Ent - "Silver Moment" (Music Video)

ZACH THAT:

I don't think much of the music, but wow, this video is insane:

Silver Moment

"El Schorcho" Hootenany

HANK ALTOGETHER:

Who knew Rivers Cuomo had a DVD & EP coming out? Not me. Evidently EW did. They've got a pretty cool vid of Cuomo playing a song I used to scream out my window while growing up in Arkansas.

Wherefore art thou Pinkerton?

"El Schorcho" Hootenany style.

Drone Flu

HANK ALTOGETHER:

The swine flu may be about the most drummed up, fear-mongering story I've heard in a while, that's why it's nice to hear it set to music by Stephan Zielinski. Here's how he did it:

The algorithm I used is a bit complicated, but just in case you’re curious: since the gene is expressed as a surface protein antibodies can sense, it’s considered as a string of amino acids. Each beat corresponds to one amino acid, and the piece is in 3/4 time, so each six measures would correspond to five turns around the alpha structure. (I’m weaseling because I haven’t the foggiest idea how the protein actually gets folded.) Amino acids with side chains that are neither aromatic not aliphatic control the piano and organ: the nine non-hydrophobics the piano, and the four hydrophobics the organ. The three amino acids with aliphatic side chains control the low synthesizer, while the four with aromatics control the percussion.

Listen and read more here.

Starfucker - "Medicine" (Music Video)

ZACH THAT:

REQUIRED LISTEN: City Center

ZACH THAT:

A new section here at We Listen For You, "Required Listen" will profile bands that go above and beyond our general recommendations. Bands that receive this label are what we think will be the next "big thing"...a present to all our readers.

City Center is Fred Thomas of Saturday Looks Good To Me and Ryan Howard. The best way to describe their music is basically imagine a sound baby between Animal Collective, Dan Deacon, The Books, and Fleet Foxes. Yes, is your mind blown? The self-titled album is coming out soon and make sure you check out their myspace page for news updates and listen to a few tracks. Very good stuff here.

MP3 -> City Center - "Gladest" <-
(via raven sings the blues)

David Lynch Raps With Danger Mouse & Sparklehorse?

ZACH THAT:

In crazier than crazy news:

via The Quietus:

Strange news arrives in the inbox of The Quietus this morning. It seems that David Lynch, Sparklehorse and Danger Mouse are collaborating on a "project that will be so much more than an album". All that we can reveal now is that the project — which may or may not feature the veteran film director singing — also includes the talents of The Flaming Lips, Gruff Rhys from The Super Furry Animals, Jason Lytle (ex of Granddaddy), Julian Casablancas, Black Francis, Iggy Pop, James Mercer of Shins, Nina Persson and Suzanne Vega. We've been told that that more info will be released in dribs and drabs over the coming months but he would neither confirm or deny the suggestion that the director might be singing or rapping on the project. This is not as wild a suggestion as it might seem. The director has long had ties in the world of pop/alternative music: as well as using the likes of Marilyn Manson, Rammstein and Trent Reznor on the soundtrack of Lost Highway, Lynch's own musical activities have included writing many of Julie Cruise's lyrics and releasing his own wigged out guitar album (in collaboration with John Neff, his regular sound engineer), Bluebob. More recently, the bequiffed auteur and exponent of transcendental meditation sang a number during his last film Inland Empire. Although the inclusion of Sparklehorse in the project in fact perhaps signals that Lynch will be strapping on an acoustic and singing a dour ballad about the maudlin dudgeon he has endured since the death of his dog.

Either way, Lynch will be in charge of visuals on the project.

Thanks to Eoghan for the news tip.

The Fiery Furnaces - Promo Videos

ZACH THAT:

The Fiery Furnaces - promo video 1 from Thrill Jockey Records on Vimeo.


The Fiery Furnaces - Promo video 2 from Thrill Jockey Records on Vimeo.

The Pains of Being Pure at Heart -"Young Adult Friction" (Music Video/MP3)

ZACH THAT:

MP3 -> TPOBPAH - "Young Adult Friction" <-

TOUR:
Apr 28 2009 Lee's Palace Toronto, Ontario %
Apr 29 2009 The Pike Room at Crofoot Pontiac, Michigan %
Apr 30 2009 Beachland Tavern - All Ages Cleveland, Ohio %
May 1 2009 The Summit Columbus, Ohio %
May 2 2009 The End Nashville, Tennessee %
May 3 2009 The Earl Atlanta, Georgia %
May 4 2009 Local 506 Chapel Hill, North Carolina %
May 5 2009 Talking Head Club Baltimore, Maryland %
May 6 2009 The Barbary (Early Show) Philadelphia, Pennsylvania%
May 7 2009 Champion Ship Lemoyne, Pennsylvania
May 12 2009 Bowery Ballroom New York, New York %
Jun 18 2009 Cake Shop New York, New York #
July 10 2009 South Street Seaport New York, New York % (FREE)
July 18 2009 Pitchfork Fest Chicago, Illinois
July 20 2009 The Echo Los Angeles, California *
July 21 2009 The Rickshaw Stop San Fransisco, California *
July 23 2009 Backspace Portland, Oregon *
July 24 2009 Biltmore Cabaret Vancouver, BC *
July 25 2009 Capital Hill Block Party Seattle, Washington

% = w/ Zaza
# = w/ Crystal Stilts
* = w/ Girls

Feist - It's Cool To Love Your Family (1999 Music Video)

ZACH THAT:

Turning the clocks back a decade here:

The Fiery Furnaces New Album/Art/Tracklist

ZACH THAT:

One of my favorites, if not my single favorite current band, The Fiery Furnaces have announced through ThrillJockey their new album will be called: "I'm Going Away" (To be released 07-01-09).

Here is a little blip about the album and the track list:

I’m Going Away is the Fiery Furnaces’ Eighth album. It was recorded by and mixed with Jason Loewenstein at the end of 2008 and the beginning of 2009 in New York City. Jason also played bass and Robert D’Amico played drums. All songs were written together by Eleanor and Matthew Friedberger, except for the title track, which is “trad. Arranged by.” Eleanor wrote most of the lyrics; Matt wrote most of the music and also produced the album. All rock music is a sort of dramatic music. And since the times are tough, it makes sense to have that “drama” be something more like a version of Taxi than something like a version of Titanic. We like Taxi better than Titanic anyway. So we hope that some of the songs on this record can be used as theme songs to folk's own personal versions of Taxi. Because—ideally—the dramatic setting of the music isn't provided by the story or image of the given act or band. It's provided by the lives of the people who use—listen to—the music. That is pop music's promise and problem, or danger. So be careful and don't get canceled. The band is very optimistic—despite or because of it all—and will continue its “Democ-Rock” efforts by releasing a fully-fledged Derocmacy in America limited edition vinyl box-set. It might be called something like Your Cashier Today was ACM CASHIER 96. Matthew and Eleanor are also working on the Fiery Furnaces “Silent Record:” a non-record record, in book form, with notation and instructions. Both will be released by Thrill Jockey records later this year.

TRACKLIST:

01 I'm Going Away

02 Drive To Dallas

03 The End Is Near

04 Charmaine Champagne

05 Cut The Cake

06 Even In The Rain

07 Staring At The Steeple

08 Ray Bouvier

09 Keep Me In Dark

10 Lost At Sea

11 Cups and Punches

12 Take Me Round Again

Can't wait to hear Charmaine Champagne. I know it's a long way out...but get excited.

AUTO TUNE+ ANYTHING= MUSIC

PIERCE HOWEVER

Having never been in front of one, I've never exactly known the full potential of the device that is Autotune. Many artists refer to it as a vocal effect, and liken it to reverb or flang...But thanks to director Michael Gregory and his friends, this video ingeniously conveys the full extent of

Autotunes crutch factor. By filtering newscasts through it we get to see amount(or lack) of effort it takes takes to actually harmonize using it(you just have to talk, apparently). Katie Couric proves to be the highlight of the track.

Between this and the fish-stick jokes, one can only wonder how Ol' Yeezy will fare from here on out.

REVIEW: Camera Obscura - My Maudlin Career

Camera Obscura - My Maudlin Career


Release Date - Apr 20th, 2009
Label - 4AD


9.0






BEN SHEENE:

maudlin (adj.)--tearfully or weakfully emotional; foolishly sentimental

Forgive me for the definition. I know this isn't school time here. And believe me, I've only opened with a definition once before on anything. Whether or not you know the meaning of the word it's helpful to glare at it a few times…just to get it to stick. In the context of Camera Obscura, maudlin is quite a perfect word both telling of the band itself and their newest album: My Maudlin Career.

Camera Obscura consistently goes for the tear ducts and heart strings with their songs but the album titles have just as much of an impact. Let's Get Out of This Country, Underachievers Please Try Harder, and Biggest Bluest Hi-Fi are all titles that give off some sort of air of sadness and mediocrity--one that the band seems to want to escape but never manages to get out of. Hell, if you've even seen them live you will have noticed that Tracyanne Campbell never really looks that cheerful. Thematically My Maudlin Career is a perfect title. There is no trying harder and no getting out. This is Camera Obscura doing what they do--and, happily enough, at their best.

Opener “French Navy” is a fantastic track. At first it may seem like an awkward step with its talk of sailors and dietary restrictions but becomes a love song--one that perfectly fits the old fashioned styling of Camera Obscura. Something the band should be continuously praised for is their sound. You can listen to every song and get the feel like you are taken back to the fifties or sixties. Slow jams that would be played at your mother's prom. “French Navy” feels like a refreshing day at the beach in a striped swimming costume. Camera Obscura's sound transcends it's vintage feel into the realm of new and fresh.

I'm sure many people caught onto the band's charm with Let's Get Out of This Country. The album is incredible and contains what are easily some of the band's most “single-worthy” songs. There is nothing wrong with digging the bubblier, happier side but strip away the pop charm of those songs and you have some real heartbreak. My Maudlin Career doesn't bullshit around with that kind of stuff. The problem with Let's Get Out… was that the pacing. You would go from a dizzying, cheerful song into a slower ballad making song transitions harder and inspiring a lot of track skipping. Here you have one hit after another. My Maudlin Career crafts the perfect balance between the band's signature pop sounds into their delicately crafted ballads of the heart. Songs beat, gush, and pulse with emotion. Even in its most maudlin of tracks like “James” and “Careless Love” the feelings weigh you down; yet they never take a toll on the impact and enjoyment of the song itself.
Catharsis is something that people experience from various types of songs and artists. My Maudlin Career is one of those albums that you can connect with if you have experienced the highs and lows of love. Yeah, it may seem somewhat cliché but as you listen it becomes clear. This album is tightly packed with songs that want to be held and loved and cherished. Camera Obscura presents you with eleven three to six minute slices of the heart. My Maudlin Career is an album of strengths, not weaknesses. The weaknesses here are ones that everyone has felt at some point in their life and set to beautifully crafted music.

It is hard for me to really fault this album at any point. One of its strongest points is that it is paced out so damn well. The album doesn't hit a snag the entire time. One might think with the lack of a “Llyod, I'm Ready to Be Heartbroken” or “If Looks Could Kill” time of track things would get boring but that just isn't the case. Even on the slower songs you soak up the lyrics and tap your feet to the slow beat. If I was to complain about something it might be that the album doesn't show a definite straying from what Camera Obscura has established through this sentimental career of theirs. This is not to say that I am begging for a hard rock song or a synthesized romp--it would just be interested to see what they could do outside of their comfort zone.

As for my favorite hits from the album? The top spot goes to “The Sweetest Thing”. Everything that makes Camera Obscura a great band is packed into here: their vintage sound, sweeping music, beautiful vocals and overall enjoyment. “James” is a tear-jerker. The line “Oh James, you broke me, I thought I knew you well” gets me every time. It is powerful stuff. “French Navy” and “Honey in the Sun” aren't my favorites but they are fantastic bookends to the album. They deliver the hooks and pop that made up the best hits from the band's previous album. When it comes to having the title track in their album for the second time, Camera Obscura does not disappoint. “My Maudlin Career” is a great track with all the sadness and plinking of piano keys you could want delivering the lines “This maudlin career has come to an end/I don't want to be sad again”. And from what My Maudlin Career has given, one can only hope that sad or not, Camera Obscura will keep putting out fine works likes this with no end in sight, I love them too much to let them go so soon.

Passion Pit - "The Reeling" (Music Video)

ZACH THAT:

Dan Deacon Dislocates His Shoulder

ZACH THAT:

The guy dislocates his shoulder and refuses to cancel any shows. Animal Collective (canceled two LA shows) could learn a lesson from King Deacon.

From his myspace blog:

hi everyone, i dislocated my shoulder today. it hurt(s) and i had to go the ER to get it fixed. i dont have insurance and i went to this hellish hospital in LA. some dreams come true. anyway, i'll be in a sling for the next few weeks. no shows will be canceled, the tour rages on. i'll be playing on the stage for a little while until it gets less sore and tender. here are the rest of the tour dates:

Tour Dates
April 24th - Portland, OR @ Wonder Ballroom
April 25th - Seattle, WA @ The Vera Project
April 26th - Vancouver, BC @ Richards on Richards
April 27th - Kennewick, WA @ Red Room Coffeehouse
April 29th - Salt Lake City, UT @ Kilby Court
April 30th - Denver, CO @ Bluebird Theater
May 1st - Kansas City, MO @ Pistol K.C.
May 2nd - Minneapolis, MN @ Triple Rock Social Club (early and late show)
May 4th - Madison, WI @ Majestic Theatre
May 5th - Milwaukee, WI @ Turner Hall Ballroom
May 6th - Urbana, IL @ Canopy Club/Club Void
May 7th - Chicago, IL @ Metro
May 8th - Mount Pleasant, MI @ CMU / The Wesley Foundation
May 9th - Detroit, MI @ Contemporary Art Institute of Detroit
May 10th - Toronto, ON @ The Deleon White Gallery
May 11th - Montreal, QC @ La Sala Rossa
May 12th - South Burlington, VT @ HG Showcase Lounge
May 13th - Cambridge, MA @ Middle East Downstairs
May 14th - Providence, RI @ RISD Market Square (free 11.30 am - 1 pm)
May 14th - Mouth Mind, RI @ late night rager
May 15th - Brooklyn, NY @ Danbro Studios
May 16th - New York, NY @ Bowery Ballroom (two shows)
May 17th - Washington, D.C. @ 9:30 Club

Blank Dogs Music Video and New Album

ZACH THAT:

Catch Them Live:
(Lucky New York Kids)
04/24 Brooklyn, NY Monster Island
04/25 Queens, NY Silent Barn
05/08 Brooklyn, NY Bell House
05/10 Brooklyn, NY Market Hotel
05/16 Brooklyn, NY No Fun Fest / Music Hall

Their new album comes out June 2nd, check out the track list:

1. No Compass
2. L Machine
3. Night Night
4. Open Shut
5. Setting Fire To Your House
6. Around The Room
7. Blue Lights
8. The New Things
9. Falling Back

-> 10. Tin Birds <-

11. Slowing Down
12. Face Watching
13. Books
14. Nothing UGC
15. From Here

BLANK DOGS MYSPACE

Bowerbirds "Upper Air" Album Art

Pretty literal, but yet great album cover

From their press release:

We are pleased to announce the first details of Bowerbirds second long player, Upper Air, which will be available on July 7th. The band is embarking on tours of both the US and Europe prior to the album’s release, performing new material for fans on both sides of the pond.

One Sheet for Upper Air:
Bowerbirds’ debut album, Hymns for a Dark Horse, was nearly one hundred percent focused on the thesis that the earth is a sacred place with merit beyond us, and that humans are just visitors here. Its contrapuntal harmonies documented a moment in the life of the songwriter and the life of the band – Beth Tacular and Phil Moore living in an airstream in rural North Carolina, building a cabin of reclaimed boards by hand in the woods – but did so without, as far as we could tell, delving into their lives at all. While these weren’t protest songs, per se, they had the wry anger of a “Lonesome Death of Hattie Carroll.” The songs were interconnected, both musically and thematically, a musical whitepaper of the very best, most listenable kind.

So it was a big surprise when we heard the songs collected on Upper Air. Bowerbirds were revealing more, writing from a personal voice, exploring love and human emotions in ways that have never been fully fleshed-out in their songwriting before. They have not abandoned their worldview from Hymns, but the lyrics are no longer just observational. These are songs written from a personal place, examining the contradictions inherent to a conscious life, and this emotional depth makes for an undeniably powerful collection of songs.

Upper Air is the product of months spent away from nature and away from home, touring endlessly with the likes of Bon Iver, Phosphorescent and John Vanderslice and on their own, on both sides of the Atlantic. The fodder for songwriting has changed, and so have the songs. Upper Air moves away from the singular sound and sentiment; each and every song on Upper Air is a journal entry that stands on its own, each a singular, beautiful piece. The arrangements are subtle: acoustic guitars, organ, piano, autoharp, violin, percussion, upright bass and more are used throughout the recording. Usually though, it is just a few of these instruments delicately supporting Moore’s voice, the anchor of every song. Everyone struggles when they try to describe this music, including us, but we’ll try: it has the spirit of Richard and Linda Thompson, the currency of Devendra Banhart, the addictively sweet melodicism of Iron & Wine, but it churns with an underlying energy closer to a Beirut or something farther out, more raw, more wild.

The most notable part is this: The songs don’t hide behind the instrumentation, the deontological conviction, or, frankly, anything; and that is what makes Upper Air undeniable, simple, and breathtaking.

Upper Air will be available July 7 in North America and July 6 in the UK.

Of Montreal - "I'm So Tired" (Beatles Cover Video)

PHIL THIS:

Check out this amazing in studio performance on a show called The Alternate Side.

Clues Announce US Tour

ZACH THAT:

We brought you an exclusive video of Clues playing two songs on our Silverlake Steps. They have an amazing debut album coming out in May. Now, they announce their first big US tour. This is a can't miss show, make sure you catch Clues live:

Clues on tour
05.16.09 - Montreal, QC (Ukranian Federation Hall) w/ Elfin Saddle
05.21.09 - Toronto, ON (Sneaky Dees)
05.22.09 - Chicago, Ill. (Schubas)
05.23.09 - Minneapolis, Minn. (Triple Rock Social Club)
05.25.09 - Winnipeg, MB (Pyramid Cabaret)
05.26.09 - Saskatoon, SK (Amigos)
05.27.09 - Calgary, AB (Marquee)
05.28.09 - Edmonton, AB (Brixx)
05.30.09 - Vancouver, BC (Biltmore Cabaret)
05.31.09 - Victoria, BC (Lucky Bar)
06.01.09 - Seattle, Wash. (Neumos)
06.02.09 - Portland, Ore. (Backspace)
06.04.09 - San Francisco, Calif. (Rickshaw Shop)
06.05.09 - Los Angeles, Calif. (Echo)
06.06.09 - Costa Mesa, Calif. (Detroit)
06.09.09 - Dallas, Texas (The Loft)
06.10.09 - Austin, Texas (The Independent)
06.11.09 - New Orleans, La. (One-Eyed Jacks)
06.12.09 - Atlanta, Ga. (Drunken Unicorn)
06.15.09 - Washington, D.C. (Rock N Roll Hotel)
06.16.09 - Philadelphia, Penn. (The Barbary)
06.17.09 - New York, NY (Santos Playhouse)
06.18.09 - Montreal, QC (La Sala Rossa) w/ The Dead Science

Black Eyed Peas - Boom Boom Pow (Music Video)

ZACH THAT:

This stupid song has been playing non-stop on the radio and now they give us a fitting music video. Allow me for a second to analyze some of the hypocritical statements from this song.

The songs mission statement is basically this: "They try to copy my swagger...I'm so 3008 and your so 2000 and late. Basically the song is saying that this is the future of music and people borrow from them...trying to steal their style. Well...

The song borrows the following:

1.) Song uses auto-tune which is not new...actually a fad from last year.
2.) Uses the lyric: "Harder, Faster, Stronger" which is so Kanye 2008 and Daft Punk 2001...yeah.
3.) Another Kanye shout out with the line "we got the beat, that 808" hmmm.
4.) Fergie says: "People in the place...if you want to get down...put your hands in the air" a request from 90's DJ's and rappers that to them will never get old.

The lesson here is if you write a song about being a pioneer or how advanced your sound/lyrics are..don't reference things that are no longer now...no less part of the future. Enjoy this dumb song through moving images:

Bowerbirds Announce Sophomore Album

ZACH THAT:

One of my favorite bands that popped up over the past few years just made my day by announcing that their second LP, "Upper Air" will be released July 7th. Pitchfork has the scoop:

Hymns for a Dark Horse, the debut album from Bowerbirds, solidified the up-and-coming status of the hushed, homespun North Carolina duo. Tours with the likes of Bon Iver and the Mountain Goats helped as well. (Full disclosure: Burly Time, the label run in part by Pitchfork contributor Grayson Currin, initially signed the band.)

Bowerbirds now have another collection of ramshackle acoustic jams ready to go. On July 7, Dead Oceans will release Upper Air, the band's sophomore album. The tracklist is below.

In other news, Bowerbirds will tour North America for the next couple of weeks, playing shows with the likes of Bell and La Strada. And in May, they'll play the Pitchfork-curated stage at Barcelona's Primavera Sound Festival.

Upper Air:

01 House of Diamonds
02 Teeth
03 Silver Clouds
04 Beneath Your Tree
05 Ghost Life
06 Northern Lights
07 Chimes
08 Bright Future
09 Crooked Lust
10 This Day

REVIEW: Wooden Shjips - Dos

Wooden Shjips - Dos

Release Date - Apr 14th, 2009
Label - Holy Mountain


3.2








BRADLEY GEIS:

Wooden Shjips has a lot going for them. A cool name (CSN&Y inspired?), mysterious band photos, Pitchfork-induced hype. Why, then, is it so hard for me to get into them? My history with the band starts with their earliest piece, the self-released “Shrinking Moon” 10” record let loose in 2006. The disc came in an undecorated white paper sleeve, inside of a clear poly bag. The only indication of what this music was was a teeny 1x1/2” sticker on the poly bag and a picture of a smiling moon on the center label of one side of the record. Its brevity left much wonderment to brew inside my head. I had to buy it, get it home and listen to it as soon as cosmically possible. I got home to my record player and threw the slab of wax down hoping to be blown away. I listened to it many times, but was confused and let down. Each spin left me trying to convince myself that I just wasn’t in the mood that day. That it was me and not the record. That tomorrow would bring a better listen and a greater understanding. A few more spins on days thereafter and we just never clicked. I felt let down. I felt I was promised something that was not delivered.

Fast-forward to “Dos.” I came at it optimistically. Well, maybe they’ve improved, I thought. It’s been a long time since that 10” and they’ve had quite a bit of time to grow as a band. Plus that 10” was more of a statement, a piece in restraint, made to test your preconceptions of “music.” Anti-music, with their psychy twist. “Dos” is a full-length album, where they’ll be able to explore themselves… It wasn’t so. Despite the “We Demand to be Taken Seriously” high contrast cover photo and wicked looking title font, the music, frankly, comes off as utterly repetitive and boring with no truly redeeming quality. On each song, bass and drums play the exact same lines over and over and over and over, while the guitar noodles around some mediocre guitar solos set way back in the mix. Perhaps I’m no high-class psych connoisseur, but I am a fan of the genre and I’m sure that if I typed in “psych” under Google’s Blog search, I could come up with a Rapidshare link to something better than this in the first few hits. It seems to me that the key to psych music is not playing in such a tight, rigid style (with the bass and drums), but to branch out and be looser with the music. On every track, the bass plays a meager two or three different notes and the drummer rarely hits more than two drums (bass, snare, bass, snare, bass…). Every song ends up sounding very much the same. There are no “stand out” tracks. There are no lyrics or melodies that will stick with you, as the vocals are so drowned in reverb and other muddying effects they are nearly inaudible, becoming lost in the mix.

Two of the album’s five songs clock in at over 10 minutes. And its not a 10 minutes after which you’ll wonder where the time went. It’s 10 minutes of the same droning guitar, two bass notes and drumbeat. This begs the question though, if that is what your music is about, why stop at 10 minutes? CDs are 80 minutes these days, drag that sucker out for half an hour a la “Sister Ray.” That would get the point across. All in all, there seems to be an inherent flaw with the band’s sound. Despite their Woodstock-era name, Wooden Shjips seem to be influenced by ‘80s and ‘90s psychedelia, like Spacemen 3 and My Bloody Valentine. When compared to those influences, or to contemporary bands seeking the same “drenched in psych” sound (Comets on Fire comes to mind), you can see how Wooden Shjips pale in comparison. The caliber of songwriting, the vocal presentation and delivery, the aptitude of the musicians at their instruments. They all lack. All of these elements together just don’t add up into an enjoyable work. Too many crucial aspects of quality music are absent.

Well then, what is redeemable here? They are able to really get into a groove. How long you want to listen to that groove is another question, but the groove does exists. They found it. Also, the line-up of instruments is nice. Guitar, bass, drums, organ. I can dig it. The organ is a nice touch in this stripped down band. “Fallin’” presents the instrument nicely. Surprise surprise, though; it too stays within the constrains of only few notes throughout the album. (On a side note, on “Aquarian Time” the keyboard can’t help but remind me of Dare-era Human League, which is somewhat out of place.)

If I was pressed to pick one song to play someone off the album (a “single”), “For So Long” is really the only stand out piece. The bass plays a decently complicated but structural line, the vocals are at their most substantial and memorable, and the guitar plays nice ethereal bits throughout. It seems, though, that “Dos” is really a record to be experienced as a whole. It’s not a collection of songs; it’s an entire experience. Just put the record on, sit in a comfy chair and zone out for its 38 minutes (hallucinogenic drugs optional). It’s nice for that specific purpose, but becomes tedious after a few spins. All in all, it sounds like music that was more fun to play and record than it is to listen to after the fact.

David Lynch Directs Music Video For Moby

ZACH THAT:

Watch David Lynch take on Moby's "Shot In The Back Of The Head":

Shot In The Back Of The Head from Moby on Vimeo.

Black Moth Super Rainbow - "Born On A Day The Sun Didn't Rise" (MP3)

ZACH THAT:

Here is a new track off BMSR's upcoming LP "Eating Us". Really looking forward to this release as We Listen For You are huge fans of this band.

-> BMSR - "Born On A Day The Sun Didn't Rise" <-

"Eating Us" track list:
01 Born On A Day The Sun Didn't Rise
02 Dark Bubbles
03 Twin Of Myself
04 Gold Splatter
05 Iron Lemonade
06 Tooth Decay
07 Fields Are Breathing
08 Smile The Day After Today
09 The Sticky
10 Bubblegum Animals
11 American Face Dust

TOUR
Sat. Apr. 25 - Pittsburgh, PA @ Carnegie Mellon University (Spring Carnival)
Wed. May 20 - Chicago, IL @ Bottom Lounge *
Thu. May 21 - Madison, WI @ High Noon Saloon *
Fri. May 22 - Minneapolis, MN @ Triple Rock Social Club *
Mon. May 25 - Quincy, WA @ Sasquatch Festival
Tue. May 26 - Portland, OR @ Holocene *
Thu. May 28 - San Francisco, CA @ Bottom of the Hill *
Fri. May 29 - Los Angeles, CA @ Troubadour *
Sat. May 30 - Costa Mesa, CA @ Detroit Bar *
Sun. May 31 - Phoenix, AZ @ Rhythm Room *
Tue. Jun. 2 - Austin, TX @ The Mohawk *
Wed. Jun. 3 - Denton, TX @ Hailey's *
Thu. Jun. 4 - Little Rock, AR @ Sticky Fingerz *
Fri. Jun. 5 - Nashville, TN @ Exit/In *
Sat. Jun. 6 - Columbus, OH @ Circus *
Fri. Jul. 24 - New York, NY @ South Street Seaport

REVIEW: Fever Ray - Fever Ray

Fever Ray - Fever Ray

Release Date - Mar 18th, 2009
Label - Rabid Records


8.6







BEN SHEENE:

When reviewing Fever Ray's debut album it becomes necessary to keep in mind a few relevant (and unavoidable) facts during your listen. Fever Ray is the spawn of Karin Dreijer--yes, the same Karin Dreijer who teamed up with her brother Olof to create The Knife's 2006's masterpiece Silent Shout. Of course, I strongly doubt you are unaware of this fact. Remember how awesome that album was? Well get those thoughts out of your head because even before you start absorbing the album your ears are already going to be judgmental. Like I said, keep it all in mind and try not to let anything cloud your opinion just yet.

“If I Had a Heart” opens up Fever Ray and catches its hooks in you. The track offers a lot even at first listen. Here the album takes care of that big elephant in the room. Yes, we have something that sounds like The Knife. Even better, though, we have something that has an eerie feel of familiarity but also freshness. “If I Had a Heart” makes you feel isolated. It's a dark track filling the spaces with pounding beats and Dreijer's familiar high and low-pitched voices. This creepy almost nightmarish tone was one of the things I loved about Silent Shout and it is carried over here. The problem, however, is that there is an absence of the electronic energy that was infused in so many of The Knife's other tracks. Here you feel like you are going to be led into something thicker and your hand won't be held by frantic synthesizers.

After the opening it wouldn't be surprising to feel that the overall tone of Fever Ray would be some sort of exercise in restraint. After a heavy-handed track and such a sparse use of house/techno rhythms it does feel like a departure from The Knife. “When I Grow Up” feels like it might turn out this way too. The first half of the track is delicately packed except for the fact that there is a hook that slowly becomes faster and more frantic throughout the song. If the opening track satisfied your thirst for the chills that The Knife sent up your spine the second track will flesh out those synthesized landscapes of electro-pop you were missing.

In fact, the first half of Fever Ray slowly reveals its true brilliance to you. “Seven” and “Triangle Walks” are two of my favorite songs off the album and are perfect examples of how Fever Ray actually shines. You are bathed in the familiarity of the albums that have come before it and are comfortable. At first listen these songs are enjoyable--something the album does genuinely well. It isn't until a few listens that you actually drawn out of this idea of being comforted by familiarity and listen to the true “newness” of everything. Both “Seven” and “Triangle Walks” blend that insular feeling of “If I Had a Heart” with the familiar house rhythms of The Knife and then add in a surprising touch of world music beats. Here less is scattered and more is concise. The first half of Fever Ray experiments with itself by introducing old and new ideas and then rolling them into something that is wonderfully layered.

It is with this stroke of excellence that the album begins to stutter…if only for a bit. Fever Ray gives off the occasional sense that it is too afraid to come out of the dark shell it has created for itself. There are tracks that can and do plod on for too long trying to ensnare. I found myself being initially intrigued by the opening of “Concrete Walls” but soon lost. The track is the second longest on the album running at nearly six minutes and after the third minute nothing happens. The song tries to retreat back into the barren glow of “If I Had a Heart” but then introduces too many new sounds and beats to sound unique. It has no build and a slow hook, it is a tired track. “Now's the Only Time I Know” comes very close to success. Dreijer harmonizes with herself, sound after sound is added to create a larger scope yet something about the song doesn't fit right. Where “Concrete Walls” felt like it was trying to do too much, “Now's the Only Time I Know” didn't do enough. Then again, maybe I have just not wrapped my head around the songs just yet--they just feel oddly mismatched between the first and last half of the album.

Songs aside, one of my main issues with Fever Ray is if the moniker of “Fever Ray” even needs to exist. The Dreijers have said that they are putting The Knife on hiatus and yes, that is a sad. The thing is, if a new band consists of one half of the original band and sounds quite similar to said band, is the name change really that big of a deal? Bands continuously evolve over time and Fever Ray feels like it could be an extension to The Knife's catalog. However, I'm getting ahead of myself. Like I said at the beginning of the review you need to keep the facts in mind but don't let them get in the way of what you are actually listening to. My other favorite song on the album is “Keep the Streets Empty for Me” which does an almost better job at creating this isolated and complex feel than the opening track. The effort that Karin Dreijer makes to keep an intricate and sonically complex album without adding the extra layers of flash and synthesized spectacle might be the brightest (or the most disappointing) aspect of the album. Even the seven minute long closer “Coconut” is epic but in a subdued way. To some Fever Ray might feel like less of a side project and more of a continuation of an already established and incredible sound. At times this can be true, but Fever Ray/Karin Dreijer is reaching for something more and this compelling first taste makes you hopeful for what's in store.

Papercuts - Future Primative (Music Video)

ZACH THAT:

via Pitchfork

Neko Case - "This Tornado Loves You" (Letterman)

HANK ALTOGETHER:

I defy you to watch this and not get chills.

Will Oldham Doesn't Know Film

ZACH THAT:

I'm a Will Oldham fan, but sorry, I'm a much bigger Wes Anderson fan. Recently Oldham has attacked Anderson's use of music in film and his points are highlighted by a lack of knowledge in the world of cinema. He is momentarily banned.

From the Onion A.V. Club:

After giving a memorable performance as a boy preacher in John Sayles’ 1987 coal-mining drama Matewan, Will Oldham made a brief attempt at being a working actor, before becoming disillusioned with Hollywood and retreating into seclusion for several years. When Oldham emerged, he came bearing music. As the reticent, creaky-voiced frontman for the mysterious Palace Brothers (later Palace Music, Palace Songs, and then just Palace), Oldham brought a distinctive new sound to indie-rock, informed by spooky country ballads, Eastern mysticism, and hermetic eccentricity…

AVC: You mentioned talking to Richard Linklater and Caveh Zahedi about your ideas on movie music. Can you summarize those ideas?

WO: Well, for a while, it seemed like you were always seeing movies where all the music was determined by the music supervisors and their special relationships with certain record labels. And I just felt like, “Wow, I’ll bet they spent months or years writing this screenplay, and I’ll bet they spent months shooting this, and I’ll bet they spent months editing this, and now they’re spending no time at all picking these completely inappropriate songs with lyrics to put under a scene that has dialogue.” How does that even work? How can you have a song with someone singing lyrics under spoken dialogue and consider that mood-music, or supportive of the storyline? As somebody who likes music, when that happens, I tend to listen to the lyrics, which have nothing to do with the movie. And then I’m lost in the storyline. Not only is that a crime, but it’s a crime not to give people who are good at making music for movies the work. It’s like saying, “We don’t need you, even though you’re so much better at it than I am as a music supervisor.” Like the cancer that is that Darjeeling guy… what’s his name?

AVC: Wes Anderson?

WO: Yeah. His completely cancerous approach to using music is basically, “Here’s my iPod on shuffle, and here’s my movie.” The two are just thrown together. People are constantly contacting me saying, “I’ve been editing my movie, and I’ve been using your song in the editing process. What would it take to license the song?” And for me it’s like, ”Regardless of what you’ve been doing, my song doesn’t belong in your movie.” That’s where the conversation should end. Music should be made for movies, you know?

AVC: So there aren’t many contexts in which you can imagine licensing one of your songs to a movie?

WO: No. I mean, I could see-

AVC: Over the closing credits, maybe?

WO: Right, the closing credits. But again, someone wrote me recently and said, “We wanna use your songs in our movie, and we’ve already got this artist, this artist, this artist, this artist.” And I was thinking, “Well that makes for like, no integrity to your movie. All these different voices combined with the actors’, writer’s, director’s and DP’s voices. That sounds like the worst place to be. That sounds like a music festival.” [Laughs.] I liked it when those crazy, dirty, Rhode Island brothers made movies like There’s Something About Mary.

IDIOT.

Phoenix - Lisztomania (MUSIC VIDEO)

ZACH THAT:

Thanks to MFR (one of my favorite music blogs out there) for the heads up on this music video. It's much better than their dull SNL performances, although Thomas Mars really seems to have a problem singing to the playback...he's out of sync almost every shot. Enjoy:

Phoenix - Lisztomania from Discobelle on Vimeo.

REVIEW: Ida Maria – Fortress Round My Heart

Ida Maria – Fortress Round My Heart

Release Date - Mar 24th, 2009
Label - Mercury


7.2







ZEKE GOGGIN:

After tearing up the charts in Scandinavia and the UK, Norwegian rock girl Ida Maria Sivertsen has come straight out of left field and is in the process of bursting onto the American music scene with the April release of her debut album Fortress Round My Heart. This isn’t just any Euro-breakthrough, however. After a close listen it becomes apparent that there is way more to these tunes than, tight rhythms, distortion, booze, and sex.

This is pretty catchy stuff. One might even call it fun. Indeed. Fun. What’s really appealing about this record, however, is not its punk thrash, its crooning lamentations, or its neurotic energy. Rather, it’s all of these diverse elements, threaded together in subtle tension that make it charming, sad, and overall, a rather interesting portrait of an artist. The lyrical moods, musical range and the tangible humanity of Sivertsen’s ragged and quavering vocals stretch just far enough to provide an interesting, listenable album, without making it seem schizophrenic and center-less (Evil Urges anyone?) Fortress Round My Heart is nervous, self-deprecating, and according to the opening track, “Oh My God,” honest. More than that, it is incorrigibly human. This is not the demonic sexuality of Karen O or the self-possessed cool of Chrissie Hynde. It’s something entirely more approachable. If there is one thing to take away from this album, it’s this: there may not be anything paradigm-shiftingly original here, but there is a colorful portrait of a very human, very relatable, subject.

In the opening track, “Oh My God,” Sivertsen dabbles in boozy existentialism, chanting through explosive rock and roll herky jerky: “Oh my God/ You think I'm in control/ Oh my God/ You think it’s all for fun.” Any initial impression, it would seem, is quite the wrong impression –there is indeed no girl behind the mask. Mask is truth. Sivertsen is the sum of her actions with no secret self hidden away from view. I think it would be difficult to underestimate the importance of this track –in a sense, it is a hermeneutical key through which we gaze at the rest of the album. While it serves this function well and is probably a blast live, it does get a bit repetitive, melodically and lyrically.

Almost in answer to the existential declaration of “Oh My God,” Ida follows up with thoughtful tracks showcasing dramatic, open arrangements which give her nicotine-scarred voice room to flex and breathe. Tunes like “Morning Light” and “Keep Me Warm,” and “See Me Through” show off Sivertsen’s voice in an entirely new light –the tones break through in all their color, warmth and vulnerability. We see that while there may not be an ego which hides behind her actions, there was much more than first met the ear. There is a girl who gets her heart broken, who cries, who prays to an absent god. There is a girl who sings a ballad to her closest confidants –a pack of cigarettes and a cup of coffee. Perhaps what makes these images most compelling this how they are set in relief to the ostensibly fun (though lyrically neurotic) rock tracks on Fortress. This is a dynamic personality singing dynamic songs.

“I Like You So Much Better when You’re Naked,” (currently occupying spot 37 on the Billboard Hot 100 Modern Rock Tracks) is another rocker –a punky pop jam about awkward, uncommunicative sexuality which you’re sure to find blasting at you’re local collegiate beer-pong tournament any day now. Like “Oh My God,” Sivertsen does not give us our rock and roll on the cheap. While the music is an accessible, bouncy rock anthem, the themes of communicative breakdowns, self-loathing, and sex are hardly the chomp-chomp of so much pseudo-risque bubblegum (You kissed a girl?! You liked it?! Holy shit…I can’t believe it!).

In all, Ida Maria’s debut is usually fun, never pretentious, and always human. While the lyrics have some rather trite moments, it’s important to recognize that there is some powerful, though cheeky, psycho-drama being laid out here, and it’s worth a listen.

I'm Done Being A Crystal Castles Fan

ZACH THAT:

After reading these obvious lies from the Crystal Castle crew, I'm done buying their records, live tickets, and will boycott posting positive things about them on this blog. This is for all those people who got shit on by Crystal Castles last night...it's unforgivable.

READ THE STORY HERE

Starfucker - "Medicine" MP3

ZACH THAT:

Starfucker was one of the most exciting bands to hit the scene last year and there is no rest with this band as they will roll out another LP, "Jupiter" May 5th. Here is the first track off the album, "Medicine" and judging off this track, we have another amazing product on our hands from the brilliant minds of Starfucker.

-> Starfucker - "Medicine" <-


Catch them live:

apr 16 - Des Moines, IA - Vaudville Mews (w/ Guidance Counselor)
apr 17 - Chicago, IL - Av-aerie (w/ Guidance Counselor)
apr 18 - Toronto, ON - Sneaky Dee's (w/ Guidance Counselor)
apr 19 - Montreal, QC - Il Motore (w/ Guidance Counselor)
apr 21 - New York, NY - The Mercury Lounge (w/ Guidance Counselor)
apr 22 - Brooklyn, NY - Union Hall (w/ Guidance Counselor)
apr 24 - Chapel Hill, NC - Local 506 (w/ Guidance Counselor)
apr 25 - Atlanta, GA - Drunken Unicorn (w/ Guidance Counselor)
apr 26 - Memphis, TN - Hi Tone Cafe (w/ Guidance Counselor)
apr 27 - Kansas City, MO - Czar Bar (w/ Guidance Counselor)
apr 29 - Denver, CO - Hi-Dive (w/ Guidance Counselor)
apr 30 - Salt Lake City, UT - Urban Lounge (w/ Guidance Counselor)
may 02 - Portland, OR - Holocene (w/ Guidance Counselor)

REVIEW: Bill Callahan - Sometimes I Wish We Were an Eagle

Bill Callahan - Sometimes I Wish We Were an Eagle

Release Date - Apr 14th, 2009
Label - Drag City


8.2







HANK ALTOGETHER:

Bill Callahan's second album after stepping out from his "Smog" moniker begins simply enough. "I started out in search of ordinary things," he half-laments on opener "Jim Cain." It's that half-drawl, half-smile, half-sincerity that Smog fans love. Just enough truth to hook you in and enough sarcasm to make you wonder how serious Callahan is being. For my money, Callahan reaches his apex with that sort of song writing on 1997's Red Apple Falls. And besides, no matter how Callahan may seem to invoke those times, on his latest Sometimes I Wish We Were an Eagle, there's no going back.

For starters, the production on this record is phenomenal. In those early days of Smog, production was a means to an end -- a functionality in and of itself. But, like The Mountain Goats, give Callahan enough albums and the studio begins to kick in. The mentality of taking a polishing a sound; drinking your orange juice without the pulp. So, there's lush orchestration: horns and cellos moving around the edges of Callahan's one hit guitar lines. The essence of what you know from Smog is still there - the singular looping guitar drawn thru space with lyrics and the signature baritone. But what was once earth-driven and crunchy is now high-minded, clean, polished.

It would be easy to lament this change. To say that "the early albums are better," but that's missing the trajectory. Lo-fi isn't the same as it used to be, and it shouldn't be. Something entirely different is going on here. The production values of earlier works made us focus on Callahan's lyrics, wrapping his vocal tone into our ears in lieu of the lushness that appears on Sometimes I Wish We Were an Eagle. In this album, we're forced to listen to both the music and the lyrics in a more complex and sophisticated way. This has mixed results. If the power of Callahan is his ability to keep us guessing -- to wonder if when he's serious when he says "all of my fantasies are of making someone else cum...on a horse" -- then the instrumentation works against him here. There's a regularity and a tone that pulls us away and the baritone becomes more of an instrument than a speaker of words.

On the other hand, it's a musically beautiful album. And still has those moments of keeping the listener on their toes. Particularly in "Rococo Zepphyr," which evokes Callahan's earlier "Teenage Spaceship" and is also probably about Joanna Newsom (see "Bridges and Balloons"), here the tune gets hijacked and turned around by the female background singer who simply coos "Rococo" while Callahan describes with bucolic alienation the hard fact of being left - "Maybe this was all it was meant to be." In fact, a lot of this album relies on a simple statement, flipped around by the music, fidgeted by instrumentation and left to land differently according to what is being spun around it. Instead of waiting for the words to change, we're left waiting for the music to change the meaning. It's a new chapter in Callahan's work and one that bears us sticking with and trying to adapt to as well.

Deer Tick - "Easy" MP3/Tour Dates

ZACH THAT:

Born On Flag Day is Deer Tick's highly anticipated second full-length album and follow-up to the band's 2007 internationally acclaimed debut War Elephant (reissued in 2008 by Partisan Records). This release follows two years of extensive touring in sold out clubs across the country and abroad.

Unlike War Elephant, this album features the three new members of Deer Tick that principal songwriter John J. McCauley III recruited to become the band's current incarnation - Andy Tobiassen, Dennis Ryan and Chris Ryan. Born On Flag Day reflects a natural evolution from a singular vision of one songwriter to something much greater. The album is set for a June 23rd street date on Partisan Records.

-> Deer Tick - "Easy" <-

TOUR

Thu-Apr-23 Boston, MA Harpers Ferry
Fri-Apr-24 Providence, RI Lupo's Heartbreak Hotel #
Mon-Jun-08 Philadelphia, PA Trocadero %
Tue-Jun-09 Brooklyn, NY Music Hall of Williamsburg %
Wed-Jun-10 Boston, MA House of Blues %
Thu-Jun-11 Washington, DC 9:30 Club %
Fri-Jun-12 Carrboro, NC Cat's Cradle %
Sun-Jun-14 St. Louis, MO The Pageant %
Mon-Jun-15 Lawrence, KS Granada %
Wed-Jun-17 Omaha, NE Slowdown %

# = w/ Elvis Perkins in Dearland
% = w/ Jenny Lewis

Yeah Yeah Yeahs Suck On SNL

ZACH THAT:

Last week we had an underwhelming performance by Phoenix and this week the Yeah Yeah Yeahs pumped out a messy, uninspired, and dreadful live SNL show. What happened to this band? Is SNL's new tradition of being not funny washing off on the bands they bring in? Watch these and please tell me if you like them...if you do, I have questions.

"ZERO"

"MAPS"

Animal Collective on Winning March Music Madness '09

ZACH THAT:

Here is a statement from Brian Weitz aka Geologist from Animal Collective on winning We Listen For You's March Music Madness '09:

"thank you very much. we're honored, but we were pulling for syracuse."

It's been a big year for Animal Collective. Any ideas who will win the tournament next year?

The Joy Formidable - "Whirring" (Music Video)

ZACH THAT:

Punk Rock Died When the First Kid Said "Punk's Not Dead"

HANK ALTOGETHER:

Wired has a pretty interesting article on how Social Networking is going to help people advertise to us.

These networks represent something of a threat to iTunes, the labels and their record-store-style pay-per-download music sales. But a new report says the same social media sites that threaten the old-school, sales-based approach will eventually save whatever's left of the music business.

"Social music may not generate much revenue now, but monetization’s effectiveness must — and will — improve," writes Mark Mulligan of Forrester Research (free summary; $750 for full PDF). "In doing so, it will become an increasingly important revenue stream that helps fill the gaping hole left by lost CD sales."

The key: On social media sites, users categorize themselves into useful demographics based on media consumption, so music-oriented sites can offer advertisers more value than the ones where all people do is talk.

Read it all here.

St. Vincent - "Actor Out Of Work" (Music Video)

ZACH THAT:

Puff Daddy Likes The Silversun Pickups?

ZACH THAT:

This makes twitter officially amazing and crazy:

Did yall know my favorite Rock group is Silversun Pickups?!? and I am excited their new album, Swoon, comes out April 14th!!! I cant wait!!

Make sure you follow our blogs twitter page HERE.

The Informed Fake (Coachella Line Up)

PHIL THIS:

A mysterious poster from the Coachella Message Boards called amneeziac tirelessly poured over incoming details from fan solicited set time info via booking agents and Goldenvoice announcements. We the fans are gifted with the best remedy to inpatients. The ultimate Fake Coachella 09 schedule that could very well look identical to the real deal.

On an related note Sasquatch Festival has no trouble figuring out where to put who when with two months to spare too!

CLICK HERE

Papercuts - "You Can Have What You Want" MP3/Tour Dates

ZACH THAT:

One of my favorite albums of the year, Papercuts - "You Can Have What You Want" comes out April 14th. Here is the title track off the album along with a Ruby Suns remix of the fantastic song "Future Primitive". Enjoy:

-> Papercuts - "You Can Have What You Want" <-
->"Future Primitive" Ruby Suns Remix <-

Tour Dates: 04/24 San Francisco, CA Cafe Du Nord *
05/02 Arlington, VA Iota #
05/03 New York, NY Bowery Ballroom #
05/04 Petersborough, NH Glass Museum #
05/05 Winooski, VT Monkey House #
05/06 Allston, MA Harper's Ferry #
05/07 Brooklyn, NY The Bell House #
05/08 Philadelphia, PA Kung Fu Necktie
05/09 Baltimore, MD Metro Gallery
05/10 Cleveland, OH Grog Shop #
05/11 Athens, OH Union Bar and Grill #
05/12 Chicago, IL AV-aerie #
05/13 Pontiac, MI The Pike Room at The Crofoot #
05/14 London, ON Call The Office #
05/15 Toronto, ON Horseshoe Tavern #
05/16 Buffalo, NY Big Orbit's Soundlab #
05/17 Pittsfield, MA Copperworks #

* = w/ Cryptacize, The Finches
# = w/ Vetiver

How Vinyl Records Are Made

ZACH THAT:

Watch how much care goes into making your records:

Years

HANK ALTOGETHER:

Ah, another year another spin off Arts and Crafts band. This time, I'm kind of obsessed with Years. If you liked Do Make Say Think's last album, then Years is right up your alley. I can't really find any info about the band other than it's composed of Ohad Benchetrit who (shocker) is a member of Do Make Say Think and has contributed to BSS, Feist, etc. The album drops May 5 and I'm already ready to sit in a field and watch the bugs go back and forth with it. Or something. If you hit the link and fill out a form, you can get a free download of "Are You Unloved." Anticipated favorite track: "Hey Cancer...Fuck You!"

Man Man - "Rabbit Habbits" (Music Video)

ZACH THAT:

Man Man "Rabbit Habits" - watch more funny videos

They Listen For You - 04.07.09

ZACH THAT:

Indie Week Blogs Interviews The Avett Brothers about a new album produced by Rick Ruban.


Pretty Much Amazing is giving away tickets to All Points West Fest.


Aquarium Drunkard has an excellent interview with Akron/Family.


Dent May has an amazing Daytrotter session with a NEW SONG!


We Listen For You favorites, Foals, play a take-away show.

MARCH MUSIC MADNESS '09 - CHAMPION: ANIMAL COLLECTIVE

Unlike the real NCAA championship going on right now, this match up between Animal Collective and Arcade Fire was a buzzer beater. AnCo beat Arcade Fire 50.6% to 49.4%! They're cutting down the nets with "My Girls" playing in the background. Congrats Animal Collective and thanks to everyone who voted.

Take a look at the completed bracket:


Look forward to March Music Madness '10

Of Montreal Spring Tour Dates Announced

ZACH THAT:

Looks like a bunch are already sold out...get on it. Sure they will add more later.

April 13 — Carrboro, NC — Cat’s Cradle AA SOLD OUT $#
April 14 — Baltimore, MD — Sonar AA $#
April 15 — New York, NY — Music Hall of Williamsburg 16+ SOLD OUT $
April 16 — New York, NY — Music Hall of Williamsburg 16+ SOLD OUT %#
April 17 — New York, NY — Music Hall of Williamsburg 16+ SOLD OUT %*
April 19 — New Haven, CT — Toad’s Place AA %
April 20 — Boston, MA — Paradise 18+ SOLD OUT #
April 21 — Boston, MA — Paradise 18+ SOLD OUT #
April 22 — Philadelphia, PA — Trocadero AA #
April 23 — Covington, KY — Madison Theater AA # (near Cincinnati)
April 24 — Columbia, MO — The Blue Note AA #
April 25 — Norman, OK — Norman Music Festival AA
April 26 — Memphis, TN — Minglewood Hall AA #

$ w/ Inkwell
# w/ fire Zuave
% w/ Janelle Monae
* w/ The Ladybug Transistor

The Voyeurs - "The Night I Died" (Music Video)

ZACH THAT:

If you like what you see and hear...which most of you will, go download The Voyeurs' album HERE or go HERE to buy the vinyl.

The Voyeurs – "The Night I Died" from Benjamin Gauvain Hoste on Vimeo.

MARCH MUSIC MADNESS '09 - CHAMPIONSHIP

ANIMAL COLLECTIVE


VS


ARCADE FIRE

VOTE!

Preview The Entire Clues Album!

ZACH THAT:

I'm so excited for this May 19th release I can't sleep at night. For some odd reason, Amazon has posted all the tracks...only clips...you can't download them but it's a nice little treat for you Clues fans out there. I want everyone to buy this album when it comes out...let's make it number one.

LISTEN HERE

Lady Gaga Is Bat Shit Crazy

photo via mtv.com & trevorhoppe

ZACH THAT:

To be fair before I launch into my rant...Lady Gaga isn't really the type of music our blog is concerned with covering or listening to.

Here we go....Lady Gaga is bat shit crazy. I don't know what the worst part of this video is...the lyrics, the outfit, the song, the dancing...maybe the crazy camera work (at one point the whole camera spins! OH NO!). My question is how is she this famous...are we becoming that stupid? I can understand these Disney kids getting huge...those millions are provided by children who don't know better...but adults like this Lady Gaga?

Here's the thing. If you get excited when Asher Roth or Lady Gaga comes on the radio, ask yourself how the hell you ended up on this site? Better yet, grab one of their lyric sheets and see if you can keep a straight face. Is anyone with me here? Lady Gaga famous...Bowerbirds and Mother Mother indie fame at best....come on world, you're depressing me.

Make sure you watch the video and stay for the interview half way through...this crazy woman, who should be selling dead pigeons in a park somewhere, is getting a shit load of money from idiots who buy her music. Stop, please.