Devotion and Doubt" by Richard Buckner, or the recent "Cold Roses" by Ryan Adams, or last year's "Me First" by The Elected.  Great stuff that I come back to regularly.  But when I don't like an alt.country album, I really don't like it (see below)... but that's usually because it draws too heavily from country... know what I mean?

Anyway, this one is definitely worth a listen.  It's a serious affair, so don't expect a happy-go-lucky album.  But with the lights off, music up, and eyes closed, it sure helps you feel those emotions you've been bottling up all this time...  Enjoy!

Aw, Quitcha Cryin'... My Butt Hurts More Than Your Heart

Caitlin Cary and Thad Cockrell - Begonias
Ok, so this review deserves a little scene setting. As many of you know, I have been traveling a lot for work lately. On Wednesday evening of last week, I was flying from Newark, NJ back to Raleigh. Flight was supposed to leave at around 8pm, but was delayed due to bad weather earlier in the day which threw everything off for the rest of the day and evening. Terminal A in Newark is as nasty a terminal as I have ever been in.. And on this day it was particularly disgusting, especially with all the crowds of people and the rising heat as the already inadequate air-conditioners struggled to deal with the added amount of hot air in the terminal. I sat down to write this review to pass the time and ended up having to sit on the floor next to the only unused power outlet I could find since my aging laptop has a nearly impotent battery that can only keep it up for about 20 minutes of so.

So, I'm hot, annoyed, tired, my ass is starting to hurt from the hard floor... I think there's a chance it affected my review below. But oh well, I still stand by the general sentiment of my thoughts, although perhaps I wouldn't be quite as harsh sitting here in my kick-ass Herman Miller chair in my house I adore with my dogs on the couch in my office.

Caitlin Cary is the former fiddle player and backup singer for the fairly short-lived but legendary alt.country band Whiskeytown. She provided the perfect sweet counter to Ryan Adams' reckless persona and they made some fantastic music together. Since then, Caitlin has released a critically-acclaimed solo album and now teams with fellow North Carolinian Thad Cockrell for the equally-billed Begonias. The album starts off strong enough with the opener "Two Different Things," a solidly country themed song what with it's heartbreak, couple-wanting-different-things. Thad's voice sounds a bit like Ryan Adams and he and Caitlin blend well together. This is followed by the sweetly sung heartbreak-song that depicts a female (Caitlin singing lead on this one) who is wanting to take a friendship to the next level, but the feelings aren't reciprocated. This is then followed by a heartbreak (sensing a theme?) song about a failing relationship... this one an upbeat number stating bittersweet confidence in walking away from a relationship.

The next song, "Please Break My Heart," is (you guessed it) a heartbreak song this time in a Patty Duke style old-time country 6/8. So I think you're starting to get my impression of the album... it is very well performed, very well sung, but just too country-cliche, if you know what I mean. Part of me feels sorry for Caitlin and Thad that they have experienced so much pain in their respective lives... but another part of me rolls my eyes thinking these songs are not truly heartfelt, but rather just following a formula. By the end of the album, it is hard for me to escape the latter feelings. Perhaps I'm too cynical, perhaps I am expecting too much, but it is just too much as a whole album. Track by track alone it is very nice... But overkill otherwise.

But, if you need some theme music for your tear's journey to your mug o' beer, fire this one up and weep away.

So, after I wrote this I gave up on working on the computer any longer and started to roam the terminal for somewhere more comfortable. Luckily, I bumped into an acquaintance of mine who was on the same flight so we passed the next FIVE or so hours of time chatting away. Finally made it home at around 3am, crawled into bed, and then woke up, packed, and hopped on a plane to Memphis at about 12 noon... Sounds like fun, eh?

Let's Hear Whatcha Got

Billy Corgan - TheFutureEmbrace

Has anyone seen this cover of Billy's new album?

Mommy, Billy Corgan scares me.
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Cmon, Vogue ... Let your body mo-ove to the mu-usic (mo-ove to the mu-usic)
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The hairless Sphynx is a cat often enjoyed by those with cat dander allergies as its dander tends to spread less easily.
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Don't hate me because I'm beautiful, hate me because *I* think I'm beautiful.
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Boy, that embrace is gonna be waaaaay in your future if you don't wash that crap off yo' hand
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I'm too sexy for my ring, too sexy for my ring, too sexy for my pretty lil' ring
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Now what was that I was trying to remember?  Hrmmmmm.....
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Dammit Billy, a RED string you fool... How many times do I have to beat it into you?

Ok folks, your turn to comment on Billy's lovely album cover.  Currently, it's completely preventing me from listening to it at all.  Hopefully this therapy will help so I can bash the music in a future post.

Apparently It's Theme Week

Engineers - Engineers
Hello folks.  After 4 hours of sleep last night followed by a 15 hour workday, the mellow, sweeping, subdued but grand sounds of the new Engineers album is downright magical to me.  The perfect sounds for my now near comatose state.  That's not to say that this music is dead or boring... exactly the opposite.  It is beautiful, satisfying yet challenging.  Pink Floyd influences with a lot of lush sounds and intertwining harmonies added to make a sound that is has a more original feel than derivative.  Can we call it post-Brit pop?  Since Brit-pop is now officially completely dead.  Don't believe me?  Listen to the Embrace album that was just released in the US last week.  Someone shoot the horse already.

Anyway, I'm going to lie down and listen to this one again.  So smooth.  Not mopey (Chris...)... just smooth...  Mmmmmm bedtime.  Night.

Me Sleepy Like Chris Martin Awakey

Abandoned Pools - The Reverb (EP)
Just a quick post today as I am having another one of those insanely busy weeks at my day job.  Going to do my best to post every day though... fingers crossed.

The Abandoned Pools is another one of the one-man-band bands, this time by Tommy Walter, former member of the Eels.  This release is a preview of his apparently highly-anticipated sophmore AP release due out this fall.  My first impressions were to write him off simply based on the fact that his voice sounds like any of a million of the run-of-the-mill nu-metal singers...  He sorta whines like he's fronting Linkin Park or one of those other bands for which there must be some kind of school on how to pronounce the words as irritatingly as possible.  Anyway, the songs on this EP were catchy enough, though, to keep me listening for a bit longer.  As I listened, I started to be able to notice the music around his voice and actually started enjoying it.

So here's my crazy thought.  Maybe it's just too late for me to be thinking, but try listening to these songs (one of which is actually a Bjork cover)...  But rather than Tommy singing, imagine if Chris Martin were singing the tracks.  Not that Chris is the most fantastic singer in the world, but I think his voice would bring across the beauty and power of these songs so much more effectively.  And once you get that going in your head while listening, perhaps you'll also have this thought:  THESE are the songs Coldplay should have added to their latest snoozefest of an album.  This is all Mr. Martin and Co. needs... a freakin' shot in the arm and a little oomph and drive every now and then.  Stop all this mopeyness and slow-build over and over and over and over again.  Get a little bit angry or a little bit enthused or a little bit excited about one damn thing every now and then...  Give us the texture we need to believe you're not just yanking our chain.  We don't need rocket science or for you to get all freaky like Radiohead (although I love Radiohead and if you want to try to get freaky like them, go for it... better than mopey!)....

Ok, there you have it.  I'm insane.  Time for sleepy.  Nighty-night.

You Take Kermit, For Me Anniemal's OK

Annie - Anniemal
So, every so often there comes a band or a person who performs music outside the current "indie" genre but is warmly taken in by the indie crowd.  I'm not really sure why it is.  Perhaps it is just that every once and a while comes an artist that transcends all genres, even the indie genre which is the toughest to crack.  Or, perhaps it's the indie crowd who occasionally reaches out to other mostly credible artists in order not to appear so stuffy and closed-minded.  When I was in high school, such bands were Soul II Soul and Del La Soul.  Here we were, perfectly indie happy white guys who followed the indie movement of the time into totally getting into those two groups who were well outside our normal listening fare.  That's not to say that they weren't two great groups who were in their prime at the time... just sorta strange that the snobby indie crowd latched onto them.  More recently, there's been Jurassic 5 and Handsome Boy Modelling School... both of which are fantastic artists who are much more worthy of praise than most other performers in their genres, but still produce music that is not normal indie-fare.

So now comes new girl, Annie.  Earlier this year you might remember that I briefly mentioned that Annie's single, "Chewing Gum," had been added to Rhapsody and I could not for the life of me see what all the fuss was about. I even went so far as to suggest that perhaps the editor at Pitchfork was sleeping with Annie or something.  I just didn't get it.  Now, Annie's debut full length album has been released in the US and added to Rhapsody.  And the critics are going wild.  Take a look over at Metacritic and you will see that she has one of the highest rated albums of the year.  Just spewing with love for Ms. Annie.  So, once again, I sit down to give her a listen to see if I can figure out what all the fuss is about.

So apparently I am just uncool, or perhaps just clueless, because I still don't completely get it.  Now, don't get me wrong, her complete album is MUCH better than just the single "Chewing Gum" standing on its own two legs.  This is for two basic reasons:  1) Annie's overall sound is much more fleshed out when you hear it over several songs... showing us that while she rarely strays from the basic delivery, she has many shades within those limits... and 2) the song "Heartbeat" which should truly be a top single in 2005.  Annie is immensely more listenable than Kylie, to whom she is compared repeatedly due to the fragile vocals and the general dance-focus of her music.  And if I were in a dance club, which has become such an infrequent event in my life these days, I can see how I would prefer Annie's music to just about any other dance-focused artist...

Yes, ok... I am starting to get some of her significance, but I still say that I have no idea why the indie critics (and perhaps crowd) have decided to shower this woman with their highest praises.  I am going to personally let that bandwagon pass me by and respect her from a distance, know what I mean?  She's entertaining, yes.  Changing the world?  Not likely.  Able to sustain as a true pop-icon?  Yet to be determined, but I would be surprised if she ever ventures very far away from the mold she has created on this first release.

Would someone please tell my tapping foot that we most certainly are not going to go out dancing tonight?  Thank you.

Ok, I Will. Give Your Dog My Best

Say Hi To Your Mom - Ferocious Mopes
So, before I get into my thoughts on this album, I'd just like to say that I am now officially and completely over the annoyance of signing up for a year of Rhapsody-To-Go for $14.99 a month (i.e. $179.88 payable all at once) and then not two weeks later Yahoo announcing their competing service at an introductory price of $4.99 a month if you sign up for a year ($59.88 payable all at once). I initially made myself feel better by telling myself that I got $100 off the H10 player which was required to use the "to go" feature (one of the few players that can handle Janus DRM). So, that brought me down to $79.88 for the year which was a lot easier to swallow.

As I am sure all my regular readers (good to see the two of you) have noticed, I recently started adding Yahoo Music Engine links along side the Rhapsody, iTunes, and Amazon links. I decided to do this so I could keep this site fairly universal. The step of creating the Yahoo link is quite annoying though. I have to start up their application, create a playlist for the album I want to link to, then use a 3rd party developed plugin to post the playlist to an online site. This then provides a link I can use on my site. Very, very annoying. But, I started doing it anyway. Figured it would be a way for me to see how Yahoo stacks up. Well, after just a few weeks, I am so disappointed in their selection. They are missing many of the albums I discuss (signified by the circle and slash through the YME logo), and they often only have pieces of albums available. Plus, they are very poor about getting new releases added on Tuesdays.

So, my conclusion is that while Rhapsody is not without its very own annoying flaws, it is still heads and shoulders above the competition. I am now extremely happy with signing up for Rhapsody for the year and I am sure Yahoo will be raising their prices soon, once they get everything more ironed out.

Ok, now to this album by the horribly named "band" Say Hi To Your Mom. I say "band" because it is pretty much another one of those one man shows... this one helmed by Eric Elbogen. This is his third album, all released on his own label, Euphobia, all self-recorded. Many of the buzz genres can be applied here... nerdcore, bedroom pop, minimalist pop, indie pop. But, in the opening bars of track one, "Twenty-Second Century," you quickly realize that there's a little bit more here. It's a driving track, fully of fuzzy guitars and heavy bass, melodies and countermelodies that is catchy as hell. Many reviewers are comparing Mr. Elbogen to Mr. Oberst, but I can't really make the connection since I just don't much care for Bright Eyes. I know, I know, I'm totally uncool. I just haven't been pulled in. I think it was that damn video they used to play all the time on MTV's "Subterranean" that used to annoy the crap out of me. Anyway, throughout this album we have more of the infectious tunes, severely clever sometimes bizarre lyrics ("Yeah, I'm in Love with an Android"), and a good mix of the upbeat, mopey, and chill. The instrumentation runs wide, from the piano, to the electric guitar, to the synths, to drum tracks, to the marimba perhaps (?), to the slapping of the strings on an acoustic guitar. This gives this mostly subdued music a level of variety that keeps it fresh with repeated listens.

I like the gradual pace Mr. Elbogen is taking with the progress of his music and his "band." I guess that's what you can do when you're working for yourself, releasing your own stuff. Just don't read his annoyingly too-indie-for-his-own-good FAQs on his website... at least not before listening to his music... Enjoy!

The Orange Peels Boys of Distinction

The Orange Peels - Circling The Sun
New Release Tuesday and this was the first album I chose to give a listen. Let me throw some band names out at you. Kitchens of Distinction, The Ocean Blue, The Wonder Stuff, Ultra Vivid Scene, The Lightning Seeds, The Origin, House of Love. And then how about back a bit further to Big Star, The Association, the Beach Boys, The Free Design, The Cowsills, The Byrds. The Orange Peels are squarely placed in the next wave of perfect indie power pop, drawing on the bands of the past and adding their own left-coast flavor to the mix. Extremely listenable, yet very interesting, Circling The Sun is one of those albums that grabs you right away in pulls you into its infectious songs. From the first 4 note pattern on the first song, you'll think it's 1991 and you're listening to your favorite indie pop band (I loved KOD) as you hold out against the grunge movement. Lush layered guitars, the driving beat, the beautiful harmonies, the swirling keyboards, the melodic bass lines. I love this stuff.

I've always been a music freak, but I was especially addicted in the 1989-1991 timeframe when the bands listed above were among the way too many albums I bought with every last cent I could get my hands on. As a matter of fact, I was very late to the CD world since I wouldn't stop spending my money on cassettes long enough to afford buying a CD player. It was a serious addiction... which I have to admit I have not overcome to date... but luckily now I'm a bit more funded... plus, Rhapsody-To-Go and my iRiver H10 are keeping me WAY satiated at this point. Anyway, I was addicted to many different genres back then but that small power pop movement was so influential to my overall music tastes. So, when listening to this Orange Peels CD, I am falling in love so quickly.

Now, I don't want it to sound like The Orange Peels are strictly a derivative band (although, exactly what band isn't?), they are just good at mixing there influences into their own sound. And there is enough variety from song to song to keep it interesting. I think bands like this who are catchy, fun, but have a great mixture to their texture (there's that word again) are the ones who are taking the pop torch from the unfeeling popsters like Weezer and the like who just sound boring and meaningless these days. But hey, what do I know? I'm just going to keep listening to it. Enjoy!

No, He's Not Related... Thankfully

Jeff Hanson - Jeff Hanson
Haven't been able to stop listening to this one over the weekend and since. Released back in February of this year, I've been meaning to listen to it for a while now. While doing the yardwork this weekend, I had my little iRiver H10 shuffling through the now 750 Rhapsody-To-Go tracks I have loaded on it and I was quickly struck by Jeff Hanson's voice as soon as one of his songs started playing. Had to pull the player out of my pocket and see who it was. So, this mention of Jeff Hanson will mimic just about every other mention of him out there in saying that his voice is remarkable. After putting it on in the house later in the day, I couldn't get my wife to believe that it was actually a guy singing. She kept giving me her "You're freaking nuts" look, which unfortunately I earn quite regularly.

So mix this beautiful falsetto voice with the fragile songs of Elliott Smith and you'll get a sense for how the album starts out. The opener, "Losing a Year," is just Jeff and his guitar... and after nearly 4 minutes of this beautifully quiet song, you're content with letting him bring it to a quiet close... but no, you are then treated to the full band entrance, with piano, drums, and bass. It's the crescendo some of you, like me, wished Elliott Smith would have done more often. And, as it turns out, Jeff's voice mixes well with the full band sound as well, especially towards the end of the song when the overdubbed harmonies and sweeping strings enter. I know it's a little cheesy, but I think it is quite effective and quite gorgeous.

It is a quick learn for the listener that Jeff will stay primarily in his falsetto throughout the album, even in tracks like "Welcome Home" where the accompaniment is more raucous. This fast waltz is pure indie pop candy, reminding me slightly of early Lush in its drowned high-pitched vocals and block chords. Granted, Lush had a female singer, but I think Jeff's voice is even prettier in that range. The fifth track, "I Know Your Name," is another gorgeous waltz, this one spending a little more time in his chest voice, which he masterfully keeps in the same overall tone as his falsetto... making the difference quite unnoticeable. This song is a perfect headphones-lying down-lights-out track... the kind that reminds me just how much I love music and how wonderful it can make me feel.

The rest of the album remains just as strong, alternating between the upbeat, the fragile, the haunting, and the peaceful. I think I'll listen to it again as I go to sleep tonight... Yes, I fall asleep with headphones on every single night... which means I wake up an hour later with them wrapped all around me... but its worth it to me! Enjoy!

Mmmmmmmm Texture

Metric - Old World Underground, Where Are You Now?
Thank you to Matt over at Rhapsody Rock School for alerting me to the addition of this album to Rhapsody.  It was definitely one of those albums I was seriously curious about but for whatever reason I just let it slip by without purchasing it.  Now after hearing it in Rhapsody, I'd say I've been completely missing out and should have bought it as soon as it was released back in September of 2003.  Been listening to it over and over yesterday and today.  Great stuff.

Turns out that Metric is yet another Canada band.  Met in Toronto, moved to Montreal, moved to NYC (actually formed the band there), then London, then Los Angeles (where they recorded this album), and now they're back in Toronto with their friends (who they say are Broken Social Scene and Stars, two fantastic Toronto bands).  There music falls into the New New Wave genre, but it exemplifies what I love in music and exactly what the new Coldplay completely lacks:  Texture.  It's that something that makes you feel like you could actually touch the music, feel it, dig your hands into it, roll around in it, and maybe, if you're brave, chew on it a little.  All of the best albums give it to you in some fashion or another.  Serious texture.  This album has some serious texture.  They are not at all afraid to let the songs go in any direction... not afraid of making use of the plethora of instruments and sounds available in a studio environment... not afraid to just take some risks, go into unchartered territory...  and (Mr. Martin, are you listening?) they are not afraid of some nice crunchy dissonance...

What results is an addicitve album that continues to pull you around new and exciting corners.  I repeatedly said to myself throughout this album, "Whoa, I didn't expect that... but that's awesome!"  Know what I mean?  Certainly not whimpy and not content to stay within any constraining boundaries. Great listen.  Put it on in the car (all you sexy Rhapsody-To-Goers), roll the windows down, and jam your way around town.  Enjoy!  Thanks again Matt!

Hometown Genius

Ryan Adams & The Cardinals - Cold Roses

Live Show:
Meymandi Hall
Raleigh, NC
June 8, 2005

I'm not even sure where to begin with this one. Still in that speechless phase... and I should probably hold off writing about this show until I give it some more time to sink in... but what the heck. I've been meaning to write about his new album for a while now anyway.

So to understand this show and how different, bizarre, fantastic, and mindblowing it really was, we have to begin with the venue. As you can see above, it was held in Meymandi Hall here in Raleigh. Meymandi is the symphony hall just completed in 2001 that is the home of the North Carolina Symphony. It is also the hall I perform in with the North Carolina Master Chorale. I have a small picture of it here but if you click here you can see just how formal a setting it is. Very cool place with awesome acoustics. They had managed to set up the stage to look like a rock show using a large black curtain as the backdrop with lots of gold balloons floating at all different levels. But, even with this enhancement, the audience stayed seated throughout the show, which was a strange experience. Especially with this audience, a large majority of whom are rabid fans who have been way into Ryan since his earliest Whiskeytown days here in Raleigh. Born in Jacksonville, NC back in 1974, Ryan moved to Raleigh when he was 19 with his then band, The Patty Duke Syndrome. A year later he started Whiskeytown and became a quick local favorite.

Some critics have called Ryan the "Kurt Cobain of the alt.country genre" which I'd have to say that this show substantiated for me. He and his band (The Cardinals) started off with a flurry of songs with barely a "thank you" in between each song. My initial impressions were ones of amazement at their sound and his voice and the overall talent, the only negative being that the sound person had the volume levels up WAY too high... apparently choosing to ignore the room in favor of a rock hall sound. This was annoying because in my opinion the best reason for playing in Meymandi is the awesome acoustic. But, the volume level totally overpowered any sound coming off the room itself. Nearly painful at times, unfortunately. But, not enough to overshadow the incredible performance. As time progressed, Ryan become more and more chatty... often just to his bandmates and far enough away from the mic that the audience couldn't hear him. It was funny, which I think was the intention.... especially when he would occasionally raise his voice so we could hear him say something like "Well, yeah, if we were professionals we could totally do that." At one point when he was using the mic to tell the audience a story, one fan shouted out "Just play a song" which Ryan quickly jumped on and used comically throughout the show. He told the guy he was just trying to inject some humanity into the show, but that he would stop doing that and just be like Billy Corgan and be all like "worship me" or something like that. Very funny. Then he said the funniest statement of the night "Look man, I'm just 3 frets away from working in that gas station again" which I thought was not only hilarious but perhaps a little window into his psyche. Something must be driving that man to be so prolific and driven...

Ryan's recent new release, Cold Roses, is an 18 track album which revisits his alt.country roots after a couple albums foray into a more rock sound. This is the first of THREE new Ryan Adams albums to be released this year... THREE! Most bands show up with two or so albums' worth of music to a new recording session, but Ryan has been known to show up with double that number.... and obviously he showed up with a bit more than that even to be able to release 3 this year, at least one being a double album. Amazing. I love Cold Roses. Sure, he could have paired it down to a normal album length and perhaps made it more accessible, but I differ from other critics in that I don't really think there are particularly weak tracks on the disc... it's just that it's a lot of Ryan Adams to take in one sitting. There are some quite magical moments on the album though. The opener is fantastic. I also love the classic "Let It Ride" which manages to stick in my head days at a time. Some powerful moments too like the beautiful "Meadowlake Street" and the heartbreaking "How Do You Keep Love Alive" that has just an emotional, unveiled delivery. He really thows it all on the line.

Back to the concert, the show went for almost 3 hours and I think he would have played all night if the venue didn't have an 11pm "curfew" imposed. In between songs, he is a jittery guy, seeminly on the edge, almost giving an Andy Dick-like delivery. I am sure there were some alternative substances helping that along, but as soon as each song started, he transformed into the most amazing musician and performoer you've ever seen. Gives the impression that music isn't just something he enjoys doing, but something he must do. Just exhudes such talent... vocally amazing... often astounding on the guitar... and great on the piano... Just bursting with music... The last 20 minutes or so were just Ryan and Caitlyn Cary (vocalist and violinist from Whiskeytown) singing old Whiskeytown songs sans band. It was obviouisly not rehearsed as both of them had a very hard time remembering the words, but luckily the audience was there to help out. It was a beautiful and emotional (to the long term fans) way to end the show. Such an enjoyable night. Can't wait to see him again. Enjoy!

No Brakes Here!

Turin Brakes - JackInABox
Did you ever have one of those relationships growing up where you really wanted to love the other person but never could muster more than just lukewarm "like?"  I mean, on paper, he or she was really the type of person for whom you should be falling head over heels, but there's just something that keeps that from happening?  Something that you perhaps can't even definitively put your finger on?  Well, that's been my relationship with Turin Brakes up to this point.  I own both of their previous albums:  the debut The Optimist LP, and the followup Ether Song.  I like them both, sure, but they never got their hooks into me the way I was hoping they would.  I should love them... I love duetting vocals... I love a lot of Brit pop...  I love strong melodies...  I love acoustic guitars... etc....etc...  But something just kept me from totally loving them.  To me there was always something forced about their music that just kept me at half-an-arm's distance.

Well, unlike any of those relationships growing up (my wife I fell in love with right away...), Turin Brakes have now gotten rid of that nappy hair, or that annoying laugh, or that ear lobe that was bigger than the other, or that irritating way they corrected my use of the word "who," or maybe even that occasional vacant stare...  Their new album, JackInABox, has won me over.  What a fantastically interesting, uplifting album!  I in no way expected this... had no idea they had it in them!  Ridiculous progress has been made in both the songwriting and the instrumentation categories.  What used to be slightly infectuous is now downright epidemic-causing.  I am listening to the title track now and it is everything I can do not to get up and start dancing... which means my already tapping foot is totally a lost cause.

While the opening track does not reveal the twists and turns you will experience throughout the rest of the album, it does give you a smack in the face that this is going to be a fun, happy time.  Not in a silly way, but in a relaxed, perfect sunny day kind of way.  The 2nd track, "Red Moon," will do more to sink its claws into you, the chorus a perfect nod your head, close your eyes, roll the windows down kind of affair (although, if you're the driver, keep those eyes open!).  After this you will be taken on a ride through gorgeous ballads ("Forever"), pop with a little soul ("Asleep with the Fireflies"), sing-along pop ("Over and Over"), synth trip-outs ("Come and Go")...  it's really a surprise around every corner.

Now this is what I call progress.  This is what I like to see and keeps me coming back for more.  Hope you enjoy as much as I do!

 

Coldreplay

Coldplay - X&Y
Oh, what to say about this one. What to say... What to say... Well, first of all, I was totally poised and ready to hate it. Even though I just spent $50 a ticket for their show here in Raleigh in September. Even though I loved Parachute before anyone else did and thought A Rush of Blood to the Head was a great album with some magical qualities. Even though I think Chris Martin is a very talented musician. I was ready to hate it because this is the point at which most bands completely and totally let me down. The point where they take the low road to fame... or show me how much of a one-trick pony they are.

This is where I am torn right now. You see, Chris and Co. have let me down in many ways on this album. I was really hoping they were going to take this rare and crucial opportunity to capitalize on their immense fame and explore new and exciting territory. I was hoping they would pull a "Radiohead" and throw us their "OK Computer" or "Kid A." But, no such luck. That's not to say that the album is completely without excitement or new territory. But newness is certainly not the mantra here. Sure, the guitars are a bit louder in the opener "Square One." And perhaps Chris' voice is more fragile than normal in the opening verse of "Fix You" but the borrowing from U2 is very heavy when they step outside the normal Coldplay mold... but hey, it is nice to hear Chris' piano take a backseat on some of those songs, even if it does sound like a tired Edge playing the guitar. Many reviewers are saying that they are positioning themselves to be the next great arena band. Maybe Chris felt he needed a bunch of anthems for the big arenas they have already been playing for some time now. Who knows.

All that aside, the album is very listenable (of course), and I am finding some more sweet spots with each listen. Favorites are "White Shadows," "Fix You," "Talk," and "Swallowed in the Sea." I'm sure it will provide a fabulous headphone listen once Rhapsody lifts the download restriction and I can load it on my portable player. Plus, maybe I shouldn't be complaining since I am going to be seeing them in the large outdoor behemoth that is Alltel Pavillion here in Raleigh. Ugh. Hate that place. But, like 12 friends are going with us so it should be a fun party. These songs should make it a fun experience for sure.

So, Chris, in the end I'll give you this one. It is solid and listenable. But, after this please no more sappy Brit pop. Let's explore and find some new territory that pushes us all... You've got the cash and momentum. Now is the time! Enjoy!

Jack and That Chick Who Can't Play Drums

The White Stripes - Get Behind Me Satan
Well, hello there. Miss me? Thanks to all of you who have sent along your thoughts on the site as it is good to know that people are reading and want to read more and notice that I haven't been posting so much. I am trying my best to get things back on track with my new day-job workload. Luckily, the release schedule lately hasn't been too incredibly exciting so I don't feel like I've been missing too terribly much. Anyway...

Kudos to Rhapsody for getting this one early (the iTunes and Yahoo links are just to the first single released a few weeks ago). Not due out until tomorrow, this new one from the White Stripes is a bizarre, schizoprenic journey through the mind of the prolific Jack White. Starting out with the rough, disco-tinged single "Blue Orchid," you'd think that Jack is trying to flex his rockin' muscle so as not to be shown up by Stripes-influenced Death From Above 1979. But, as soon as track 2, "The Nurse," begins, it is obvious that Jack has already moved on from that endeavor and is now taking aim at much more far-reaching goals. Yes, that's a marimba that opens the track. And yes, that's a piano twinkling in the background and then in the forefront in track 3. As a matter of fact, the piano is the primary lead instrument on most of the tracks on the album... the guitar often taking a backseat role. We are taken on a ride through Jack's various music focusses, from his country work with Loretta Lynn, to his work on the Cold Mountain soundtrack.

What results is an album that is simultaneously the most listenable White Stripes album to date and perhaps the least deserving of the "White Stripes" moniker. While the Stripes have always been Jack White inexplicably accompanied by Meg "Can't Keep a Steady Beat to Save Her Life" White, this one just has even less of a band feel and makes me wonder how soon we will see Jack White perform as Jack White.

Whatever the case, I think it's a great album that I'll probably listen to twice as much as Elephant... Enjoy!

 

First Maxim and Now Robert Plant? What Am I Turning Into?

Robert Plant and the Strange Sensation - Mighty Rearranger
Yes, I am just as surprised as you that I am posting about the new Robert Plant album. Totally not usually my thing. Don't get me wrong, I went through a serious Led Zep phase when I was young and must have listened to LZ IV about 5 million times. And in the 80's I totally loved 1984's Honeydrippers album and Robert's solo work, especially 1988's "Ship of Fools." As a matter of fact, I loved that song so much that I eventually arranged it for my college a cappella group, The Virginia Gentlemen. It ended up being featured on the first Best of College A Cappella CD, which is a series that continues to showcase the best a cappella groups in the nation. Click here to download an MP3 of the track. High fives to all those who recognize who is performing the solo.

Anyway, I am still completely loving Rhapsody-To-Go and my little iRiver H10. For the past few days I have just been letting it shuffle all 600 or so songs I have loaded on it so far. This is how I force myself to listen to things that I might not sit down and listen to on purpose. Robert Plant's new disc falls squarely into that category. But, after hearing several of the tracks I have to say that I really do like it. Definitely reminiscent of some of the tribal beats explored by Led Zeppelin, but the engaging thing about the album is that Robert a) still has his pipes and 2) can still write a helluva good song. So, not my normal cup o' tea, but certainly proof that not all old rockers lose their touch. Enjoy!

P.S. Sorry for the lack of posting again. More work travels. This stuff is slowly wearing me out, but I am going to commit to posting from my hotel room at night when I am traveling. Got to stop those business dinners. And I'm turning into one of those annoying people who walk through airports with their headphones on... but I have to squeeze in my listening time before I go nuts!

Bluegrass From Where the Grass is Green

Chatham County Line: Route 23
Been meaning to write about this album for a while now, but was very surprised and pleased that Pitchfork beat me to it and gave it the favorable review it deserves. This band is from Raleigh which, as many of you know, is where I live. There is a great and popular little breakfast place called Big Ed's which is located in a part of downtown Raleigh called City Market. Several times, I have heard these guys standing outside Big Ed's on a Saturday morning and playing their impeccable old-time Bluegrass. I was always fascinated because they were a) so good at traditional bluegrass, b) even that good on a Saturday morning, and c) so young relative to the average age of those who typically perform traditional bluegrass music.

I am glad they have a record deal with the great Yep Roc records and that they are getting some press now. It's always nice to see a band who plays music that is not part of the typical mainstream get a little attention. So, if you enjoy bluegrass at all, give them a listen. If you don't like it at all, give them a listen anyway just to confirm that you really don't like wonderfully executed bluegrass. Enjoy!

The Who? The Wha? The Huh?

The Snake The Cross The Crown: Mander Salis
So there are some things that you should just not admit to others. Things that are just better not said, left alone, kept personal, not left up to anyone else's interpretation. Know what I mean? For instance, I get both Stuff and Maxim magazines delivered here at the house. See? I shoudn't have told you that one at all. Should have just left it my personal little tidbit of information that others such as yourself really don't need to know. At this point it doesn't really matter what I say to explain it, it's all going to sound bogus... Like the fact that I didn't actually order either subscription and I really have no idea when they are going to stop coming. I have no idea what business I have patronized gave me the free subscriptions (which is how I assume I came to get the subscriptions), so obviously some marketing team somewhere is really doing a bad job. And you surely won't believe me when I say I do read them for the articles... well, not really for the articles but for the Music and Gadgets section. My two addictions.

Yes, that's right, I actually consult Stuff and Maxim for music info. Rarely does Maxim tell me anything that I find interesting, but Stuff reviews a surprisingly eclectic mix of stuff. Never too far off the radar map, but definitely hit some of the indie stuff out there (such as Spoon and the Gorillaz and others this month). Plus, they have a cool part of the music section where they review two albums they missed the first time around called "CDs We Forgot To Review." I think it used to have a better name like "We Would Have Reviewed Them If We Were Cool" or something like that. Anyway, this month they reviewed this album by The Snake The Cross The Crown. They are a Santa Barbara band (which explains their inability to choose a band name... see Toad the Wet Sprocket, Dishwalla, etc.) who released their first EP in 2003. This debut full length was released in August of last year and definitely didn't hit my radar.

So, as you can probably guess by the name of the band, they are another in the line of Christian-influenced but not necessarily Christian bands. As a matter of fact, they actually took their name from some birthmarks on one of the band members that loosely look like a snake a cross and a crown. Go figure. Their music is tough to pin down, which is something I like in a band. At times, Radioheadish... with sparks of Led Zepplin from time to time, they are a very dramatic, serious band who throws their emotion on the line. I wouldn't call it an easy listen, but definitely worth the journey, especially the latter half of the album which really goes all over the place. I especially love the epic-length "Echolalia" which chimes in at a whopping 9 minutes. If you're a fan of the bombast of Muse, you'll probably like The Snake The Cross The Crown. Enjoy!

Never Cease to be Amazed... Thankfully

Caesars: Paper Tigers
I love Rhapsody. I know I say this all the time, but I really do love it. It's been testing my patience for sure lately, but the overall essence of their product still makes me so very happy. It just continues to feed my healthy addiction to music and even does a respectable job with my "indie" side that needs to hear the newest stuff. And over and over, it has offered me the opportunity to be won over by music that I would have otherwise prejudged and never heard. Now that I am paying a flat-fee for my music, there is no commitment to give an album a really good listen, no matter what I think about it. There are so many reviewers and general music commenters out there that it's hard not to hear someone else's opinion about an album before you hear it... and t