- Aqualaygualry in arcade fire - black wave/bad vibrations Today i watching overlay from here. this is wondeful film. Who are watching this?
- cattartiste in arcade fire - black wave/bad vibrations SplitVideo is a freeware virtual video clone and split video nick driver in behalf of connecting disparate applications to a single video...
- Peggus-interruptus in The Temper Trap Lovin’ The Temper Trap!
Chicago band “I Fight Dragons” proves that having a gimmick isn’t necessarily a bad thing. It’s easy to be initially skeptical considering the band uses the old school Nintendo video game system’s low-fi MIDI sounds to provide some of its music and they use old NES accessories like the Power Pad and the Power Glove during live shows, but this is anything but nerd-core with lame comic-book lyrics.
A listen to their new EP “Cool is Just a Number” reveals that IFD has a power-pop sensibility that recalls Weezer before they started sucking, and a bit of the electronic sounds of Postal Service mixed in. If you don’t believe me, check out this great video for their song “Money.” It’s got cool references to Super Mario Brothers, Pac-Man and Pole Position and the chorus has stuck in my head for the past three days.
I’d totally recommend checking out “Cool is Just a Number,” which is available for free on their website (when you sign-up for their newsletter). They’re also performing at the Apple Store on Michigan Avenue, in Chicago on May 22nd at 7 p.m.
Bring me your tired, your poor punk rockers, your huddled Chuck Taylor wearing masses and send them to the Warped Tour. Tickets went on sale yesterday.
In my mind I kind of associate the Warped Tour with Hot Topic, a relic of the mall-punk 90’s but here it is still going in 2009 - its 15th year anniversary. Not that it hasn’t had it’s moments – I went once in the late 90’s in Kansas City and enjoyed seeing NOFX, Bad Religion, Propaghandi, the Deftones and others despite the high ticket prices, the sweltering heat, and all of the testosterone-fueled idiots who wanted to mosh (kicking up a ridiculous amount of dust in the process) no matter who was playing.
Warped Tour
Still, I find it a bit surreal that the same bands – Bad Religion, Less Than Jake, Flogging Molly, etc. are still anchoring a lineup featuring lots of no names (The Devil Wears Prada is now a book, movie and punk band?). Hopefully we don’t see these guys in five years when they could become the punk rock equivalent of a Journey – Survivor – REO Speedwagon state fair tour.
Still, the big concert tours have slowly given way to big destination two or three day festivals (Lollapalooza, Pitchfork, Sasquatch, etc.) so this might be the only way you get to see a few decent bands outdoors.
It’s official. September 12. Fall 2008. Death Magnetic. Brand new Metallica.
Hearing the new album title is much like learning the title of the newest Harry Potter months in advance so as to ponder its contents. “Death Magnetic” does not fit linguistically with the previous albums, “old” and “new.” It’s not a phrase, like “Ride The Lightning” or “…And Justice For All.” It’s not a double entendre, like “Load” or “ReLoad.” It’s most god-lovedly not a deity or a revamped city name like “St. Anger,” …at least let’s hope to Christ it’s not. “Death Magnetic” is something new.
There is one HUGE and GOOD significantly different aspect of this album. Rick Rubin holds the responsibility of producing it. You know Rick Rubin. I know you do. He’s responsible for some of the most amazing albums put out by a small army of bands…including Slayer, The Mars Volta, Red Hot Chili Peppers, Public Enemy, System of a Down, Rage Against the Machine, Johnny Cash, and Slipknot, for God’s sake.
For those that don’t know, the original Metallica producer was Paul Curcio for Kill ‘Em All. Flemming Rasmussen took the reigns from Ride The Lightning to ‘Justice. Rasmussen basically just gave Metallica freedom in the studio and let them do what they did naturally. From there, the infamous Bob Rock took the artisic overseeing helm of Producer/Desecrater/Manipulator/Shit-Tizer-Of Metallica. He brought the market to the eyes of the then up-and-coming metal gods. He took the “fuck you, mainstream” vibe of Metallica’s natural sound and threw it a bit by adding none other than…a mainsteam vibe. Metallica hit sextuple platinum record sales with the new sound and decided to stick with it. Thank you Bob Fucking Rock. They guys haven’t been the same since.
It’s not like they never tried to change that. After the departure of Jason Newsted in 2000 and the battle with Napster by drummer Lars Ulrich, therapy was what Metallica thought they needed. They also made the…new age?… decision to let their therapy be filmed. While interesting to see a rich megaband’s weakest moments and commemorate the balls (or lack of, however you respond to it) of the band to allow it, it was a snuffing glimpse for many metal-heads. The horrendous result of the therapy sessions was none other than the bathroom break of St. Anger that knocked even die-hards to their fuckin’ knees.
Rick Rubin’s utter wonder of a history in music suggests good things not only could be but should be in store for the new album. Surely Rubin knocked some sense back into the aging metal legends, right? The rumors are that Metallica is bringing it back to the old-school on this new album. This could be from the leadings-on that Rubin is doing much the same type of overseeing that Rasmussen did; letting Metallica do their thing…not allowing a sweater-donned therapist tell a metal band how to create. Let’s all hope for the love of hope itself that that is the case.
If Death Magnetic kicks some old-school ass, it could be a new beginning for Metallica. If it’s another shit-sandwich, a term Ulrich is fond of using, it’ll probably be the last thing we’ll ever hear from the metal behemoth.
Has it already been fifteen years? Frankly, I didn’t take too much notice then, nor do I now (just not my thing, eh?), but It’s a Shame About Ray has been out for almost as long as it takes a person to go from birth to driving age. And they’re celebrating at the Abbey Pub, but what’s really happening is…
The Ladies & Gentlemen, a highly reputable local outfit, opens for the Lemonheads. You’ve seen their name a million times before, and said to yourself, “These guys are always at the Double Door/Reggie’s/Martyrs, maybe someday I’ll check ‘em out.” Say ‘yes’ to a Brit-ish, power pop, new wave fix. The songs are catchy as hell, and tailored to the ADD demographic, but if that’s not your thing… there’s a bar in the other room where you can state into your beer in peace.
TLAG is building up steam, and if you’re already in for the Lemonheads, get there in time for the opening act (which also includes Canasta). Maybe not headlining at the Sears Center any time soon, but get a look at these guys as their base continues to grow (which is, amusingly, directly proportional to the rate at which the band’s hairline recedes. 80’s kids on instruments in the 21st Century…).
Cease to Begin was the first I’d ever heard from Band of Horses (heard of them, as the excuse goes), and the problem with slavish indulgence of any album without reference to previous or subsequent efforts is that you’re surprised to find that the others don’t sound exactly like the one you first fell for (fill in relationship analogy here). Preference is one thing, but BOH debut Everything All the Time played like a tribute to the who’s who of indie (some songs I swore featured guest appearances by Jim James, Sufjan Stevens, or Great Lake Swimmers). Cease, on the other hand, is a superlative follow-up that expands on the moments in Everything that were uniquely BOH; it also puts them high in the running for feature in the next Volkswagen commercial.
Take, for starters, the outstanding opener ‘Is There a Ghost’: writers of a lesser ilk would be tempted to force more lyrics into the memorable and boisterous melody, but Ben Bridwell leaves the strange haiku alone – this is good. Keep this song away from English teachers because the mixed-tense lyrics, “When I lived alone, is there a ghost in my house?” are bound to send them into fits of rage, but it’s nonsense verse that isn’t so obtuse as to beg for attention.
Every instrument is distinct and emphasized, especially in dulcet numbers like the Fender Rhodes-heavy ‘Detlef Schrempf’ (which has nothing, far as I can tell, whatsoever to do with the former Indiana Pacer) but also smash-ups like ‘Marry Song’. In a comfortable progression, but not necessarily predictable order, Cease ranges from thoughtful country-tinged flavor to ebullient garage rock, and if it not entirely new it is certainly a smart revision of existing conventions.
If bands have lately been skimping on closing their albums well, Band of Horses makes a timely exit. The album, just over a half-hour long, bows out over four tracks from the strategically-brilliant instrumental ‘Islands on the Coast’ (almost unnoticeable by itself, but vital to the progression of the album’s coda) to a pair of aggressive marauders, topped off with the reflective, road-weary ‘Window Blues’.
There is also enough optimism to fuel a rally; the disc, it should be noted, will not serve as good break-up or crisis music, so approach this only if your life is in relatively good order.
Sub Pop
Oct. 9, 2007
9/10
Indie-pop darlings Rogue Wave have the release of their third album, Asleep at Heaven’s Gate, set for September 18th. This track, “Lake Michigan,” arrives in advance of it; have a listen, and consider it something of a teaser.
It took me a few plays to get into it. The song kind of reminds me of some of the more recent Snow Patrol stuff, or even of Keane — it’s got that kind of dreamy, crystalline sound to it. After three or four listens, I decided that I like it, but I’m curious to see if the new record has a few more uptempo tunes mixed in, the way their last two did. One track is nice, but it might be asking a lot of me to stay awake for a whole album of it.
“Lake Michigan” — Rogue Wave
Yesterday I was reading the Chicago Trib, minding my own business, when what should I happen upon? That’s right…an article (tangentally) about the SSC. Goddamn, we rock!
Company’s Pitchfork Festival Sponsorship Kicks-Off Program in Chicago;
Touts 20-year History of Supporting Artists & Pleasing Fans
CHICAGO, July 12, 2007 — In what promises to be a unique experience for music fans and independent bands around Chicago, The Goose Island Beer Company and the company’s 312 Urban Wheat Ale today announced ‘312unes’, a music development project that seeks some of music’s most engaging up and coming stars. 312 Urban Wheat Ale will collaborate with independent music website Superstarcastic.com and 6 independent bands for a number of musical “experiences” in the Chicagoland area over the next several months in the spirit of creating an “unfiltered” music experience for fans.The program builds on the almost 2 decades-long history The Goose Island Beer Company has had in identifying local talent and bringing it to beer drinking, music loving fans in Chicago. Goose Island will offer, for the first time, a series of events and concerts that will feature such things as live discussions and performances intended to give fans a deeper and “unfiltered” understanding of the artist’s work.
“Through the ‘312unes’ Music Development Project, Goose Island will continue to champion local independent music and the artists who make it such a vital part of our consumers’ lives,” said Greg Hall, Goose Island’s Chief Beer Officer. “And no beer brand is more suited for this mission than 312. The work that goes into making music of this caliber is a craft. Just like a musician takes several rounds for each song to become great, the attention is the same as Goose Island’s care to create the most exciting and unfiltered beer experience a drinker can have. We salute the passion and care that each of these musicians put into creating their work.”
Events will include private intimate performances at legendary indie music venues around the city interspersed with conversations and stories behind the creation and production of each artist’s music. Each show will be moderated by Joie Mikitson, 312unes’ “Music Czar”, a music reviewer and producer active in the Chicago music scene who owns the online music ‘zine Superstarcastic.com.
“Goose Island has spent almost 20 years building amazing bands like Sonic Youth and Bob Mould and supporting the Chicago music scene with festivals such as Goose Fest, The Last Taste of Summer, Taste of Chicago, and The Pitchfork Music Festival. Goose is the only Brewery that gets it and I’m excited to be collaborating with these guys,” said Mikitson.
About The Goose Island Beer Company:
As The City of Chicago’s only brewer, The Goose Island Beer Company has built a broad portfolio of award-winning beers that currently lead the U.S. craft beer segment in growth. Founded in 1988, Goose Island is a family-owned brewery committed to creating innovative, high-quality craft beers that both cater to and challenge the evolving tastes of its growing market. While all Goose Island beers are bottled and brewed in Chicago, more than half of the company’s sales come from outside Illinois. Goose Island beers are currently available in 15 states and the United Kingdom. The company bottles 15 different craft beers at present, eight of which are available year-round. As of 2006, Goose Island beers have earned 39 national and international awards. In addition to the company’s Fulton Street brewery, the Goose Island family includes two Chicago brewpubs – one in Lincoln Park and another in Wrigleyville. These brewpubs serve all of Goose Island’s bottled craft beers in addition to specialty “pub beers” brewed on premise.Web site: http://www.gooseisland.com/ http://www.312unes.com/
http://www.superstarcastic.com/
Rolling Stone has put out a list of the 20 most annoying songs of … our time? I’m not entirely sure of the chronological positioning of the list, but it is comprised of pretty comprehensive douchebaggery if I do say so myself. But what songs would you have included, added, or deleted from this itemized audio annoy-a-thon?
Poor Black Eyed Peas, it’s lonely on the top. List after the jump.
For a band that has spawned so many imitators, it’s a shame that Interpol doesn’t inspire itself far beyond their own emulous template. “But they haven’t changed all that much since Bright Lights and you liked that one, so what’s wrong with Our Love?” my conscience wonders, wanting to give a good rating to an album that is almost really, really good, but is missing some essential load-bearing elements. Of course, the question answers itself, and beefing up the tone of one-note riffs and swelling dynamics 
doesn’t make for brilliance. In fact, it is a detraction because while Interpol have never been profoundly melodious, the slow burn of the first two albums was captivating; Our Love doesn’t change form but it isn’t quite as engaging, due to some puerile lyrics (specifically ‘No I in Threesome’) and excessive technical minimalism.
Let’s talk about threesomes. The subject of <I>menage a trois</I> on David Crosby’s overeager Triad was already quaint and smirkish in 1968, and now Banks makes his own straight-faced claim on track 2, ”There’s No I in Threesome,” that a gangbang would count for something “new.” Sure, I love a good sex song, but “Threesome” is too lame to offend the prudish, hardly convincing, and reflects a cache of songs that should be effective and even alarming were they not oddly flat.
To their credit, they didn’t give in to any industry demands, expressed or implied, as they made the leap to major labeldom. Still present are the same Interpol, replete with ominous soundscapes (dialed up a few notches this time) and worthy lyrical hooks, but is mysteriously bereft of suspense (even as Banks ironically sings “Spare me the suspense!” on “Mammoth”), which speaks to the arrangements that could have used a little more attention at the foundation and less eye-level decoration.
The bright spots are very good indeed. “Pioneer to the Falls” is a savory, solid opener that’s suggestive that the best Interpol release to date will follow, but … “Threesome” should never have been put in the second slot — it is momentum-killing, B-side fare. Fortunately, batting third — the slot historically reserved for the best song on the album, I postulate – is “Scale,” followed by ”Heinrich Maneuver.” These songs do the job of priming the listener for more–a job that, sadly, is co-opted by the following two tracks, which do little better than keep things in neutral.
By the end of the album, it becomes noticeable that maybe one or two tracks could be described as dynamic. Nearly every cut on the album finds a neutral space and stays there until its time for the next track to change the pace, and too few of them actually do. This is too bad, because the songs are, for the most part, well-written and could have been much more powerful if they hadn’t been so obviously layered with an excess of sonic icing. Lights and Antics were perfectly noisy, yet commodious enough to give each song room to expand; to engage the listener without having to wait for the next track. All the pieces were there for Our Love to be masterful, but it ends up big on sound and short on finesse.
Rating: 7/10
Label: Capitol
Release Date: July 10, 2007
There is no one in the world who loves Emily Haines more than me. No one! Hmm. Okay maybe her gynecologist and that midget who has her face tattooed all over his body in different expressions. But after them, it is totally me. And when I found out she had a solo album from 1996 I was considering stabbing a few fellow Superstarcastics to get the chance to review it first. I don’t mess around. Like I said, I LOVE EMILY HAINES. (disclaimer: the current restraining order is a complete misunderstanding. I mean, her bedroom window was totally open! It was just begging to be climbed into!)
Emily Haines didn’t hit my aural radar until her work with the Oakland, Californian electro-pop band, Metric. Metric’s three albums, ‘Grown up and Blown Away’, ‘Old World Underground, where are you now?’ and ‘Live it out‘ are brilliantly seductive with their poppy melodies and surprisingly witty lyrics. So obviously I was an instant convert to the Metric system. But honestly, it was mostly for the subtle and wispy voice of their front-woman, Emily Haines. After their 2005 release, the band went on to produce and work on side projects. in 2006, Haines’ released her solo endeavor with her Soft Skeleton called ‘Knives don’t have your back‘. Where it didn’t have the fun synthesizers and bedroom dancing rhythms, it did have the wit and spunk known of Emily Haines.
But yes, yes, I digress. This retro review is about her first release ‘Cut in Half and Double‘. I was Fifteen in 1996 when this album dropped and I am sure the teenage douche bag I was would have never been able to appreciate this album for what it is, was, err will be! Right from the beginning you can hear the building blocks of what would become Emily Haines‘ distinctive sound. Her haunting voice strains through the microphone on ‘Pretty head’ where she whines about the pitfalls of being beautiful. During ‘Eden‘, Haines convinces you of her street cred and musical genius. ‘Dog‘, the albums opening song, is a playful ballad of the life of her canine companion and it’s self existential crisis. There are some tracks that date this album though. ‘Freak’ sounds a bit like the girl-y angst songs that were running rampant during that time. (I blame you, Alanis) ‘Eau De Toilette’ could have been sung by kinky blond haired ‘What if God was one of us’ bitch. But, those are the only dated sounding songs on this nine track album. It’s amazing how timeless most of Emily Haines work sounds. Or maybe music has already revolved to the point that old is now new new, and new is the new old. Or old is the new young and Darfur is the new hotel Rwanda… well you get my point.
Maybe I am not the best person to review this album since I seem to be taking notes from Fox news, neither fair nor balanced. But my personal bias aside, ‘Cut in Half and Double‘ has the charm and wit that is expected of Emily Haines. Is it Metric? No. Is it Soft Skeleton? Almost. Listening to this album has been the like flipping through the childhood photos of a pop songstress. There is a lot going on here, and when you look of all the musical magic that has come afterward, it’s hard to not like Emily Haines from the beginning.
7/10
Release Date: 1996
Label: Self Released
