pick six: reel big fish

When it came to ska-punk in the late 90s, I didn't get nearly as deep into it as Nick did. Still, there was something that Reel Big Fish did at that opening break of their lifespan that was so...right. I wonder how long it will be until we see another band that could so succintly point out the shortcomings and atrocities of the mainstream while sneaking through its own back door. In honor, here's six of my favorite tracks the RBF laid down before I graduated from high school.


Trendy
All I Want is More
Turn the Radio Off (1996, Mojo/Jive)



While "Sell Out" put the band on MTV and probably built the newer half of their fanbase in the mid 90s, it takes the second track, "Trendy", to get me into what RBF are all about. Beyond the non-conformist message, a hodgepodge of bright horns, bursts of rockabilly guitar, slap bass, and a closing raspberry are telling of the carefree-with-an-edge mentality the band often portrays. In regards to "All I Want is More", just think about when mainstream rock was less about fame and money, and perhaps more about getting chicks, or telling them off after you got them.


Unity
Keep Your Receipt EP (1997, Umvd)


Sooo, Keep Your Receipt sucks. Considering that nearly all of it's material can be found on Everything Sucks, it's nearly worthless with the exception of this Operation Ivy cover. Besides presenting RBF's tightly constructed ska formula under someone else's material (which will come up again), "Unity" introduced many ska-punk bleeding hearts to the artistically tragic story that was the rise and fall of Operation Ivy.


Thank You For Not Moshing
I Want Your Girlfriend to Be My Girlfriend Too
Why Do They Rock So Hard? (1998, Mojo/Jive)


It wasn't an earth-shattering moment, but it was still pretty damn cool that a band could call out bozo fans, probably including some from their own shows, for the moronic habit of moshing. The attention to detail in depicting the mosher and their ignorant tendencies just help to sharpen the edge of RBF's cutting sarcasm. A tune like "I Want Your Girlfriend..." puts the most emo of emo making cash off their bleeding hearts to shame. This lightly succinct statement of jealous lust of the halls of high school makes you realize that, for most of us, chasing girls around can be a zany operation.



Take On Me
Basketball soundtrack (1998, Mojo/Jive)


This is probably my favorite example of the powerful front the RBF horns brought to the party (two trumpets and two trombones (NO SAXOPHONES), I don't know if that's how it is now), although the brass musician part of me is pretty cynical about how good the studio is making them sound. They take ska/punk seriously, with great attention to detail in recasting one of the 80s' greatest songs.

heavy rotation: a big month for A bands/artists

I'm not sure if you've noticed, but January has been a big month for bands and artists starting with the letter A. My heavy rotation for this month has been dominated by the First Letter of Vowelness, with an easy-to-guess, prestigious act at the very top...



Animal Collective - Merriweather Post Pavilion
FIVE BREADSTICKS (and sommathat marinara sauce, B)

Indie's consummate example of accessible weirdness has produced a tight record that is astoundingly affecting. The internets are already abuzz with this "audience friendly" release, but I find more merit in the evolution of AC's sound from scrappy campfire obscurity to a cohesive sound that is still worthy of the word "collective". Perhaps most hope that MPP will introduce the more eclectic pop music fans to AC, but beware that "audience friendly" and "tight band sound" are often the precursor full-blown media attention and a fast track to arena-rock stardom. Luckily, those who know enough about the work that AC do can rest assured that it's probably not in the cards.

What I'm enjoying most about this record is how the vocals have been neatly framed by the overall texture Animal Collective has pursued, even hinted at throughout 2007's Strawberry Jam. Listening to the new record back-to-back with their recent live shows in New York (find them at archive.org FREE!) reveals few differences in the amped-up swell of their current pursuit of sound. The days of hissy-tape loop percussion might be over, but rather than trading in their roots for fresh digs, Merriweather Post Pavilion presents moments of clarity where the vocals of Panda Bear and Avey Tare gloriously intertwine above magical soundscapes.

Plus, that album art is bananas.

"My Girls", second track from Merriweather Post Pavilion:




A. C. Newman - Get Guilty
THREE AND A HALF BREADSTICKS

I think what I liked about this record is just how stripped down it sounds - compared to what else is out there, it's always nice to hear some keen songwriting showcased by a band that seems down to earth. I'm sure it only seems that way, but I'll take it. The video below showcases them as a sort of less frantic Arcade Fire. I guess. I'm only good at describing bands by comparing them to other ones.

"Like a Hitman, Like a Dancer", third track from Get Guilty:




Antony and the Johnsons - The Crying Light
FOUR BREADSTICKS

It can be hard to work through music on this level of sensitive intensity, and yet each time I approach Antony's work I barely even notice my guard coming down. Whether as the mouthpiece of DFA-dance giant Hercules and Love Affair or the spell caster at the front of the Johnsons, everything Antony touches seems instantly unforgettable or perhaps dismissed as fluffy trash. You be the judge, I guess.
Antony and the Johnsons on Myspace.

Everyone's Doing The Fish...Yeah, Yeah, Yeah

So last Friday, 1/23, was the return of Reel Big Fish at Toad's Place here in good 'ol New Haven. Now most who know me, know i was deeply involved in the Ska Revolution of the late 90's and even played in a band in the ill-fated 4th wave revival of the early O's, which was really just a revival of 3rd wave ska so really it was more like 3rd wave take two, or even 3.5rd wave. Either way aside from a collection of bands you can literally count on 3 fingers I really haven't been keeping up with bands that have managed to stay above water for the last decade. When I left the scene it seemed if you didn't incorporate hardcore punk into your music consistantly you would never find your voice in the scene. I watched in 2005 as band after band flopped and or did not reach the bar set by other bands.
Personally I am very proud being from CT when it comes to Ska. We had some of the best bands in our tri state area: Edna's Goldfish, Step Lively, J.C. Superska, Professor Plum, Kicked in the Head and of course Spring Heeled Jack. The West Coast may have had the pop hits, but the East Coast had the spirit and raw power of Ska. Unfortunetly the cancer called hardcore infected so many bands, including mine. Hardcore is a fine edge sword, two little and you sound scared to rock out on the occasional break down two much and you sound God fucking awful like a particular band I was lucky enough to quit before the power of the Dark Side fully engulfed.
So starting in college RBF always made an early spring or mid winter appearence at Toad's and my friend Steph and I always went. As the years went on we noticed that RBF's albums were getting progressively less acceptable and the audience was getting younger which any concert goer feels when they go to see the band they grew up with and see fans who were born after the band's first album was released (in 1996).
This year after some time apart Steph and I along with a motley crew of vetern scensters went to check the show out. One of the opening bands was Streetlight Manifesto, one of the 3 bands I listen to. This band has been able to keep a modern take of the 3rd wave sound and make it sound fresh. When you listen to this band you know you're listening to a band of today but but hear where these guys came from. The lead singer whose name escapes me, was the original voice of Catch-22 (another band that should be put down) and his writing style of loading that hand gun for the last show down you know you're going to lose is still strong as ever. He's backed by a 4 piece horn section that sounds like a force to be reckon with. As a trumpet player I awe at their tight and intricate horn lines in the songs. Sometimes it seems like the horns are the focus of the band. I strongly suggest getting their newest album: Somewhere In The Between. One of my top albums of 2007.
The Fish took the stage and I wasn't sure what to expect. It was either going to be a 2 hour set of new junk or a night filled with old material. What I got was a perfect mix of old classics, not too shabby new tunes and plenty of cheap PBR. I heard almost every tune I wanted to hear, from the emo lovers in all of us, "Dateless Losers" to the "Fuck You" spirit of "Sell Out". When the cried shouted for Beer, the song, the band proudly responded with "Shut the Fuck up we're getting to it" and then proceeding to play a different song before playing Beer in that RBF charming style we all love.
The show stopper of the night, and I can barely figure how I'm going to write this was the biggest surprise. In the middle of the show RBF broke out with the tune Veronica Sawyer, a tune from Edna's Goldfish second album. I immediately started freaking out and punching my brother next to me in the arm. Now I don't know if RBF incorporated this song into their book and new idiot fans think its their song or if it was a homage to the east coast or just to old school ska but it was an incredible moment. The crowd was shouting the words back to the band including yours truly. Quite a moment for a genre barely hanging on to its classic roots.
For every new tune they played it seemed like they backed it was a RBF classic and once a band gets to a certain it has to understand that the crowd wants to hear those songs you're sick of playing. They need to remember that is why we loved you guys in the first place, embrace your sound and for RBF be proud you lasted as long as you have not too many bands can say that, you might be the only one who can.
This show was already one of my 2009 highlights and I am sure I will be reposted this post come year end time. This band has never lost its fuck you mentality that so many kids related to ten years ago and today. And as they say " You know its really great, to punch somebody right in the face."
Thank you Reel Big Fish, you have redeemed yourselves to me. I hope that we continue to make beautiful music together

and thank you for not moshing.....

binge and purge: my 2008 favorite records, #10-1

10. M83 - Saturdays=Youth (Mute)
Here's a secret: I HATE the music of the 80s...well, most of it anyway. I've enjoyed M83's past records, but on Saturdays=Youth they seem to have taken the sheen, the very breathless finish from the best of that decade and stamped it onto their own achingly beautiful pop songs. The best M83 record yet.



9. Atlas Sound - Let the Blind Lead Those Who Can See But Cannot Feel (Kranky)

This is the record that will probably sneak up this list as time goes on. As much as I enjoy Deerhunter, this alone-in-a-bedroom headtrip is just as good as the records by Brandon Cox's full band. Cox is criticized for trying too hard, but Let the Blind... shows that his effort lies less in tinkering with his material and more with pushing his gargantuan sounds on the listener a little too eagerly. His music doesn't develop; instead it hits the listener like a ton of bricks. Very loud, fuzzy bricks.



8. TV on the Radio - Dear Science (Interscope)

Ba ba baaa baaa baaaaaaa ba ba ba baaaaa better than Return to Cookie Mountain.




7. Deerhunter - Microcastle/Weird Era Cont. (Kranky)

Like many, I was confused when Pitchfork drooled over Cryptograms, a record that seemed to glue a psych noise record and a psych pop record together and place it on the platter. A much nicer balance is achieved with each of these records, especially on Weird Era Cont., as the noise jams stretch out while the pop tunes keep the disc buoyant. "Operation" might be my favorite non-single tune from 2008.


6. Hercules and Love Affair - Hercules and Love Affair (Mute)

Indeed, HaLA is quite a motley crew, but their focused efforts hit the mark on each and every track on the self-titled debut. After a while, you realize how much this cruises as a dance record, when less intelligent acts might resort to an abundance of techno freakouts.

5. The Walkmen - You & Me (Gigantic)

WOW. I sort of gave up on The Walkmen after Bows and Arrows, a record that defined the bands sound and showed it to have extreme limits. You & Me eclipses the past discs effortlessly, especially in terms of songwriting. Never strained but always reaching.



4. Fleet Foxes - Fleet Foxes (Sub Pop)

Immediately likeable, I can imagine how pretentious Fleet Foxes could be. Yet when you see them play (as much of America did a few weeks back on SNL), I can't help be convinced that these guys just crawled out of the woods or something. It's like a deep woods version of CSNY.


3. Portishead - Third (Mercury)

THEY'RE BACK THEY'RE BACK THEY'RE BACK!!!

Why doesn't this record sound like trip-hop?

Nevermind - this creepy psych-rock thing is just as good. Makes me look right past some of the 8th-grade-notebook lyrics.


2. Cut Copy - In Ghost Colours (Modular Interscope)

I smiled more while listening to In Ghost Colours than at any other time during 2008.


1. Beach House - Devotion (Carpark)

2008 was not one of my better years. Anyone who has spent at least an entire year in a transitional state could tell you just how unnerving it could be, or how much of a constant downer it is. Yet with all of the beautiful records on this list (and those that just missed it), only Devotion felt immediately sincere, incredibly arresting, and ultimately nurturing.

AND WITH THAT, it's 2009. So excited about the new releases already out this month...can't wait to drop some knowledge on Jamebo and Nickster.

I would like to mention an album of 2008 that is one of my favorites that probably won't be listed on any other lists anytime soon.
The Slackers "Self-Medicated," the 13th release by the "Unknown Kings of Rocksteady," brings one word to mind: consistent energy. In the many years I have been following the Slackers, including a 3 month trial period playing trumpet alongside saxophonist, composer Dave Hilyard, for many years now and have always thought that this band has never failed to deliver. This album is no exception, with the title track a salute to the beaten soul: "My favorite medicane is whiskey and weed," to the head bobbing skank inducing number Every day is Sunday, you can't help but smile and feel great when this album plays.
A track I loved from the get go was "Don't You Want a Man Anymore" which is a dedication to anyone left behind. It has a simple message and a catchy and very bluesy horn line that you feel inside. You find yourself humming the tune driving in the car. "Don't Forget The Streets" is your standard Slackers tune about roots and rebellion. "Stars" is a new twist by the band. It seems that every album they branch out and try something new and this tune, more like a Paul Simon lullaby is a wonderful addition. The only tune I don't like is Don't Have To" which feels like the band was accidently booked to play at a Fireman's carnival opening for Spinal Tap (before the puppet show).
This band is always tight, creative and enjoyable. This album might not be the next leading force in the indie avant garde or the new pop phenomenon but this album is just F-ing fun and thats all you need to get your toe tapping sometimes.

binge and purge: my 2008 favorite records, #20-11

20. Sigur Ros - Med Sud I Eyrum Vid Spilum Endalaust (XL)

I do love me some Icelandic gibberish. I don't like me some naked mens' hind quarters on my covers, but I have been able to get past that. For some tunes, including the showstopping "Gobbledigook", Sigur Ros have created their tightest pop-esque hits to date. There's still a heavy dose of their gigantic aural splendors, but it is nice to hear them try their hand at something beautifully straightforward.


19. Department of Eagles - In Ear Park (4AD)

Bad things about 2008: there was no new Grizzly Bear record. Good things abut 2008: there was still a Department of Eagles record. I can hear the difference between the two groups, and they're not quite as obvious as those between Okkervil River and Shearwater, but I'm not complaining. Beautiful folksy rock from one of music's "not overdone-not slap dash-just right" musicians.



18. Sun Kil Moon - April (Caldo Verde)

I barely noticed that the opening tune was about ten minutes long. The Sun Kil Moon project shows that you can make pretty rock and roll music that can span whatever lengths it pleases. Beautifully paced and wonderfully delivered.



17. Shearwater - Rook (Matador)

So often when I talk about performing classical music with my peers, I am always bringing up the idea of bringing "drama" to the music. Shearwater's black and grey brand of chamber pop accomplishes this, letting frigid, roaring rivers grow from trickling streams. The vocals are excellent.



16. The Dodos - Visiter (French Kiss)

This is bound to be underrated, even on my own list. Quite possibly the freshest sound to emerge on a 2008 debut (except, perhaps, for a record to be found later on this list (and NOT Vampire Weekend, either)), Dodos make a large impression on the listener mostly because their gritty, jumpy sound is a natural part of their music. They don't impose on the audience the way a lo-fi act does, and their use of instruments and stripped textures seem to suggest that the typical band operates with a guitarist, thuddy drummer, and perhaps a toy piano, if they feel like it.



15. The Very Best - Esau Mwmamwaya and Radioclit are The Very Best (Ghettopop/Green Owl)

First of all, this record is free. Not in a Radiohead/In Rainbows type deal, but in a free-mixtape-for-you-to-enjoy-and-share one. What a beautiful cohesion of worlds: indie(ish) source material, powerful electric beats, and that African dude's beautiful voice. This is not for everyone, but certainly great for most.



14. Vampire Weekend - Vampire Weekend (XL)

Everyone's saying it, so I will too - it feels like this record has been out for three years now. The group that might start bringing a new meaning to "college rock" has waited nearly the entire year to show up on this list, and perhaps they lost a few spots because of it. The record is still a success, as VW faces tremendous odds to deliver a stand-out sophomore release.


13. Fucked Up - The Chemistry of Common Life (Matador)

My impressions of hardcore bands have not been good ones. I kind of assumed I wouldn't like this record if it was going to resemble hardcore in the slightest, and yet I was happily surprised at the depth and density of The Chemistry of Common Life. In its side-by-side juxtaposition of various rock styles, it seems to resemble the common music lover, whose vast gamut of musical taste seems to contradict itself, but it's cool, because it works for them.



12. Frightened Rabbit - Midnight Organ Fight (Fat Cat)

One of the only records on my list this year that delivered honest-to-goodness ROCK. It's not a bad thing, though: it seems the more prominent electronic sound becomes in producing an indie record, the harder it is to make one that captures that raw emotion of just plugging in some guitars. Scott Hutchinson squeezes the life from nearly every note he sings so you know you're getting your moneys worth.



11. Gang Gang Dance - Saint Dymphna (THE SOCIAL REGISTRY)

2008 was a big year for me to let down my guard in terms of what kind of indie music I liked and what I dismissed. Pitchfork had been my shining beacon to follow in all matters music since my undergraduate days, and it's been interesting to see some of their tastes go slightly toward the direction of dance music. Gang Gang Dance simultaneously falls into that category and evades that category. Most interesting is the juxtaposition of electronic beats and live percussion instruments, making music by any means in-between. Somehow, I got over my phobia of all things electro this year, and I give a lot of credit to GGD.



Find #25-21 here.

record review: late of the pier - fantasy black channel

Late of the Pier - Fantasy Black Channel (2008 Astralwerks)
TWO BREADSTICKS

Late of the Pier bring a sound to their debut record that intrigues the listener but ultimately never quite gets off the ground. The band is clearly able to reach a powerful level of frenzy, but it is one that they are constantly keeping in checking by cramming all their energy into a nice, neat package that really cuts the edge off of the whole mix. At their worst, they sound like a version of one of my least favorite bands, Muse, who waste grandiose gestures that impress listeners into thinking they're hearing a lot more brilliant content than they actually are.

Occasional moments of strength appear across the album, particular in spots where a song has gotten off the ground and has a chance to settle in. "Heartbeat" is the clearest case: the opening synths and back and forth harmonies in the introduction don't do the first verse any justice, but is then followed by a guitar clawing around in a corner, trying to find its way out. When we get the second verse in its stripped down form, suddenly things are going our way - some keen guitar harmonies, a shift of gear on the chorus, etc etc.

It's not just the portrait of a band trying to hard, but also one that lacks an identity, mostly in terms of genre. Some tunes end with a break-beat version of the previous few minutes of material, serving to separate the rock and dance elements of this band more than they draw them together. "Broken" is clearly the strongest candidate of a single (and is already playing on indie radio stations), but its tight construction perpetual forward motion are unlike most of the remainder of the record, not to mention the WTF moment that occurs when those breakbeats appear suddenly at the end.

The standout track for the record occurs just near the end: "Mad Dogs and Englishmen" combines an array of British punk and post-punk influences into a spotless production, shifted into hyper drive in its remaining 30 seconds. The influence of everyone from The Clash to Bloc Party is easily evident, and presents another problem in how much LotP finds themselves aping other European acts back and forth, from the aforementioned Muse to The Killers and elsewhere. In combination with their tossing back and forth from rock to dance, there are elements of this record that create a sense of aural nausea (also like Muse) where LotP would have been better off leaving well enough alone. Such aspects of a record make its most brilliant moments not worth the hassle of being jerked around by such confusion. Still, if a cocktail of quasi-prog rock grandeur and basic dance beat interests you, Fantasy Black Channel might serve as a compelling debut to a promising new act.

binge and purge: my 2008 favorite records, #25-21

Well, although I keep scrambling to hear more of 2008's best records, it's about time that I weigh in. Not that I know anything - hell, I spend most of my time practicing music that no one has ever heard of on an instrument that no one has ever heard of - but I'm starting to feel that maybe I represent a greater number of music lovers than I thought - not in regards to readers of my blogs, but in terms of the kind of listener I am. I am VERY passionate about music, but for whatever limited resources - money, time, the ability to snuff out each and every relevant record in any given year - I can't be as involved in it as I would like. It comes from my general complex in being a music performance major working on my Masters - if you can't be the best at it, it's not worth doing. That being said, if a record did not cross my ears last year, I try to have a little faith in why it didn't get there. Still, I have only made one resolution for 2009, and that is to listen to more pop/rock/indie music as it becomes relevant, because it makes me happy and my life in general seems to benefit from it.

So without any further ado, the first installment of my 25 favorites from 2008:



25. Lykke Li - Youth Novels (Atlantic)

How could I have underestimated Lykke Li? Her debut has few details worth scoffing at, and yet this record sort of sat on the back-burner of my listening for quite a while. While she's not the only Scandinavian with a cute voice (I'm still a bigger Annie fan), the tunes are full of a pep that caters to Lykke Li's innocence, an innocence that sometimes finds itself contradicted in contrast with the lyrics in some tunes.


24. Grouper - Dragging a Dead Deer Up a Hill (Type)

Some indie projects that are headed by just one individual don't always deserve to name their work as if they are a band-like entity. Some qualify because the project becomes a collective type of affair (Bright Eyes, for example). And then there's Grouper, which qualifies mainly because Liz Harris's skewed sense of singer-songwriter causes her music to feel like it is echoing from somewhere inside of you. Some say a it's a voice deep from the bottom of the ocean, but I find it more to be zig-zaging between the chambers of your heart or a cavity between your ears.


23. Crystal Castles - Crystal Castles (Last Gang)

The first part of my year-end wrap up of sorts talked about the odd appeal I found in many of 2008's danceable records - some of which will show up near the top of this list. Crystal Castles fit halfway into that grouping, at least in their most easily enjoyable material. Right from the opening "Untrust Us", the duo let their blippy grooves skate on ice, constantly writhing with energy. The most powerful tracks are, to be blunt, aggravating, but in a way that creates an irresistible intensity that adds depth to what many might see as old video game noise.


22. The Hold Steady - Stay Positive (Vagrant)

I'm a fan of The Hold Steady, even as they refuse to change with the times. I can still appreciate how they are half throwback and half here-and-now. If you gaze at this list when it is out there in full, you'll see just how much different THS is from any of the primarily electronic-genre records that made a big splash in 2008. Yet in almost every account, Stay Positive is a focused account of clarity, where the listener has a role beyond the innocent bystander. Where other artists are beginning to affect audiences by working in huddled masses, The Hold Steady continue to make rock music for the people.


21. Women - Women (Jagjaguwar)

Long live noise rock - that's what I say. I've grown a little tired of lo-fi, finding that the noise rock bands are finding a way to bring the bristling appeal of lo-fi to their records by just how complex their sound can be. With Women, it's a matter of letting the noise feed the intensity and general confusion involved with their music (the dash of prog rock is a beautiful touch, as well). This is a very impressive debut for a band whose next direction is one that I cannot determine, but I will be eager to follow in the future.

Chuck Berry Remembers Call From Cousin About White Kid Playing 'Johnny B. Goode'

April 18, 2008

WENTZVILLE, MO—In a shocking revelation that turns a half century of rock-and-roll history on its head, legendary musician Chuck Berry recalled Monday how he got the idea for his iconic song "Johnny B. Goode"—believed for decades to have been written by Berry himself—after listening to a white teenager playing it over the telephone. "I'll never forget that night back in 1955 when I got the call from [cousin] Marvin [Berry] saying, 'Chuck, this is that sound you've been looking for!'" recounted Berry, explaining that his cousin was playing an "Enchantment Under The Sea"–themed high school dance when the mysterious teen, Calvin Klein, took to the stage and single-handedly invented rock and roll as we now know it. "Marvin held up the phone and I heard the song that would make me famous. Then I stole it."

binge and purge: some of my 2008 favorites, pt. 1

I spent the year 2008 teaching middle school band, auditioning for graduate schools, and starting my Masters (lots of practicing in between all of that). My ears were so tired, I can't even tell you. Still, I think by now I've caught up enough on this year's musical happenings to weigh in, as long as I remind myself that there's no way I could have heard everything that good bloggers are hearing, considering that I don't get paid to do this, I have to spend hours each day making dying cow noises with a big piece of silver-plated brass, etc etc.

Anyways, without further ado...

INDIE IN '08, part one:

THE YEAR I COULD HAVE GOTTEN MY GROOVE ON (IF I WANTED TO)

Motley crew (not the band, stupid), party of four.

I think I'll always be slightly perplexed by just how much dance music I dug in 2008, but I won't be confused on how it got there. When James Murphy proclaimed "I will make minimalist dance music, and geeks everywhere will rejoice", it seemed to open the doors to a revival of sorts, perhaps not lead but quietly eclipsed by Hercules and Love Affair, pictured above. In the beautifully written and clumsily paraphrased words of the mighty P4k Media, HaLA don't just represent the past glory of dance music; rather, they seem to have adjusted it to better fit the sleeker, sexier body of their own three-headed monster. On either side, the unique vocals of Antony and the colossal figure of Nomi need not work hard to heighten the appeal of Andrew Butler's immaculate textures and landscapes. People who know me relatively well (especially Jamie) are probably shocked at just how much this record appeals to to me, but what can I say, in my head I get a MEAN groove on.



I thoroughly enjoyed records by electronic acts of all shapes and sizes, from the dabbling in drum machines (The Kills) to full-blown noise (Fuck Buttons). For me, the "are they a band or are they one man and electronics?" sound I heard any time I listened to Cut Copy's record In Ghost Colours was right up my alley. The bees' knees, I say. To me, dance music is characteristically positive in almost every regard, and I can't think of any other record (including the newest The Hold Steady, even with the title) that oozed with a hip and sunny feeling like this one. I think I need that right now. I think the world needs that right now.

So, although most of these titles are bound to show up on my 20 favorites form 2008 (coming soon), here is a short list of tunes that I danced to in my head this year:

FIVE BREADSTICKS (and sommathat marinara sauce, son)
Cut Copy - In Ghost Colours

FOUR AND A HALF BREADSTICKS
Hercules and Love Affair - Hercules and Love Affair

FOUR BREADSTICKS
Gang Gang Dance - Saint Dymphna
Passion Pit - Chunk of Change EP

THREE AND A HALF BREADSTICKS
Air France - No Way Down EP
Lindstrom - Where I Go You Go Too

Coming next: the first half of my 20 favorite records from 2008. I know SOMEONE out there cares.

Kind of Blue is 50 and its important we take a minute to salute a classic

November 6, 2008
Kind Of Blue Certified 4x Platinum
FOR IMMEDIATE RELEASE

Still The Best Selling Jazz Album. Ever.

MILES DAVIS PROPERTIES, LLC & COLUMBIA/LEGACY CELEBRATE THE R.I.A.A. CERTIFICATION 4X PLATINUM OF KIND OF BLUE AND RELEASE OF THE 50TH ANNIVERSARY COLLECTOR’S EDITION – KIND OF BLUE


(NEW YORK) – Miles Davis Properties, LLC and Columbia/Legacy recently celebrated the R.I.A.A. certification 4X platinum of landmark jazz album KIND OF BLUE , and the release of the 50th Anniversary Collector’s Edition – KIND OF BLUE – with a cocktail party at the Beekman Hotel Penthouse (Top of the Tower), that was attended by key Davis alums Jimmy Cobb, Lenny White, Wallace Roney and producer George Avakian among others.

The event also paid special tribute to legendary drummer Jimmy Cobb, the last surviving member from the KIND OF BLUE sessions, with the presentation of a custom made snare drum by Innovation Drum commemorating the 50th Anniversary of KIND OF BLUE.

Event sponsor Wente Vineyards showcased The Nth Degree, a handcrafted, limited production wine poured by Karl Wente, and Russian Standard Vodka served guests the popular specialty drink “Kind of Blue” martini with cavier.

KIND OF BLUE is the #1 best-selling jazz album of all-time and is ranked #11 on Rolling Stone’s 500 Greatest Albums of All Time.
Miles Davis Properties, LLC is run by the heirs of Miles Davis, who include Erin Davis (son of Miles), Cheryl Davis (daughter of Miles) and Vince Wilburn, Jr. (nephew of Miles).



(Pictured Left-to-Right):
Vince Wilburn, Jr.; Erin Davis; Nell Mulderry, Product Director, Kind of Blue 50th Anniversary Collector’s Edition; Jimmy Cobb; Steve Berkowitz, SVP of A&R Legacy Recordings; Cheryl Davis and Adam Block, SVP, General Manager Legacy Recordings.
Photo credit: Daniel Root.

thrice - the alchmey index EPs

The farther away I get from mainstream rock, the closer I get to Thrice. Sometimes they seem to be the missing link in my record collection between the glory days of alternative rock gone by and the threatening pace of the college/indie scene. Always inventive but not necessarily progressive, the post-hardcore band has taken on two large-scale projects in the last two years: a set of EPs themed around the elements, and a live double-disc surveying most of the band's work since 2003.


The EPs, packaged in pairs, hit the mark when it comes to sticking with a theme. Rather than grouping their newest material into vaguely associated batches, Thrice seem to be taking this experiment rather seriously. I use the term "experiment" because the identity of the band is altered, turned inside out, and sometimes even compromised as they take an additional step past the digital tweaking and power choruses of Vheissu.

Fire comes closest to representing the Thrice of "old", perhaps exploiting the edgiest of timbres the band can produce to characterize the subject of the EP. "Burn the Fleet" deserves a special mention as being a perfectly crafted pop song, usually out of place in the music of Thrice, that stands mightily and clumsily at the back end of this otherwise vicious disc. The cool electronic vibes of Water are where the overarching problem with the Alchemy Index EPs begins to surface: while the musical terrain pulses with timbres that keenly represent each of the four elements, the lyrical subject matter starts to get contrived and a bit troubling to the listener. As achingly beautiful as the music can be over the second EP, especially in the haunting "The Whaler," there are times that these tunes become a group of sea shanties for the 21st century.

Air finds a much less cringeworthy batch of songs balanced on rather light textures, impressive for a band that normally packs an intense aural punch (yes, that is actually a celeste you're hearing!). The third volume certainly achieves the most in a sense of flow and connection among its six tracks, an area where the other three EPs are not as strong. While the first two volumes seem to perplex Thrice at times, Air is constantly creative and resourceful: the band sounds like they are careful in just how much they dig into the digital toolbox and keep the sound of the rock band in primary focus. Like the other EPs, this one ends with a startling amount of inward contemplation, perhaps a brief glimpse at just how vulnerable the next Thrice full-length could be.

The most reaching of these experiments, and ultimately the only one that can really be viewed as a failure, is the final volume of this collection. The band's conception of what would make the earthiest sound, "backcountry" instruments like mandolin, acoustic guitars, and a piano they seem to have pulled from a western saloon, comes off as a parody of a hokey indie act. It isn't a strong look for Thrice, although it is worth mentioning that the cover of "The Earth Isn't Humming" saves the EP for a flickering moment, especially in hindsight of hearing the boring version presented on their new live disc. Ultimately, the EP finds a queasy rally cry in "Come All You Weary" before sputtering out in the vocally over-layered "Child of Dust".

If nothing else, the Alchemy Index EPs are telling of the varied talents of Thrice as a band that seeks a new sound each time they retire to the studio. Almost five years removed from the tunnel-vision hypermelodia of The Artist in the Ambulance, they are due for another record of such strength and weight. Which of the various directions explored in these past few records hold the future of Thrice is yet to be seen.

Thrice - The Alchemy Index, Vol. 1: Fire
3 1/2 breadsticks (out of 5)

Thrice - The Alchemy Index, Vol. 2: Water
2 3/4 breadsticks

Thrice - The Alchemy Index, Vol. 3: Air
4 breadsticks

Thrice - The Alchemy Index, Vol. 4: Earth
1 1/2 breadsticks