Grizzly Bear - Veckatimest

Grizzly Bear's Veckatimest seems chaotic yet at the same time boringly tame.  Previous releases were more in the lo-fi style but here we have recorded proof of a band progressing.  Acoustic guitars weave in and out of each song and dream-like vocal harmonies are a must but also along for the show are choirs, detailed orchestrations, acoustic instruments of all kind, electronic manipulations, horns, and layers upon layers of tracking are all thrown into the mix that is Veckatimest; and the outcome is an album produced by a very ambitious group.  Then, after four or five listens, you get a better understanding of the album for it is meant to be listened to in its entirety.  As well as multiple times.  There are no stand alone tracks here as each is part of the puzzle that Grizzly Bear has created (and things start off very nicely with the first two tracks).  The one exception would be "While You Wait For the Others" which, unlike the other 85% of the album, follows a fairly standard song structure.  That is not to say this is a bad thing; music needs groups like Grizzly Bear to remind listeners that there are groups challenging music standards and creating truly original works in the process.  

4.0/5.0

Standout tracks:  "Southern Point" "Two Weeks" "While You Wait For the Others"

Grizzly Bear - Veckatimest

M.I.A. - Piracy Funds Terrorism Vol. 1

Last nite was the end of an era as a friend of mine moved out of his killer bachelor pad.  And in honor of this, a party (of course) was thrown.  And like any good party, good tunes were needed.  Well, the trend these days (thank you very much Girl Talk) is to listen to mash-ups.  "Oh my God!  It's Three Six Mafia and the Steve Miller Band together!  Awesome!"  I don't get it.  The novelty wears off fast for me.  Nevertheless, I do enjoy this mash-up by Diplo.  Prior to M.I.A.'s first release, Diplo took her verses from the Arular album and mixed them into his blend of thug-tastic hip hop, Brazillian funk, reggae, and eastern music.  The result is a pleasant little listen.  Give it a try and add it to your "mash-up" tab on your iTunes.  

M.I.A. - Piracy Funds Terrorism Vol. 1

Japandroids - Post-Nothing

Within the past few years the garage rock/punk genre has gone into the realm of highly distorted guitars which drown out the vocals.  Mostly made up of no more than three members, these groups utilize this extremely fuzzed-out sound to give the impression that there is total chaos occurring during these songs.  Some bands make it work (No Age) while others are simply making substance-less shit (Vivian Girls).  Well, still in this mold of fuzz-guitar-rock-thing, the duo known as Japandroids have recently released an album that is drenched in distortion yet also borrows heavily from garage rock.  And in doing so they have released one of the better albums thus far in 2009.  Also in the mix is one of my favorite songs I've heard in awhile in "Heart Sweats":  this song rocks for its entire four and a half minute running time.  But things aren't always intense guitars and pounding drums and cymbals; later on during the song "Crazy/Forever" the duo slows things down into a groovy stoner metal-style riff on par with anything Kyuss or Fu Manchu has turned out and then switching it up for a very radio-friendly (catchy) sounding chorus.  Although only eight tracks long, Japandroids pack enough punch and "fuck-it" attitude in these songs that as a listener you are not disappointed when track eight rolls back to one; it just means that you get to listen to it again.

4.6/5.0

Standout tracks:  "Wet Hair" "Heart Sweats" "I Quit Girls"

Japandroids - Post-Nothing

brakesbrakesbrakes - Touchdown

I picked up this album knowing absolutely nothing about the band.  The description of their music sounded interesting so I gave it a go.  And I was pleasantly surprised.  Although not going to win any awards or capture a mass audience, it is a great example of the influence of college rock of the 80s (Husker Du and Pixies especially) and the early 90s alternative scene ("Don't Take Me To Space (Man)").  Ripping through 12 songs (13 if you count the "hidden track") in about 35 minutes, the brakesbrakesbrakes cover their spectrum of influences from 80s brit-pop ("Do You Feel the Same") as well as the 90s Blur/Oasis sound ("Oh! Forever") while incorporating the punk-pop choruses of bands like the Replacements.  They even try out a little alt-country in a couple of the songs but more in the vein of the early acts such as Uncle Tupelo and early Ryan Adams.  A great little album that will go unheard by a generation (aka mine) raised on a steady diet of alternative rock.

3.6/5.0

Standout tracks:  "Don't Take Me To  Space (Man)" "Oh! Forever" "Crush On You"

brakesbrakesbrakes - Touchdown

The National (live)

Heading into yesterday, I was fully anticipating Wednesday, May 27, to be a classic.  I had some buddies coming to town and we were all going to head to a local soccer pub to watch the EUFA championship (often referred to as the Super Bowl of soccer as it pulled in an estimated 200 million viewers).  Instead I woke up at 9 in the morning to a wicked bout of stomach sickness (this was a two pronged attack if you know what I mean...).  So when my friends rolled over to my house at noon I had to inform them that I was totally incapable of going.  Bogus.  After some comments about my "softness" they went ahead without me.  

Next, the day was to lead to a concert at the best venue in Atlanta (and best I've ever been to):   the Tabernacle.  And the featured act:  The National.  So I chugged a lot of water and ate a sandwich and made my way to the venue after meeting up with my friends.  Now, I've never been a true fan of their music although I am familiar with their catalogue and they have some great songs.  After picking up our tickets (at a price a little steeper than I would have liked) we ventured inside the inferno.  The place must had been 90 degrees and everyone was just a sloppy, sweaty mess.  We squeezed our way through the mass to get as close to the stage as possible but as I had been ridding my body of water all day (and supremely prone to heat stroke/exhaustion) I knew this wasn't a good idea.  So after 20 minutes (and getting harassed by some chick who I couldn't comment back to because my body was about to give out on me) I grabbed a water, made a bathroom stop and hoofed my way to the balcony seating in hopes of finding an AC vent.

No luck with the AC but I did find a nice seat with a great view of the whole stage.  Finally, at about 920 (there was no opening band, just some weird sax guy playing some equally weird sax-only music) the band hit the stage:  all five members plus a three piece horn section and a touring keyboardist.  They started off with a slower new song but quickly made their way into tracks from their popular albums Boxer and Alligator.  From there they didn't let up.  Lead singer Matt Berninger crooned his way through the set and bantered with the crowd (even acknowledging my friend and giving him a cup of the white wine he was sipping from throughout the show) often making reference to the beauty of the venue.

The show was amazing.  I was expecting a low-key set from these Brooklynites but it was quite contrary.  There were moments of intensity, sonic freakouts, punk-rock-like screaming and trashing and rollicking rockers.  Afterwards I was left with a greater love for the band.  I entered with a mild appreciation of them as studio artists but after witnessing their tightness as a band and rather intense live show, I found myself with a newfound respect of The National.  In the end, if you ever get a chance to check them out (even as a mild fan) jump at the opportunity for you will be treated to a great live show that will have you and your friends actively discussing it afterwards.

Jarvis Cocker - Further Complications

A couple years ago Jarvis Cocker released his first solo album away from his longtime band Pulp.  I gave the album a couple listens (not familiar with any of his work with Pulp) and dismissed it as yet another aging-rockstar-who-realizes-they-are-growing-old-and-it-kind-of-bums-them-out album.  There were no moments of "wow" and it was, honestly, depressing.  But now it's 2009 and he has gotten over that phase and decided he would shake things up a little.  And this time he would do so with tongue firmly in cheek.  On board this outing is distinctive producer Steve Albini.  Albini is known for his stripped down productions and upfront sound.  For two decades this has described his M.O. and as a result bands such as The Stooges, Nirvana (I still get chills when listening to the opening drums of "Scentless Aprentice"), Joanna Newsome (ugh), and others have requested his services.  And together, Cocker and Albini have created a frontrunner for one of the best (if not the best) albums thus far of 2009.

From the opening chords is pelted with the trademark reverb and overall grittiness of Albini's sound.  Then Cocker joins the scene and it begins.  He describes how his life only leads to (album title) further complications.  But he doesn't do it in the mopey style of his previous effort but instead Cocker does it with a cocky kind of swagger.  This tone prevails throughout the album.  For example, "Leftovers" has him detailing a relationship with a woman he met at a paleontology museum (and he has "no bones about it") and his efforts to love.  And the song is very much in the style of early 70s Bowie.  Lots of emotion and buildup.  In fact, much of the album sounds as though it should have been released 36 years ago.  

Only once during the album's run does Cocker push aside all the goofiness and display some honest emotion.  And consequently, like the rest of the album, it is great.  "Slush" which is about, ahem, global warming, is a lovely track.  But never does it come off cheesy considering the subject matter and the rest of the album's mood.  In fact, it's sandwiched in between "Caucasian Blues", which contrary to the name is more of a straight rocker than a blues song (yet still relays the troubles of the white dude), and "You're In My Eyes (Discosong)" which is, no joke, a disco song complete with the synths and spoken word interlude.  

This signifies just how great this album is.  The tracklist (although splendidly put together) could work in any format and the overall effectiveness of the album would remain.  Whether it's a disco song, an instrumental ("Pilchard"), or a song that could have been a 60s hit with its catchy riff ("Angela"), it all works.  Cocker, assisted beautifully by Albini, has released an actual album.  Sure you could check out a track here or there but you would be doing the two an injustice by not taking it all in at once.  Each track is definitive in its own way, thus making it one of 2009's definitive albums.

4.7/5.0

Standout tracks:  "Angela" "Leftovers" "Slush"

Jarvis Cocker - Further Complications

Pink Mountaintops - Outside Love

During my time spent in Madison, Wisconsin, there was a bar down the street from where I lived with quite possibly the best jukebox ever.  The Wisco (name of the establishment) was a  pretty grimy place that was very dark and only lit up by the occasional neon beer sign and a painball machine.  The bartender (usually a huge bearded dude) also operated the deep frier behind him (wings and fries only).  It was a pretty kickass place but back to the jukebox:  it, just like the place itself, was very simple and rock-n-roll-like.  There was no Justin Timberlake or Nickelback on this box, instead you got bands like Helmet, Kiss, Mastodon, all the Metallica albums, and Black Mountain (whose song "Don't Run Our Hearts Around" I always played).  Stephen McBean, leader of Black Mountain, also has another project in which he releases his songs:  Pink Mountaintops.  And the other week they released an excellent little album that is much in the vein of Black Mountain.  Just a damn good listen.

For fans of Black Mountain (duh), Black Keys, Dark Meat, Mercury Rev, Queens of the Stone Age

Pink Mountaintops - Outside Love

Pardon Me, Coming Thru

Not sure what prompted me to look up this video.  But it is sweet.  Just some lanky Brit who is too cool for school to pardon himself as he plows over men, women, whoever.  Also, the song is still really good.  Takes me back to middle school when times were easier...

A Re-Issued Classic

In 1997, Company Flow released an LP unlike anything heard at the time:  Funcrusher Plus.  Bigg Jus, Mr. Len, and El-P spent three years putting together this final product and the result still sounds as fresh and as innovative as it did 12 years ago.  Although this was the only official LP, it was used as a springboard to launch the career of El-P.  His beats became comparable to RZA and Dre before him, not in the sense of commercial appeal but more in the sense that they were so original that they could have been produced by no one else.  From there he went on to produce another classic album (Cannibal Ox's The Cold Vein) as well as lend his talents to other artists all the while producing his own albums and starting a record label (Definite Jux).  But throughout his still stellar and ongoing career it was this, the first Company Flow album (re-issued by Definitive Jux just the other month), which defined an artist and proved that underground hip hop is as innovative, if not more so, than its mainstream counterpart.  

Company Flow - Funcrusher Plus

Wilco (The Album)

In a swank Chicago recording studio...

Jeff Tweedy:  So we got to think of a name for our new album fellow Wilco members.

Nels Cline:  How about something that when people hear the name of it they know instantly it's the new Wilco album?

John Stirratt:  How about just self titled?  And then add "the album" to it with parenthesis? 

Jeff Tweedy:  Beautiful.  Now what about the cover art?  We need something that also represents us as a band...

Glenn Kotche:  How about a sweet picture of me playing my drumset?

Jeff Tweedy:  Who are you?  Awful idea.

Pat Sansone:  I'm in the band too.

Jeff Tweedy:  Uh huh.  Ok, looks like it's up to me again.  I saw a camel on TV the other day.  And everyday is someone's birthday and you gotta wear a party hat... Got it!  Wilco.  Camel in a party hat.  Brilliant!  But if a camel isn't in a desert, where else could it be?  Of course!  On a patio in Chicago just to remind everyone where we are from!  Fellow Wilco members, I've done it again.  You can thank me whenever...

Wilco - Wilco (The Album)

Passion Pit - Manners

Electronic music is so hip these days.  And if you have an 80s sounding slant to it, even better.  There is a niche audience (ahem, Brooklyn) that eats this shit up and I must admit some of it I enjoy (Late of the Pier).  However, there is some I don't (any mash-up (fucking cannot stand the mash-up craze that Girl Talk started and don't get why it's "cool" to hear Nirvana and Mobb Deep together)).  Amongst all the electronic releases last year, Boston band Passion Pit released a nice little EP entitled Chunk of Change and they immediately began to receive attention by press as well as the public.

Now, less than a year after that release, they have prepared a full length that continues where the EP left off.  The band consists of live drums, a bass, and three people playing various keyboards.  And the front "man" (use that term lightly (he has an extremely high voice)) handles all vocals and harmonies and it sounds damn good.  The track "Let Your Love Grow Tall" in particular has Michael Angelakos harmonizing throughout the song's run.  

Another trait the album has going for it is its mood; it is never dragging.  Throughout the course of the album's 45ish minutes, it is hard to feel down while listening to it (unless you go into it just have learning your cat died or something).  I mean there are two tracks with children singing on the chorus ("Little Secrets" and the aforementioned "Let Your Love..")!  The third track ("Moth's Wings") has a more serious tone but it is immediately followed by the album's first single "The Reeling" which will soon be (if not already) dominating indie themed dance parties soon for it has a very "night out" feel to it.

(It's video also possess this attitude and is very arty (imagine an indie electronic band being arty!))

 

The next couple songs slow the album's tempo a little but not in a bad way.  "Swimming in the Floods" sounds like it could have been a single for Duran Duran in 1984.  Following these tracks you get a barrage of excellent tracks (one with hand claps, awesome) including a song which was actually used as a single on the band's EP ("Sleepyhead").  This trend of good songs continues through until the album's closer ("Seaweed Sea") which calms the listener down a little to end things.  

Overall Passion Pit have released a nice little album that sounds definitely be checked out by anyone into this electronic phase (MGMT fans...).  It is very catchy and just an enjoyable all around listen that doesn't require your full attention at all times to fully appreciate it.  The band will also soon be embarking on a tour and I will be there checking it out in hopes of not getting bombarded by 17-year old Pitchfork readers (they have already voiced their approval of Passion Pit).  Anyways, give the album a listen.  Nice little effort.

4.0/5.0

Standout tracks:  "The Reeling" "Little Secrets" "Eyes As Candles"

Click here for Passion Pit  - Manners

Say What?

Radiohead, arguably the biggest band in the world right now (I would say "yes") has been producing excellent music for nearly 20 years now.  Today they are known for their "out there" ways (a free album?) and continue to change their sound and image with each album they record.  This song is my favorite from The Bends (the last minute alone sets it apart from 95% of all music made today) and with it is a kickass video.  Just some mates playing together in a flat while someone down below baffles the crowd with his actions and a few magic words.

For Your Next 45 Minute Long Workout

So for the past few years Nike has asked various artists to record a 45ish minute long song in order to listen to during a run.  The artists I remember doing it include Aesop Rock, A-Trak, Crystal Method, and LCD Soundsystem.  And although some were passable (Rock didn't drop a single verse on his) while others were worthwhile (LCD's included what at the time were samples of songs which would be featured on the Sounds of Silver album) it's still a premise worth checking out.  The latest to join the club is old school rap fave De La Soul.

Here is a link to a site in which you can check it out sans a fee.

Enjoy.

http://rappamelo.blogspot.com/2009/05/de-la-soul-are-you-in-nike-original-run.html

NIN SNAFU

Last nite I finally got to check another band off my list of "must see before I die."  Nine Inch Nails.  They have been a favorite of mine for years and upon hearing this was their last tour, I had to fork over the cash ($75) to get great seats.  The way it worked was the NIN fan club had a presale over two months ago in which fans could get their pick of the better seats before the box office opened to the general public.  And instead of mailing the tickets to you, they would be held at the will call at HiFi Buys Amphitheater here in Atlanta.

And this was the problem.  I got there at 6:45 (7:00 start time) thinking I would be able to just walk up to this special line and not have to deal with any waiting.  Wrong.  There was a massive line of those who had spent serious cash ($115 bucks apiece for the pit) to get great seats to see these great bands (Jane's Addiction co-headlined).  The issue was that the fanclub tickets were printed off but only once.  At Lakewood (what everyone here in ATL still calls it) there are two box offices and about a mile separates them.  So you had to hope that your ticket was at the gate in which you were in line for.  And if not, then they would take your name and run (literally) to the other box office, get your ticket, and bring it back.  

Totally fucked up.  

So 7:15 rolls around and I've moved maybe twelve feet in line.  Meanwhile, Street Sweeper Social Club (collabo between Rage Against the Machine's Tom Morello and (underrated and relatively unknown) Boots Riley of The Coup.  And then they get off stage so I've missed one band and still waiting for the ticket I purchased two months ago.  

Then the discussion starts around me (who by this point is royally pissed off) who will go on first:  NIN or Jane's?  Well, the answer came in the form of the pulsing drums of "1.000.000"  (second track from The Slip).  Fuck.  The band I came to see specifically has hit the stage and here I am still in line and still waiting.  We were hoping they would hold the show since a number of true fans (those of the NIN and Jane's fan club) were not in the venue.  They said they were going to delay them but not nearly long enough.  

They continue and we wait.  March of the Pigs.  Wish.  Something I Can Never Have (an absolute favorite of mine in terms of greatest songs).  They were in full gear.  Finally, (after a number of failed efforts to get us in) they print out a list (duh) and begin to check us off one by one and print up tickets there so we can get in.  

So finally I get in after having spent nearly two hours in "line" waiting for my ticket.  Upset and pissed and in a terrible mood I get to my seat (which was an about 12 rows behind the pit) and watched.  They are fucking so great live.  And the fans are loyal to every note and lyric the band performs.  Having already missed a few songs I wanted to see on my "dream setlist" I stayed optimistic that I would be treated to others.  "The Becoming" was the first full song that I saw and it was pretty incredible.  Trent was fully into it (sweating like Patrick Ewing in the 4th quarter) as were the others.

Saul Williams even made an appearance (him and Trent collaborated a few years back on Williams' The Inevitable Rise and Liberation of NiggyTardust)  guesting on "Survivalism" and Williams' "Banged and Blown Through."  The second of which kind of slowed the pacing and intensity of the show for the next few songs.  

Then they finished strong with "The Hand That Feeds" and the closer "Head Like a Hole" (which was and still is a classic song (was written twenty years ago now)).  Overall it was pretty awesome and I would suggest anyone to check them out but this is their last tour (as Trent vocalized during the set with sincere sorrow and love to his fans).

Jane's was also suprisingly great (forgot how good their songs are (excluding that shitty album they released back in 2003)).  Dave Navarro didn't even bother to hit the stage with a shirt (I think this summer tour is just an excuse for him to go topless for 4 straight months).  Perry was dressed in some sort of red jumpsuit thing and proceeded to act like a truly great frontman by keeping the energy high and looking as though he was loving his time on stage.

Upon leaving the venue and walking back to my car with ringing ears (it was loud as fuck in there) I reflected back on the whole experience.  Obviously I am super pissed about the whole ticketing thing (already emailed a few different people in hopes of getting some form of apology) but once I was inside it was great.  Wish I had taken pictures (camera batteries were dead when I checked in the parking lot before entering) of the great setup (Jane's had banners of a naked woman on each side of the stage).  Regardless, it was a great time and had a great nostalgic feel for me as they were two bands I adored in my youth (and still do to this day).

Honestly though, Trent, do something for your fans.  We spent our time and money to appreciate your show.  The whole thing.  Not 75% of it because of a "ticketing problem."  

Free show for us 300 unlucky souls?  Just a suggestion.

Swine Flu

You've heard about it and read about it so now why not watch a music video about it (spliced together using nothing but footage from zombie flicks).  Cheeky British rapper Mike Skinner (The Streets) has written a lil' song 'bout the latest worldwide sensation.  I like the song but I also enjoy attempting to figure out which movies are "sampled."

Stay healthy and keep your eyes peeled (in the case of this video, literally) for infection.

(Fairly gory so weak-stomached individuals beware)

What the Dilly Yo?

Lately I have been listening to a lot of Busta Rhymes.  That guy is insane.  And he has a stock pile of videos from the late 90s that fit his personality beautifully.  The one I remember the most is "Put Your Hands Where My Eyes Could See."  The video not only embodied Busta's style but also the entire hip-hop video formula of the era (thanks to Hype Williams).  You get tons of fish-eyed lens shots.  Hot women dancing.  And lots of cuts.  This stands out though for it's "Coming to America" theme, the scene with Busta and an elephant sharing a hallway, and the insane glowing paint tribe dance-off finale.  

And the song is hot (also it is the first instance in which I remember hearing the phrase "what the dilly yo").

Guess Who's Back, Back Again

I remember going to a record store after soccer practice one February day in 1999 (gulp, a decade ago) and picking up an album: the cover art depicted a car parked on a pier with a dead body hanging out of the trunk.  Also on this pier was the supposed killer who also happen to be the artist of the album.  It was some squirrelly, bleach-haired, white boy going by the moniker Eminem.  And the album:  The Slim Shady LP.  

I snagged it because I dug the hell out of the "My Name Is" song and the hype around the album was amazing.  Everyone knew the story by the time of it's release.  Poor white kid from Michigan.  Fucked up mom.  Fucked up girlfriend.  Meet up with Dr. Dre.  Made an album.  Slightly (or a lot) crazy. 

I was hooked from the beginning.  Every track I loved.  He was funny, a great rapper with a style all his own, and white.  Then he stayed right on top of his game and released The Marshall Mathers LP just a year later; and this time one hit on all cylinders.  It was loved by fans and critics alike (whereas The Slim Shady LP received mixed reviews).  To this day it still remains as arguably one of the greatest hip hop albums ever (I would put it top twenty).  Eminem had with the release of this album put himself into the discussion of the best lyricists ever.  And this rolled over into his next effort The Eminem Show.  While not on par with the previous release it was still an excellent album from start to finish.  

And I like to think of this album as his kind of swan song.  Because his next album, Encore, I prefer to act as though it wasn't even released.  That thing was awful.  There was no redeeming quality about it.  And I think Em knew this for he basically "retired" after releasing it.  He seems to put too much pressure on himself and this album was a failure.  And he realized it.

Enter five year hiatus.

Now he is back.  And on the 15th of this month he will be releasing Relapse.  And although the hype is there, it is nothing like it was five years ago (then again, nothing in music is like it was five years ago).  So about a month ago I decided to give him a second chance and watched a video for the first single entitled "We Made You."  I turned it on and watched/listened to it with a friend (a friend who I used to rap the entire Slim Shady LP with) and the consensus was:  it sucked.  He raps in that stupid Triumph dog voice ("Azz Like That") the whole time.  I could not overlook that so actually listening to the lyrics was a difficult task.

Then a few days ago he released another song.  And it is a gimmicky song of sorts with a video that I cannot imagine will be played on TV.  And I like this song.  Sure it's not groundbreaking in any lyrical or thematic sense but it's still pretty cool.  He has done this kind of thing before with "Mushrooms" or any of the songs in which Kim is killed.  He's just being offensive and the video is pretty (fucked up) cool.  The taste is definitely not for everyone but it gives me, an old fan, the tiniest bit of hope that he will redeem himself and make one more good album before he decides to go slightly crazy again and go unheard again for years (or forever).  

Welcome back Em.

Bob Dylan - Together Through Life

Bob Dylan is (still to this day) a cultural icon.  Regardless of your personal opinion of him as a person or as an artist, this is a fact.  But as he is approaching seventy and near fifty years as a recording musician, it seems like he releases albums now to appease his fans, not himself (which made him an icon so early in his career, his general I-don't-give-a-fuck-ness).  And this is painfully obvious with his latest release.

I admit.  I am a fan of Bob Dylan and have been for years.  I've listened to his good (Highway 61 Revisited) and bad (the 80s) and "modern" Dylan.  First thing:  the tone of this album is not nearly as heavy as his previous effort (Modern Times).  In fact, the album sounds like it was thrown together in a week.  That is not a negative thing as most musicians would not be able to accomplish such a feat but Dylan and his touring band have been together long enough to make this possible.  Another addition is the co-writing of Robert Hunter (the infamous "additional" member of the Grateful Dead).  And I find this upsetting.  Isn't Dylan supposed to be one of the greatest songwriters of the past half century?  And he needed help to write nine of the ten songs found here on Together Through Life?  Hmpf.

A few listens to the album and it does not have that sense that I will listen to it randomly two years down the road.  There are no real standout tracks.  The only thing that standouts (to me) is the use of the accordion on every, single, track.  Things start out with the latin-ish "Beyond Here Lies Nothing" and then switches up styles to the country twang sound he began to rely upon with Time Out of Mind.  And then there are the blues-sounding tracking (also becoming regular).  The album hits it's ultimate low point on the track "This Dream of You" which sounds like a Jimmy Buffet song reject.  Yes.  It's that bad.

So what is Dylan really trying to accomplish at this point in his life?  He has enough albums (including absolute classic albums) under his belt he can just become the oddball recluse he should have become twenty years ago (I believe it to be a great career choice).  Instead, he decides to release an album that will be forgotten (unless it turns out to be his final album) in two months time.  

Dylan fans, check it out (and shake your head in disappointment).  All others need not apply.

(Side note:  It does have a totally kickass album cover picture)

2.4/5.0 

One Take

So next week I will be seeing one of the best bands of our generation.  Nine Inch Nails.  Trent has embodied everything there is to admire about as an artist.  He writes great songs (Something I Can Never Have is one of the best songs written ever), he is prolific (he's always at work on something), and he is a kickass dude (all around).  NIN has some fucked up videos (ie., Closer and Happiness in Slavery) but I love the raw intensity of this video.  And it's done in one take, which I love (Children of Men).  

Keep up the good work Trenty baby (yes, that's what I call him).

Where da Party At?!

Went on a hiatus (AKA school finals (and a job).  So here is another link that you kids (who don't already know me) will know what was up as noted by the Digital Republican Utopia.

So I watched this video when I was (about) 11.  And I all I remember is thinking that I CANNOT WAIT UNTIL A HOUSE PARTY.  I mean this motherfucker was happening.  Ribs.  Fridge stocked of 4-0s.  Fine women.  Children who can dance (well).  Yet my first high school party (and all those that followed) was not like this.  It took me years to see anything remotely resembling something like this.  Is it really so much to ask for to have a game of volleyball?  With ladies?  Wearing bikinis?  And have someone rip their top down?  Apparently, yes.  And spraying chicks down with a drink(s) is not nearly as fun as this (because this gets them all upset (I mean, have they not seen this video, us guys are being ironic!).

This song is classic and it is a video I will always use as a meter to judge parties.