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