- buy valium onli in Firewater, The Golden Hour Hi webmaster!
- Borch in Death Magnetic is pulling Life Or Death For Metallica Oh Burton, Where Art Thou?
- Voltaire in Pitchfork Leaks Some of the 2008 Lineup I was hating on Animal Collective before it was “hip” to hate on Animal Collective. Hell, before it was hip to LIKE Animal...
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.
