“Good to Sea” from The Social
“Fortress”
“Non – Photo Blue”
Oct 262009
K442384N
Oct 102009
Set opener, “Lebanese Blonde” at The House of Blues
“Sweet Tides”
Thievery’s cover of The Doors “Strange Days”
Oct 072009
Although Switchstance Records has serious “street cred” among DJ’s and electronica fans; Kabanjak and Dogu, the two artists who comprise Ancient Astronauts (and founders of the label), needed the muscle of a larger outfit to deliver their album to the masses. The Astronauts first full-length release “We are to Answer” remained in orbit for some time as they searched for the optimal international licensing partner. They finally reached an agreement with ESL Music for what seems like a match made in some intergalactic, down-tempo, eclectic, retro-modern heaven.
Hailing from Cologne, Germany as evidenced by the album title (it sounds like a rigid German response to: What do you do with a question? Vee are to ansa dummkopf!), AA creates a rich, layered and vibrant sound by mixing hip hop, dub, funk, house, electronica and serving it with a chill international flare inherent in all of ESL’s music.
Laid back ambience is exuded in tracks like the album intro “From the Sky” and “I Came Running.” That ESL signature feel that makes Astronauts such a good fit comes across in the world music vibes of “Lost in Marrakesh” and the raw, driving dub sounds of “All the Things You Do.”¬† In an attempt to cover every form of electronic music “Dark Green Rod” touches on AA’s stylized version of Drum ‘n Bass.
The Ancient Astronauts thrive when toying with hip-hop. “Risin High” with Raashan Ahmad and “Classic,” featuring members of Oakland legends The Pharcyde, meld the finest attributes of electronica and hip hop so seamlessly that they virtually create a new genre. “Classic” is one of the best single tracks of 2009. The song’s pounding drum beat with driving ride cymbal mixed with serious turntablism, trippy loops and tight, hardcore breakdowns underscore both teams talents and push the Pharcyde sound even harder than on their own.
Jul 122009
Hank Williams III is one of the most interesting and entertaining live acts to see. His shows are fierce, musically sweeping, and charged with whiskey and pills – you know, like grandma.
The first set is Hank III. This is an ode to when country was country. It was rough, ragged, and emotional. A time when country was dangerous and passionate, not the modern incarnation of dressed-up, fagged-out, soulless, mindless Top 40 ear diarrhea that is lame and gutless shit-pop dressed up in a stetson and presented with a fake country twang. You know, sing songs about the family, the wife, the country that are overt passes to get “Americana’s” attention focused on flat, lifeless music that by no means represents grit or real life experience. Hank III harkens the time when country music was about struggle – internal and external – whiskey drinkin’ and face punchin’. True fucking Outlaw. Hank III relies on some gritty originals, some country classics and the vast wealth of his grandpa’s (Hank Williams) music. His uncanny physical and vocal likeness to his grandaddy makes the experience that much more “real.”
“Those Pills I Took”
A tribute to real country – “My Country Heroes”
A vicious version of ¬†Johnny Cash’s “Cocaine Blues” with the full band on the attack – drums, slide, acoustic, stand-up bass, banjo, and fiddle.
The next phase of a Tricephus show is Hellbilly. This keeps the same country band and style intact with the addition of electric guitar and a harder edge. The result is a combination of hard rock and psycho-billy to produce hellbilly music.
Hellbilly is a brutal hard rock version of Outlaw country
Here is where a Hank III show goes absolutely apeshit. His third set is the Assjack incarnation of the band. All country pretenses are shelved for full-on, balls-to-the-wall hardcore.
It is so amazing that this is still the same show!
This is an Assjack medley of Van Halen, Ministry, and Slayer. Too cool.
Jun 182009
This was the final show of the tour and I fucking missed Grizzly Bear. TV on the Radio writes some great songs, but they are much better on the album. This is the second time I saw them live and confirmed that they aren’t so great (don’t suck) live.
“A Method” the last song of the night with members of Grizzly Bear
One of my favorite tracks from Dear Science – “Halfway Home”
Jun 052009
There were a handful of songs I liked from Atlanta’s MO. At first listen, they reminded me of a Death Cab for Cutie rip-off. Once I saw them live, that perception changed. They are emotionally charged like Death Cab, but with a heavier rock edge. Live, their songs are weighty and powerful with a strong rock presence.
An epic rendition of “Where have you been?”
Manchester Orchestra seems to possess a crowd of fans – powerful and trance-like the fans sing along
May 102009
OK, I’m not going to say my wife made me go. I really grew rather fond of this band. I saw them at several festivals and once on their own. Their songs had a little more weight live and they were able to pleasantly roughen their soft edges. This show at Hard Rock seemed a bit “phoned-in,” but maybe it was because it was the last show of the tour.
“Title and Registration”
Sing along time: “I Will Follow You Into the Dark”
“Marching Bands of Manhattan”
“Transatlanticism” I feel like I’m on an episode of Six Feet Under.
May 062009
The Kings of Leon have two fantastic albums full of hip, catchy, cool and fun garage rock … then I don’t know what the fuck happened. The whole “Sex is on Fire” and “Use Somebody” thing took mainstream dorks by storm and all but erased my previous opinions of the band. This show was the third time I saw them. To tell you the truth, they have a true songwriting talent which is amazing because it takes the entire band’s full concentration to struggle through a song – even though they played for years. So it is obvious that there is not going to be any jamming, rocking out, improvisation, or anything adventurous, but it seems like they found the perfect crowd for that – everyone. The show at UCF only drove that point home with goofballs and drunken frat boys caterwauling at the tops of their voices.
From the days when they were palatable “Slow Night, Long Night”
“Four Kicks” One of my favorites
The better band is really Brooklyn’s The Walkmen
A clip from “In the New Year”
Mar 232009
Pitchfork awarded this album a stunning, near-perfect review, and given their penchant for lauding bands with cool names and unconventional music (even if they suck), I was hesitant to accept this. Then, throw in the fact that AC’s previous albums, although boldly defiant, could never steer far from the sounds of a reckless cacophony. 
Merriweather Post Pavilion continues in that¬†Kid A approach to deconstructing people‚Äôs notions of what constitutes a pop-rock song. Scant use of guitar and drums with swirling, delicate layers of synth loops, bells, whistles, and odd blips combined with their unique vocal approach sometimes culminates in a maniacal and fantastical din – the sound of Willy Wonka‚Äôs Air Conditioner if it was on the fritz. It’s a Pet Sounds with no restraint, but I‚Äôm pretty sure that‚Äôs what they are going for. The Beach Boys comparison isn‚Äôt helped by the layered, echo-y yearnings of Panda Bear‚Äôs voice, but his soft and scary Brian Wilson – discorporated, floating above asynchronous waves of sound – is the high point in some of their music. ‚ÄúGuys Eyes,‚Äù one of the more coherent and direct tracks, and ‚ÄúMy Girls‚Äù expand with his voice, as do the ethereal backing vocals – reaching out of the din with eerie softness – on ‚ÄúLion in a Coma.‚Äù
This album is a watermark and it definitely does its job in merging indie and experimental in ways that challenge the listener, but (as I draw the ire of the hipsters), even though it is superbly produced, music like this can‚Äôt help but seem muddled. Live, with some lights and video, this material may be staggering, but it is performance art. AC is groundbreaking, fresh, and sure to influence music for the next few years. It‚Äôs just that, up close, near the source, it’s too much. It needs to be distilled in the minds of other musicians and reinterpreted (it‚Äôs actually already happening) in order to make it palatable. Most of MPP‚Äôs content seemed a minute too long for songs of their nature. There isn‚Äôt a track that makes me want to turn it up. In fact, I found myself turning it down to escape the auditory mindfuck.
Article originally appeared in REAX #38, April 2009
Mar 232009
At first glance I asked myself, ‚ÄúWhy two EPs? Why not one good album?‚Äù Then I listened.¬†March of the Zapotec, apparently inspired by a recent sojourn in Oaxaca, Mexico, plays like the White Album for Mariachi bands. More than drenched, it is nearly indigenous-sounding music that is a result of Zach Condon‚Äôs Mexican stay, just as Balkan folk and French Chanson music heavily influenced the last release, The Flying Club Cup. The first track (more of an intro), ‚ÄúEl Zocalo,‚Äù erupts from the start. It’s like being thrown into the middle of a Mexican street carnival. Like past releases, Beirut are able to cleverly synergize an international folk sound with good ole American indie whimsy.
Realpeople Holland is a nifty piece of indie electro-pop. This one is more a return to the familiar Beirut, at least vocally Р“My Night with the Prostitute from Marseille” brings Condon’s forlorn, drunken bellowing up front and center. The electronic exploration of Condon’s musical construction on this EP is lighter and not so much like “your-favorite-indie-music-got-swallowed-by-the-World Music-section-of-the-record-store” sounds of other work. “Venice” maximizes feeling and mood with its muted horns bleeding through waves of electronica, and the instrumental “No Dice” seals it all a with a sugary retro kiss.
Article originally appeared in REAX #38, April 2009