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Queens of the Stone Age Concert Review from Center Stage in Atlanta – 3.21.2011

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Mar 232011
 
Queens Incinerate Center Stage in Hotlanta

Queens Incinerate Center Stage in Hotlanta

Queens of the Stone Age unleashed a precise and brutal attack on Atlanta’s Center Stage Theater (formerly Earthlink Live) Monday night. QOTSA kicked off this mini tour in support of the re-release of their eponymous debut album at SXSW a few days ago. Usually I’m not big on re-releases, especially when the original release was digital, but any excuse to catch a Queens show is good enough for me.

They blasted through their first album in its entirety with just a few shuffles of song placement for better live presence. Songs like “Regular John” and “Avon” are usually delivered in extendo-jam versions at shows, but Queens played the majority of the Queens of the Stone Age as it is heard on the album. Jams were reserved for “Solid Gold” and “The Fun Machine Took a Shit and Died.”

Although the songs were kept to their album presentation they were tightly wound and precisely executed with josh Homme’s patented buzzsaw assault. The band was seamless and effortlessly peeled off song after song with a blend of well-oiled ease and brute force. The small-ish venue was enraptured from the first note and whipped into a frenzy by songs like “Mexicola” and post-Queens of the Stone Age releases in “Feel Good Hit of the Summer,” “Little Sister, “Something in the Wolf” and by the crushing fury of the uber face-smasher “Song for the Dead.”

The guys are lean, mean, and sounding like a fucking flaming freight train of rock. I imagine this is a tour to breach new ears with and rally support for the re-release, but also to tune-up the rock chops for final recording and touring behind a new album which better be out soon.

The Forgotten Talent: The Backing Vocals of the Bass Player – Anthony, Mills, Deal

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Mar 182011
 

bass_players_kisses-and-noiseBass players always get shit and it is generally because the average music listener isn’t enthralled with the thudding hum of the bass line. Musicians and music nerds know that the bass locks with the drums to lay the foundation for everything on top of it, but this isn’t a crusade to bring respect to least popular part of the band (unless you’re Gene Simmons or Les Claypool or something).

This is to bring attention to bass players that elevate their band to epic levels with their voice. The backing vocal that creates a sound that is partly what defines the band and most people hear it, but don’t realize how much they love it. My examples: Michael Anthony, Mike Mills, and Kim Deal.

We all love Van Halen (Yes we do) for Eddie’s shredding guitar, Roth’s howling and genre-defining swagger, and to a lesser extent, Alex’s super tight tom’s, but what is that sound in the background? Can you hear it? Sing the chorus to “Panama” in your head right now. Do it! David Lee’s vocals are bolstered by that high pitched choral voice. It’s Michael Anthony’s unmistakable cries in the background.

Check out the background vocals on Diver Down’s “Dancing in the Streets” Once you hone in on Anthony’s voice I would argue that it is as integral to Van Halen’s sound as Roth or Eddie.

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Kim Deal added that je ne sais quoi to The Pixies. Hear that ‘oooo-oooo” in the background of “Where is my Mind?” It’s haunting and adds a great contrast to Frank Black’s male, rock vocals. She was so good as a background singer that her style worked perfect for the lead in the indie-alt outfits of The Breeders and The Amps.

“Debaser” from Doolittle is as good example as any because it highlights her interesting voice in the spoken part – the early chorus – then her ethereal singing voice in the latter chorus.

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Michael Stipe gets all the credit and definitely possesses one of the most unique vocal sounds in rock, but it is Mike Mills, looking like a 4th grade teacher, that adds something sublime. He plays bass, wears 80′s eyeglasses with thick lenses and is easy to overlook. Now listen closely. “The One I Love” comes alive, like most of their songs because Mills’ voice comes pre-packaged like a full chorus of fat women. It’s crazy.

“Orange Crush” is a pretty good example of Mills’ vocal contribution.

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Am I crazy or do I have a point here? Who am I overlooking? Did I take this job just to earn a quick buck? Thoughts?

Radiohead is the New Grizzly Bear! Album Review: The King of Limbs

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Feb 212011
 

Radiohead_the-king-of-limbs_album-review_orlando-music-blogHa ha – Not really, I just thought that would be a funny headline, but the seventh track on The King of Limbs, “Give Up the Ghost” draws the “Grizzly Bear is the American Radiohead” comparison full circle. It starts with birdsong and builds a haunting layered vocal call and a stripped down percussion that may just be an amplified slap of an acoustic guitar body. Gentle guitar chords are accompanied by layers of vocals with different treatments and all is reminiscent of GB’s folkier approach to electro-alternative. This was also the point that the new sound began to sink in…

The album opens with looped piano notes and then a modulated beat creeps in sounding like a tennis shoe in a dryer. My first instinct was to assume, “here comes another insane Kid A-ish departure from normalcy.” Where In Rainbows came on with a completely new feel, The King of Limbs definitely harkens the Kid A / Amnesiac era as the first two tracks unfold, but only in their deconstructed approach to pop. The tendency is also to use synthesizer references in explaining the ambient sounds, but since this is Radiohead there is usually a far more organic-meets-outlandish technical production afoot. What sounds like synthesizer could be notes played from a harp in the basement of an old house, sampled and played backwards at half speed. Cheeky bastards!

The third song, “Little by Little” creaks forward from the delicately constructed electro-haze with a simple and soft, yet driving guitar chord festooned with a wall of maraca-like percussion. Elegant duel guitar parts bolster the chorus until the simple and sinister sounding acoustic progression returns. This song and the closer, “Separator,” are the easiest to wrap your head around and help you to digest the sonic approach to the rest of the album. For instance, my first exposure to “Lotus Flower” was through the video that was released just before the album. I think I was so transfixed by Thom Yorke’s apoplectic gyrations that it mitigated the impact of the song. After listening to the album once, then again the simple beauty of “Lotus Flower” emerged.

In the end Radiohead was able to continue the amazing feat of producing a new album that sounds fresh and inspired while being unmistakably Radiohead.

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Track 3 – “Little by Little”

Buy Radiohead’s The King of Limbs

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Kid Cudi wit Kanye: Too Catchy

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Feb 182011
 

kid-cudi-man-on-the-moon-2_orlando-music-blog_erase-meI don’t know what the hell is wrong with me. First I can’t get this song out of my head, then when I finally get around to listening to Kid Cudi‘s new album, Man on the Moon 2: Legend of Mr. Rager, it’s his anthemic song with Kanye – “Erase Me” that won’t escape me. I’m trying to maintain my rock cred here, but it is the single / terrestrial radio worthy ear worms that have overtaken me lately.

I was eager to hear Cudi’s new stuff because I thought the first album was a true evolutionary step for hip-hop in the seamless meshing NY rap style with indie / alternative sensibility and layered electronica. Man on the Moon 2 is just that – a sequel. It doesn’t seem to break any new ground – on the first few listens anyway – and in fact, appears to be missing some of the unique edge that Ratatat may have brought to the table by producing the debut. It is good and there are are a handful of standouts including this super-catchy song, but I think I was just expecting more. It’s dark and introspective with descriptions of heavy drug use and allusions to suicide which builds on the themes of the troubled soul and MC. So in that sense, it may purposely be a sequel that does not expand too far beyond the original by design.

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Broken Social Scene Soldier Through Set at Firestone, Orlando 2.13.11

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Feb 152011
 

broken-social-scene_orlando-music-blog_firestoneOK. This show was weird. Not crazy or anything, but the presentation was kind of stilted and incongruous. Broken Social Scene sounded great and worked a thorough playlist that included “7/4 Shoreline,” “World Sick,” “Texico Bitches,” and “Lover’s Spit,” but lead singer, Kevin Drew, was battling laryngitis or lung issues and made it known. His voice sounded pretty good, but very early in the show Kevin revealed he was in a great deal of pain and was losing his voice. This notion and his obvious discomfort, first, made every song seem like it was the last. The crowd just kept getting the feeling that the show was going to be called any minute.

Second, it led to some interesting improvising with the set as they scrambled on-the-fly to work in songs where he didn’t have to sing. Some songs for female vocalist and super-cutie, Lisa Lobsinger, were arranged sequentially including “All to All,” then a series of instrumentals were brought out. After her songs I thought it was over. After the instrumentals I thought it was over, but they kept playing. Then Kevin returned to do some softer versions of songs including “Superconnected” with a little Modest Mouse “The World at Large” lyrics sprinkled in for good measure. Now I thought it was over for sure as he kept pointing to his throat and people off stage were pointing to their watches (in preparation for Latin Night which fucks up every show because they start earlier than listed BTW).

Next they continued with some songs that were definitely vocally challenging because there was more loud singing and he soldiered through. They played “World Sick” which I thought for sure would be the closer. Then they played “Lover’s Spit” which seemed like a perfect outro. Then they asked, “One more song?” They proceeded to play two. So I’m not sure if he was sick, rebounded a little at the end, or their dedication to the audience made him fight through his ailment, but it ended up being nearly 2 hours and didn’t come across completely seamless. Other than that I liked it.

Smith Westerns and Yuck! from BackBooth in Orlando – 2.3.2011

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Feb 092011
 

smith-westerns_live_backbooth_orlando-music-blogChicago’s Smith Westerns are gaining plenty of acclaim and buzz around their latest album, Dye it Blonde. They have Chi-Town sound in their 70′s guitar rock approach with the indie twist of subtly downplaying a sound that could be much larger in favor of hooks and bright melodies. Orlando music aficionado , Bao, compares them to the dreamier side of T-Rex and I would have to agree. They sounded good and even brought their sonic approach from Dye it Blonde to tunes from their abominably recorded debut album. This unlocked the core melody and vibe of a song like “Tonight” from the shackles of the purposely low-fi and sometimes grating sound it has on the record. That being said, I’m going to have to go with Yuck! for stealing the show. They brought an unabashedly big sound that took me by surprise and ended their set in a screeching jam out. I like.

Little Dragon: Blowing Minds at BackBooth – Orlando, FL 1.26.2011

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Jan 272011
 

Upon entry I was greeted by Portland, Oregon’s Billygoat in the middle of their set. It was gorgeous, haunting, ambient music created with drums, guitar and the vocalist working a synthesizer and an array of other electronic equipment. This was set and synchronized to some of the most stunning digital animation I’ve seen at a show like this.

little-dragon_yukimi_orlando-music-blog_kisses-and-noiseSeeing Little Dragon live is a neck breaking collision of soul, electronica, and rock ‘n roll. Their last appearance at BackBooth in 2010 brought out about 60 rabid fans. This time around the venue was packed. I guess appearing on a Gorillaz album does wonders for publicity – being completely awesome helps a lot too. Vocalist, Yukimi Nagano, who seemed a tad shy on the last time out worked the room with a strengthened charisma while the insanely talented gang of Swede’s that comprise the band ripped a hole in the time-space continuum that pulled the BackBooth into a swirling vortex of energized dance rock. No, I was not on acid.

little-dragon_orlando-music-blog_kisses-and-noiseThese guys are on the verge of something huge. They have the right mix of unique sound, talent, charisma, musical arrangement, live presentation, and mass appeal. They deliver their smooth electro neo-soul like a rock band. The volume was crushing and they often turn 3-minute singles into 10 minute exploration jams. The vibe was fun and intense. It is one of the few shows I’ve attended where it is packed shoulder-to-shoulder but everyone is dancing like it’s a club. When I say everyone, I mean everyone including guys … white guys! Nearing the finale there were moments reminiscent of Radiohead with bassist / sampler, Fredrick Källgren, hunched over his devices twisting knobs and warping sound along with a pulsing house-like disco party freakout brought on by Erik Bodin’s clever drum work and Håkan Wirenstrand‘s driving keys that shook walls and made it feel like an Ibiza ecstasy party. I nearly had a pants-off dance-off with myself.

New Music: I think they said the song was “Bitter Tears“  “Summer Tears” from their forthcoming album …

Yo La Tengo Fills The Social Despite a Class 3 Kill Storm – 1.25.2011

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Jan 262011
 

Signed Vinyl of the Score to Adventureland

Signed Vinyl of the Score to Adventureland

On Tuesday night the godfathers of indie rock swept into The Social on the heels of Rain-a-geddon – more commonly known as a thunderstorm in these parts – and proved why they maintained their status for over 20 years. They embody everything that “indie” stands (stood) for. Besides being eligible for a pension from Matador Records they are quirky, fun, somber, experimental, sweet, and can flat-out rock when necessary powered by Ira’s roaring guitar rig.

They opened the show by announcing that there would be 2 sets, the first being determined by the spin of a Wheel of Fortune inspired wheel. Pure chance would determine what Orlando got to hear. It was to be spun by a member of the audience and YLT would have to play whatever the fates imposed. There were 8 categories including: Dump (James’ solo recordings), Sounds of Science Pt.1 OR Pt. 2 (the instrumental recordings of Ira and Georgia), “S” songs (YLT songs beginning with the letter “S”), TV sitcom (they would act out a sitcom, which would be very interesting), and Condo Fucks (YLT’s cover band alter ego) to name a few.

This concept is basically a band saying, “We’ve been playing for over 20 years … fuck it. Let’s make it interesting” It is extremely impressive for a band to have that many songs at the ready and just be able to slide into a set based on the spin of a wheel each night. The second set, a  more traditional setlist, will not be repeated from night to night either.

We got “S” songs.

The show exemplified YLT’s style with quiet moments, sing-along moments, low-key and intimate banter followed by flashes of epic rock.

Washed Out Poops Out @ BackBooth 1.22.2011

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Jan 242011
 

washed-out_live_backbooth_orlando-music-blog_concertErnest Green called the show about 5 or 6 songs into their set Saturday night. “I’m having some problems with my computer if you haven’t already noticed,” he bemoaned. I guess he couldn’t get Garage Band open. Beach ball! This time around he brought out a band: a rhythm section, and another dude on synthesizer to accompany Ernest and his computer along with a girl that dipped in and out to play tambourine and synth. Several people noted that the performance was much better than his last trip where he played as a one man band (computer). I thought the bonus of bringing on musicians and 4 or 5 synthesizers would be that you could play through and around songs that failed to open on your laptop?

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