- Aqualaygualry in arcade fire - black wave/bad vibrations Today i watching overlay from here. this is wondeful film. Who are watching this?
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- Peggus-interruptus in The Temper Trap Lovin’ The Temper Trap!
It’s cool to be eclectic these days. Power trios are out; glockenspiels and harmoniums are in. How many words you rate in a music column is directly proportional to how many instruments your liner notes say you used. And if you’re not touring with a string section, we didn’t really want you at our festival anyway.
I’d complain some more except that this particular fashion statement has produced some truly stunning albums in the last three years or so: Arcade Fire’s Neon Bible, Sufjan Stevens’ Illinois, and The Polyphonic Spree’s The Fragile Army, just to name a few off the top of my head. (I thought those were great records anyway; that’s been the general consensus around here, but your mileage may vary.) Now, to that illustrious list can we add the latest release from Islands, Arm’s Way?
Erm…not so much. On Arm’s Way, what Islands really sound like is a cut-rate Wolf Parade cover band being repeatedly strangled by a vaudeville act. Every time one of the songs really starts to get going, it’s interrupted by some sort of of sophomoric diversion, like the sub-”Fool in the Rain” Latin break that cuts “J’aime Vous Voire Quitter” in half, or the horrible middle section of “Life in Jail,” which sounds like something that The Wiggles might have rejected. The album shifts gears so much that you’d think Islands were trying to become Boredoms circa Pop Tatari, except that they a) aren’t experimental, b) aren’t funny, and c) don’t have Yoshimi P-We screaming Peggy Lee songs. It’s indie rock for the ADD set, unhindered by the need to have memorable lyrics, or melodies, or hooks, or even novel sonic textures. The only exception is “Creeper,” which is what might have happened if Hall & Oates had been signed to Sub Pop — you can decide for yourself whether you think that’s a good recommendation or not. Otherwise, Arm’s Way represents the absolute dregs of the pocket symphony revival, which is pretty impressive to me given how much I hated the last of Montreal album. There’s nothing here that hasn’t been done better before, with the exception of the parts that should never have been done at all.
Label: Anti
Release date: May 20, 2008
Rating: 2.5/10 (Includes a slight boost because I think Hall & Oates are hysterical)
Sounds like instead of summoning The Cars, they now, also, want to be Lou Reed’s solo career.
3.953 out of 5
Yeah, so that happened.
So, my plan for this evening was to review the new “effort” from Scarlett Johansson, Anywhere I Lay My Head, I’ll Still be a Hot Young Celebrity With a Hall of Fame Rack and Will be Able to Release Bullshit Vanity Projects with my Hip Indie Pals That Have the Real Talent and Can Keep My Voice Low in the Mix So No One Can Tell That I’m Totally Sleepwalking Through This, but then Borch went ahead and busted out ??????an incredible review?????? that easily blew away whatever the hell misogynistic half-assed crap i was gonna write about trying to go easy on her so that when i’m a famous rock star and my people arrange a meeting with her through her people, she’ll still wanna fuck me. So, whatever. You win this round, Borch, you son of a bitch.
So let’s move beyond the celebrity foolishness and instead, talk about one of the most kickass records i’ve heard so far in 2008–one not enough people are talking about because this band A) does not feature a quirky indie actress; B) is not from New York City (because as long as you’re from New York and have some moderate buzz, the music press will gladly give you road head in your tour van, no matter how mediocre you actually are *cough*Vampire Weekend*cough*); and C) does not have a banjo. Hell, these guys aren’t even cool enough to be from a trendy town in their native United Kingdom–they’re from fucking Wales. ??????Yup. So why talk about some silly actress’ vanity album when we could be discussing Future of the Left?
“Have you seen these guys before?”
“No, this is my first actually. You?”
“This will be my sixth.”
When someones goes to see a band multiple times over in different cities it usually means one of two things: the band is absolutely worth seeing that many times or that particular fan is insane and a complete moron (see any Phish fan ever). From what I gather from my first experience at an Avett Brothers concert, I believe the former takes the cake on this one.
This show was a lot of first for me actually. First Avett concert, first time at the Chicago House of Blues and first real show I’ve been to since my weekend at Lollapalooza (my schedule and bank account blow). Needless to say I was pretty excited to see one of my favorite bands and they did not disappoint. Scott Avett opened the show on the drums to do a much more energized version of “Die, Die, Die” and it was very evident the crowd was into it from the floor actually dipping beneath my feet from jumping.
Once all the technical difficulties of poor Bob Crawford’s bass rig was figured out the set went up and down in terms of the moods of the songs, but the energy remained high the whole time. Slow songs like “The Ballad of Love and Hate” had everyone involved and even the answers given to crowd interjections by Seth Avett showed that even in a big house they could make it a personal show.
Two new songs played off the upcoming album The Gleam II were highlights of the set. “Murdered in the City” was a coy little tune with lyrics like “I wonder which brother is better / Which one our parents loved the most / I sure did get in lots of trouble / They seemed to let the other go” which were paired with small looks from both brothers. The encore number of “My Heart’s Like a Kick Drum” was surprising for me since it was almost more of an old Ben Fold’s 5 tune than the normal Avett folk-punk style.
Little additions to the show like a cello player on a good number of the tunes and guest appearances by tour mates Jessica and David Mayfield made all the difference in filling out the sound, which was especially fun on the set closer “Got To Sleep” where the crowd was left to sing and clap to the “La la…” melody of the song until they came back to finish up the song and do an encore.
Hard to believe the set was two hours long but after the time had passed (and the most broken banjo/guitar strings ever were restrung… poor roadie…) all left smiling, including myself. I’m sure the Avetts will be back soon so I can start adding up the number of their concerts I have attended. Until then, I’ll leave you with a video of “Murdered in the City” (although Seth also sang on the version tonight) so you can get excited for the new album like I am.
I didn’t like the kid from the start, getting involved where she doesn’t belong and all. Twirling a rabbit’s foot on a long chain, dressed predictably for a neophyte to this kind of work and swaying back and forth on her heels – there was baggage. No idea where that wardrobe came from either… from the shoes to the neck was high-end Good Will material – probably the donated wardrobe of the wife of a made man magna cum whacked - but the neck up was Daryl Hannah from The Pope of Greenwich Village.
“Red Johnny,” she introduced and extended her hand. Weak handshake and wouldn’t make eye contact, but I told her I was glad to meet her just the same. “I guess you know what we’re doing, but what say we get an Old Style first?” she offered. That voice and outfit would have been sexy were I not annoyed at having to do with this kid a job that I’d rather do with Frank, but a beer was a better idea than making small talk outside in the goddamn early-spring cold.
the indelicates are an english indie pop/folk/rock/whatever group, formed in 2005 by simon indelicate and julia indelicate, who started the pipettes and then apparently wised up and left that band when she realized what she had done. they have finally put out their first full-length album, called american demo. it’s different. it’s clever. it’s like the weird bastard child of kurt weill and queen. in a good way. like literate burlesque mixed with anthem rock. this might be the best thing that has happened to music in a long time. they have songs called ‘if jeff buckley had lived’ and ‘waiting for pete doherty to die.’ they talk about the media and shit. they can read. and julia has the clearest, most effortless opera-with-an-attitude voice.
don’t believe me? go ahead, watch the videos for the new singles ‘america’ and ‘new art for the people.’ then go buy the record from british amazon or something, because it is awesome.
i feel like you all should know that i am kind of infatuated with london band noah and the whale. they play breezy folk-pop tunes with whistling and stuff. whistling is very in these days, you know. the new single is called “shape of my heart” and the video is pretty awesome for ten bucks and a video camera. or maybe that should be 5 pounds and a video camera. whatever. foreigners.
anyway, watch it and report back. the commie wifebeater is the best.
It’s time again to revisit mid-90’s alt-rock in all it’s glory with a review of Alternative Releases: July 1994. This is my favorite collection so far.
You can find March, May, and Summer 1994 here and July after the jump.
I am going to defer a full review to a talented writer, but until that time, I offer you my one sentence review - despite Scarlett Johansson’s new album being subpar, due it deriving completely from a mix of all her favorite artists, much like a concoction of all your favorite sodas at the McDonald’s fountain…I’d still do her.
