Box Of Tracks (July 31st, 2009)

ZACH THAT:

Vic Chestnut – “Chain”

Grand Archives – Silver Among The Gold”

Pissed Jeans – “False Jesii Part 2”

Fruit Bats – “The Ruminant Band”

Benjy Ferree – “Fear”

Elfin Saddle – “Temple Daughter”

Land Of Kush - “Against The Day”

Deer Tick – “Smith Hill”

The Tinder Sticks – “The Hungry Saw”

Mickey Gang – “Horses Can’t Dance”

Or, The Whale – “Datura”

Music Go Music – “Warm In The Shadows”

The Dumbest Review of all Time

HANK ALTOGETHER:

Anyone who reads us knows a certain perverse fondness that we have for jabbing at the indie-rock Goliath (p4k). Also, anyone who knows us knows that we check the site everyday and that (at least I) am a big fan of what they do. No one is as good a content provider for independent music as Pitchfork. No one. This caveat out of the way, I read perhaps the DUMBEST review on there today.

One of my reasons for loving Pitchfork is that they, generally, seem to have a sense of the bigger picture. They keep most everything in context. Sure, they're catty, ironic fucks, but that's the biz and for a long time they were the cattiest and ironic-ful-ist. The review posted today for Mono's glorious Hymn to the Immortal Wind LP is a total head scratcher.

Go here to read it.

I can't tell if it's supposed to be serious or completely tongue-in-cheek. And to be honest, it's so poorly written and poorly thought out it could go either way. I'm not balking on this because I disagree with the review (you can read my for LEO Weekly here). I can't tell whether to agree or not. That's how bad the writing is. We've had our share of typos on here, but at least we try to think reviews out (to the best of our ability to think).

Here's a choice quotation:

What makes Mono most critic-proof is their goal: to make the listener feel. Much music has this goal, but with Mono it is writ large. Melodies are achingly pretty; climaxes are blitzkriegs of flying hair and frantic strumming. Mono's songs are essentially power ballads. What separates them from Céline Dion is a post-modern sense of cool: no lyrics to make sentiments cheesy, no over-production to earn critical scorn. Because they move slowly, Mono seem more cloaked than Dion. But they drop the hammer just as hard.

So...the only thing that separates Mono and Celine Dion is the fact that one of them uses lyrics? Oh, and everything is a power ballad. I get that. No, wait, "Every Rose Has Its Thorn" is a power ballad. This album is GOOD. But, the most egregious thing in this last quotation is somehow thinking that not having lyrics is in a "post-modern sense of cool." Has this person ever heard music prior to, oh, I don't know...1960? Did music begin when Lennon met McCartney the same way that a fire starts when you strike flint?

Oh, and music is used to make someone feel something? That's insane. I listen to music so I can do my taxes and so my kid gets smarter and to drive infidels crazy by blaring it really loud at Gitmo. But emotion? C'mon.

Another:

Hymn to the Immortal Wind has probably caused floods of tears. That's a description, not a dis. The melodies are more sure-handed than ever. They are like missiles locked onto emotional buttons..."Everlasting Light" is a good old-fashioned piano ballad that mushrooms to a Titanic-sized finale. Ms. Dion would be jealous. It's emotional manipulation of the highest order -- and that's OK. Surrendering to it is called "enjoying music."

As if the first quotation wasn't bad enough, this is the (truncated) end of the review. I didn't realize that P-fork started hiring 15 yr old female lead singers tow write their reviews: "caused a flood of tears"..."missles locked onto emotional buttons." One's a cliche. The other makes no sense.

Ugh, and then we have to come back to the Dion reference? SERIOUSLY? And a "Titanic" one at that? I just puked in my mouth.

But, that's okay, "surrendering to it is called 'enjoying music.'"

Barf. I really wish I could come up with something high-minded or somewhat interesting to comment on besides "barf." But, if this is what you're giving me to work with, well, BARF.

Deradoorian - Mind Raft EP

(photo via Al B Sure Unibrow Foundation)

HANK ALTOGETHER:

File this one under "Can't Possibly Be as Good as their Other Band, Right?" -- Angel Deradoorian, bassist and one part of Dave Longstreth's triad of bewitching Projectors, has a solo project. Who knew? Well, probably a lot of folks, but after listening to Deradoorian's juicy, layered Mind Raft EP (out earlier this year on some label called "Lovepump United," too many jokes) it's pretty clear to see how damn talented this woman is. Not only do Deradoorian's vocals hum around the herky-jerky folk of "Two Doves," they buzz and orchestrate all of Mind Raft EP. If you're listening for an imitation of the Projectors, look elsewhere -- Mars or something. If you're ready for a bit of stoner chamber odes, check out this EP by Angel Deradoorian (number one in your spell check, and your heart).

Deradoorian - High Road

The Dodo's "Time to Die" only $2.99 @ Amazon.com

HANK ALTOGETHER:

As if drawn by some sort of sick compulsion to get you to actually purchase music again, Jeff Bezos and those evil monkeys at Amazon.com are offering up The Dodo's rather lovely "Time to Die" for only $3. If you don't know the Dodo's take a min to take a listen. This album is going to fantastic.

The Dodos- Fables

Box Of Tracks (Mon July 27th)

ZACH THAT:

Why? – “Eskimo Snow”

Teengirl Fantasy – “Portofino”

Foreign Born – “Vacationing People”

Slow Club – “It Doesn’t Have To Be Beautiful”

Casiokids – “Gront Lys I Alle Ledd”

The Wave Pictures – “Just Like A Drummer”

A Sunny Day In Glasgow – “Ashes Grammar / Ashes Maths"

Nurses – “Technicolor”

Serengeti & Polyphonic - "My Patriotism"

The Fresh & Onlys – "Invisible Forces"

Princeton – “Calypso Gold”

Low Low Low La La La Love Love Love. – “Blackbird 3”

Wu-Tang (well, Lego-Tang) - "Da Mystery of Chessboxin"

Wu-Tang Lego: Da Mystery of Chessboxin' from davo on Vimeo.

Sorry, we had to shut the comments down on this one. Too many Asian porn sites were feeding off Wu-Tang. And Wu is for the children. Not for the illegal Asian porn sites.

APSE Announce Sophmore Album

ZACH THAT:

In the fall of 2007, around Apse's 8th year as a band, Michael Gundlach and founding member Bobby relocated to the quiet shores of outer Cape Cod, Massachusetts and began living in virtual isolation. A few months into the move and for various reasons the 2 brooklyn based members of the band were no longer in the picture, leaving only Bobby, Michael and their faithful touring bass player / contributing member John Mordecai, living 4 hours away.

Together Bobby and Michael found multi-instrumentalist Jed Armour who joined the band and introduced them to drummer Brandon Collins. Both of them highly talented musicians and long time residents of the cape, the addition of these two members greatly impacted the creative capabilities of the band as well as Bobby and Michael's understanding of - and integration into the year 'round life in the band's new home.

After rigorous preparation with the new members rehearsing for an already-booked 6 week European tour that saw them performing at ATP Vs. Pitchfork and several other noteworthy dates across Europe the band returned to Cape Cod and began writing a new album. In August of 2008 during the early stages of the writing process, All Tomorrow's Parties reissued the band's 2006 Spirit to warm critical reception. Labeled as a post-rock record by some, a genre-splicing giant to others, Spin Magazine's Kenny Herzog likely put it best: "Spirit is the deathnail for the labored beast that is "post-rock," revealing the much more alluring potential that always lurked around its sinister corners."

Since making Spirit - originally completed in 2006 and after releasing a number of smaller albums both before and after the ATP reissue, the band found itself ready to take on its next major endeavor. Just as a director might make respective films - changing subject matter, approach and format for each - the band was inspired to explore new means of composition, songwriting and production. Its range of members were influenced from a diverse array of art and music, life experience, fiction - and were unanimously uninfluenced by their surroundings - as there were little social distractions or creative camaraderies to be had.

The bulk of this writing process then took place between the fall of 2008 and the spring of 2009. Forging the album through long days and nights in the quiet beauty of the winter months on outer Cape Cod. The record that's come out of it, entitled Climb Up is undoubtedly a reflection of the very process that made it - tying into the creative methods as well as the story of the lives of the band's members as they crafted the album.

Climb Up was recorded entirely by the band in their homes. The bulk of the arrangements and mixing were authored by Bobby Jed and Michael. Drawing from a mixture of existing demos that were turned into working songs as well as full-band improvised live recordings that Bobby cut up and formed into song structures, overdubbing effects and vocals on top of them - the band ultimately chose and honed in on a final cut of 12 tracks, culled from a larger body of work.

The ever-changing obtuse creative strategies of Bobby and Michael, paired with the adept musical knowledge and performance abilities of Jed and Brandon - and the diverse inspirations of all members combined to create an album that bares a fantastic dialogue between imagination and songcraft. Climb Up is wildly unique, versatile, and inarguably the bravest yet most accessible work by the band.

The record is a major departure from the band's most notable predecessor, Spirit - which was completed 4 years prior. Where Spirit explored a dark world of reverberant guitars, ambient passages, and minimal, haunting vocals, Climb Up proves a bold step out of that darkness. The intricacies of this new world are depicted as if staggering from the world of Spirit into a very different, more illuminated place.

Not to mention its packed with more grooves, a greater use of electronics, a range of instruments both modern and classical and – notably – a much stronger emphasis on voices and melodies.

Climb Up is dense, innovative, cinematic. Apse draw from a colourful palette of different genres, techniques, instruments and approaches - and with that have made what is likely to be one of the most curious, and probably largely unexpected albums of the year. Listen, and be immersed.

Check out their amzing sounds HERE.

Satan's Coming to Los Angeles

ZACH THAT:

Hey B-Movie horror freaks who live in Los Angeles. I have a very special news treat for you. Tomorrow (Fri July 24th) Fever Night, a psychedelic horror film, which is destined to be a midnight cult classic, will be premiering at the New Beverly in Los Angeles. The reason this news break is on WLFY is due to the fact that we've seen an advance copy and the soundtrack is slick, featuring music by Thee Oh Sees! Check out the trailer below and go HERE for more information.

Thee Oh Sees - "Block Of Ice"

Delphic - "This Momentary" (MUSIC VIDEO)

ZACH THAT:

This is definitely in my top five music videos of the year. Some of the best photography I've seen in a while. Enjoy:

REVIEW: Magnolia Electric Co. - Josephine

Magnolia Electric Co. - Josephine


Release Date: July 21, 2009
Label: Secretly Canadian


8.8









HANK ALTOGETHER:

Inside the already cultish world of indie rock, Magnolia Electric Co. has succeeded in forming their own cult. Lead by Jason Molina, the group has survived a transformation from one of the oddest band names ever "Songs: Ohia" into the fourth proper album under the Magnolia Electric Co. moniker: Josephine. Yet, what connects the names is not only Molina but the sparse, dark, brooding sound -- the two packs and 30 min. to heaven sound.

A concept album based around the death of the band's bassist, Evan Farrell, Josephine is a startlingly focused, lonely album perhaps even more focused and lonely than any of the group's previous work. And for a band that uses sorrow as capital, that's saying something. The opening track "O! Grace" as well as follower "Rock of Ages" conjure a Biblical tone with pianos leading both melodies as Molina's croon seems to beckon us not to the pews but to graveyards and solace. Farrell's death cuts across this album in a way that is not nostalgic or passive but remorseful and somewhat constant. In the tradition of folk music, death remains (as it does in life) a harsh inevitablility--one that brings despair as well as hope. As Molina sings on "Song for Willie," "As long as there are sundowns / there will always be a west / there will always be the west." It's a bold stroke for an already bold band. One so confident in their work not only as a band but also in their masterful parternship with knob twiddler extraordinaire Steve Albini that they seem at their best to reinvent hymns to God and turn them into hymns for men.

This album has some of the most easily rendered, difficult lyrics that I've heard this year. From the opening "I felt as lonesome as the world's first ghost" to (possibly) the lyric of the year "Why Lord always the valley? / Why Lord always the dawn? / Is it so goodbye and I love you / will echo on?" in "Heartbreak at Ten Paces" this is Molina's masterwork as a lyricist. Capturing not only desolation but also indifference and possibility, Molina's words draw us in and out of the brooding instrumentation capturing an emotive quality absent from most music these days. The ghosts that haunt these lines are the dead, but us who continue living with out those who have passed along.

In the full, boozy light of summer this album is a somber, bitter pill. All the more reason we have to take it.

Beastie Boys Go on Hiatus due to MCA's Cancer

You've probably seen this by now, but figured I'd post it anyway. The Beastie Boys are taking a haitus from their new album and touring due to Adam Yauch's health. If you haven't seen the video, click above. A big Get Well Soon to MCA from We Listen for You.

Final Fantasy - "No Cars Go" (Arcade Fire)

(photo via pggaillard)

HANK ALTOGETHER:

I've never gotten into Final Fantasy. This exquisite cover of Arcade Fire's "No Cars Go" might be the first step.

Final Fantasy - "No Cars Go" (Arcade Fire Cover)

Lady Gaga is Batshit Crazy (vol. 2)

(photos via Huffington Post)

Yes, that is a Kermit the Frog outfit. Yes, Jim Henson is pissed.

A Collection Of Crazy Of Montreal Music Videos

ZACH THAT:

Because flashing neon lights make everything better:

Disconnect The Dots


So Begins Our Alabee


Gronlandic Edit


Wraith Pined To The Mist


Suffer For Fashion

REVIEW: The Fiery Furnaces - I'm Going Away

The Fiery Furnaces - I'm Going Away

Release Date - July 21st, 2009
Label - Thrill Jockey



5.9






ZACH THAT:

I guess the critics finally won. Over the last seven years, The Fiery Furnaces have brilliantly evolved through their six studio albums. They started off as a southern twang rock band and mastered the electro sound, proving that “weird” can be high art. To give some context to the comments that follow, The Fiery Furnaces are my favorite contemporary band. While Blueberry Boat is my favorite album, I found Rehearsing My Choir to be one of the greatest musical accomplishments of the decade…while other music journalists labeled it unjustly as unfocused and bizarre. The great thing about the Furnaces is that when the critics panned them, they went even further into the bizarre, which lead to astonishing results. Their last album, Widow City was the perfect fusion of every sound they had created previously and proved that they were in complete control of their songwriting. Their newest offering, I’m Going Away, while better than most stuff out there, marks a sad day for me as a Furnaces fan.

While there are nice moments on I’m Going Away, the album is ultimately bland - fat free vanilla ice cream with no toppings. “Drive To Dallas” feels like a long drive, but without a clear destination, as the track really goes nowhere. “Take Me Round Again” feels like a band trying to mimic the sound of the Furnaces, but without any of the tact that they have shown on previous albums. For those who are on the fence about this album, I suggest giving Gallowsbird’s Bark a spin, where one can see what a successful Furnaces album sounds like when the synths are absent. Their debut album already proves what I’m Going Away tries to say, that the band can do a thoughtful, but pulled back, normal album.

Now, one must understand that, like a caring parent, I’m extremely critical of The Fiery Furnaces. Since their debut, I’ve given each of their albums over 8.0 and placed Blueberry Boat, Rehearsing My Choir, and Widow City as my albums of the year (2004, 2005, 2007)…that’s a pretty good run. While I’m disappointed in the overall feel of the album, there are some tracks that make me feel like I have my favorite band back. “The End Is Near” is a great shift for the Furnaces, delivering a nice little song that is filled to the brink with emotion. The title track “I’m Going Away” launches the album perfectly, with a gritty guitar and saloon piano riff that gets the head nodding and toe tapping. The Furnaces are at their best on this album with the track, “Even In The Rain” which feels like perfect B-side to an “Evergreen” 7 inch. The song is a little off it’s rail, but comes together nicely with the chorus.

That’s the thing about the Furnaces…they’ve never been on the same path as other bands. They do their own thing and if the listener dedicates enough time and brainpower to raise themselves to the bands level, they are greatly rewarded. After spinning “I’m Going Away,” I got it immediately…it’s a nice album full of beautiful arrangements and nice ballads, highlighting a new stripped down sound. I bought the album on vinyl and suggest everyone does the same, but this is definitely their weakest album to date.…which makes me sad. On the upside, I think this album will allow for a lot of people to “get into” the band…and the more people who fall in love with the unmatched Fiery Furnaces…the happier I am in the long run.

This is Deer Country Tours...hopefully dodges that one deer

(photo via This Is Steve Country)

HANK ALTOGETHER:

This is Deer Country's 2008 EP Daylily King is sneaky good. The duo consisting of Dan Haefs and Kate Pote offer sparse folk ballads reminiscent of Magnolia Electric Co. and Emily Jane White. These folks may look like kids, but they don't sound like them. As jaded as your drunk uncle, as clear as your first kiss, This is Deer Country knows how to spin some good sounds. Casiotone for the Painfully Alone likes 'em. And they're coming to house shows across the midwest.

Tour Dates:
Jul 16 2009 8:00P
Bridge House Houghton, Michigan
Jul 17 2009 8:00P
The Garage Stevens Point, Wisconsin
Jul 18 2009 6:00P
The Frequency Madison, Wisconsin
Jul 18 2009 8:00P
House Show Madison, Wisconsin
Jul 19 2009 9:00P
Duke’s Hideaway Chicago, Illinois
Jul 20 2009 8:00P
HELP BOOK THIS! somewhere, Indiana
Jul 22 2009 8:00P
Howler’s Coyote Cafe Pittsburgh, Pennsylvania
Jul 23 2009 8:00P
The Fire Phillidelphia, Pennsylvania
Jul 25 2009 8:00P
Sidewalk Cafe New York, New York
Jul 26 2009 12:00P
Walker Street Kitchen Lowell, Massachusetts
Jul 28 2009 8:00P
Labyrinth Press Co Jamestown, New York
Jul 29 2009 8:00P
Boogie Records Revival Kalamazoo, Michigan
Jul 30 2009 6:00P
The Record Lounge East Lansing, Michigan
Jul 31 2009 8:00P
The Elbow Room Ypsilanti, Michigan
Aug 1 2009 2:00P
Woldumar Music Festival Lansing, Michigan
Aug 4 2009 9:00P
Upfront & Co Marquette, Michigan
Aug 8 2009 5:00P
Farm Block Fest Ahmeek, Michigan
Aug 10 2009 7:00P
Little Gem Theatre Lake Linden, Michigan

Here's a taste:
This is Deer Country - Daylily King

This is Deer Country - She Is (Predatory Woman)

Box Of Tracks (LEFSE RECORDS EDITION!)

ZACH THAT:

Today has been a mind-blowing day. I checked out the homepage for Lefse Records and honestly, ever artist on this label is brilliant. Here are some tracks below. Go out and buy every record from every artist on Lefse Records, my new favorite place to find great music.

My Summer As A Salvation Solider – “Momuments”

My Summer As A Salvation Solider – “Activism”

City Light – “All You Demons”

Boddicker – “Your Smart”

Calico Horse – “Autoharp”

Cuckoo Chaos – “Jamb Song”

Cuckoo Chaos – “Cuckoo Kaya”

Giant Ears – “Fake Hotel”

A Grave With No Name – “Open Water”

Indian Moon – “Cantaloupe”

Neon Indian – “Deadbeat Summer”

Emily Neveu – “Swallowing A Swallow”

Emily Neveu – Idioteque (Radiohead Cover)

Tape Deck Mountain – “In The Dirt”

Tape Deck Mountain – “Scantrons”

The History, Death, and New Life of The Mae Shi

ZACH THAT:

WHO IS PLAYING AT PITCHFORK FEST TODAY?

That depends on who you ask. If you ask Jon Gray, Bill Gray, or Jacob Cooper, the Mae Shi are playing. Jacob's Facebook update from yesterday says this:

Jacob Safari OK guys, tomorrow 1PM Union Park on aluminum stage Pitchfork Fest. LAST MAE SHI SHOW W/ THIS LINEUP EVER. THIS IS IT.

This makes us sad, and requires some back story.

Back in 2006, when Ezra and Corey quit the band, Tim and Jeff and Brad weren't sure what to do next. We still had more songs in us, we still had more people to meet, and we couldn't come to terms with the thought of no longer being in a band. We met up at Palms Thai and decided to keep it going.

We didn't want to "replace" Ezra. We didn't want a new "singer." But we all agreed that we needed one more person -- one more voice, one more opinion -- in the band.

We put the word out that we wanted another member. We posted a ridiculous flyer at the Smell. We played with a few people. The two people we thought of first were Jon and Bill Gray, two cousins we met right when the band got started. The two people that were the biggest supporters of the band; the two people that cared as much as we did. Go back and watch footage of 2003 Mae Shi shows at the Smell and you'll see Jon and Bill in the front in every shot. They told us when we were good and told us when we were bad.

And so, in August 2006, Jon ended up joining the band (Bill would join later). At that point, we had the sketches of what would become HLLLYH finished, and with Jon on board they quickly took shape. We played with Jon for the first time in September 2006, and pretty much finished the record by January 2007. Instead of having one singer, we all sang, and having Jon as a multi-instrumentalist and singer really tied things together. He wrote amazing lyrics for songs like 7XX7 and Party Politics.

We had this awesome record done, but knew we wouldn't be able to really promote it. Brad wasn't interested in touring anymore. Tim had decided to go to law school in the fall. So we did SXSW and did one little tour and laid low.

In November, Bill and Marcus joined the band, and Brad and Tim stayed home and worked on other things. All of a sudden, there were four people -- Jon, Jeff, Bill and Marcus -- committed to touring and ready to hit the road.

In January 2008, Jon asked Marcus to leave the band, and replaced him with Jacob. Jacob, Jeff, Jon and Bill toured like crazy for the entire year and made a lot of new friends. Meanwhile, Tim studied and Brad stayed in LA and worked on new songs.

Who was in the band by January 2009? It's hard to tell. Our myspace page still showed six members. A few months earlier we had gotten our first real "manager," and we were being told that to be successful, we should market ourselves as a four-piece. We were told we needed to "focus," and the audience needed something to focus on. We needed a "front man." We took that advice, and took aim at the future as a quartet -- Jon, Jeff, Bill and Jacob. Jon was our front man, and he did it well. Brad was fine was this, as he wasn't interested in performing, only writing and producing, but Tim felt weird and a little hurt about it.

Things were not all well. Jeff, at this point the only original member, had been hiding a drug and alcohol abuse problem, and Jon and Bill and Jacob witnessed him do bad things and make terrible decisions and be dishonest about it all. Before their European tour, Jon and Bill and Jacob announced to Jeff their intent to "step away from" the Mae Shi when the tour ended.

In May 2009, midway through the European tour, Jeff realized how bad his problem had gotten, and flew back to get help. The rest of the band finished the tour without him as a three-piece.

When Jon and company returned from Europe, they did not check on Jeff. Jeff, at that point three weeks sober, finally got in touch with Jon and told him that he wasn't healthy enough to play any upcoming shows, and suggested the band cancel the remaining booked shows, including Pitchfork Festival, which was six weeks away.

Jon responded that he and Jacob and Bill were going to do Pitchfork whether or not Jeff played it too, and so it would be best if Jeff just gave them his blessing. Jon asked Tim, who had been on the sidelines looking for a way to get involved, if he would play the festival and take Jeff's place. Tim chose not to.

Meanwhile, Brad -- who had gotten extremely busy with his day job making music for a TV show -- had gotten tired of all the drama and stepped away from the band as well.

Both Tim and Jeff learned on Wednesday that Jon and company had issued a press release that Pitchfork had spun into a news item: the Mae Shi was turning into Signals. In the language of the release, three of the four members of the band were quitting to form a new band called Signals, and the Pitchfork show would be the last chance to see the current lineup of the Mae Shi as well as the first chance to see the new band.

Is that true? Not really. Jeff will not be there. Tim will not be there. Brad will not be there. You will see 3/4ths of the most recent touring band. What you will see will be Signals.

Jacob Safari OK guys, tomorrow 1PM Union Park on aluminum stage Pitchfork Fest. LAST MAE SHI SHOW W/ THIS LINEUP EVER. THIS IS IT.

This is all, in our view, a tremendous bummer. It makes us deeply sad. The Mae Shi have had their share of tough times. We are a dysfunctional bunch. But we've always been friends, and we've always believed that we are generally good people. We've always been family -- real family. Byrons and Grays, a Buchla, a Breeck, a Cooper. A Fogel and a Savino. But this seems extremely opportunistic and inconsiderate, and not how friends treat one another.

We feel very weird and sad about all of this. Because of Signals' press release, we are getting tons of emails and calls from friends asking if the band is over. We weren't prepared to discuss this; while Signals were building Myspace pages and booking shows, we were trying to get better. We've been told Signals is going to play Mae Shi songs, which also makes us feel weird.

So here is the hastily written story: We are the Mae Shi. We do not break up. Currently, we are Jeff and Tim Byron, and we hope to be more people in the future. The future is uncertain, but there is a future.

We wish Signals the best of luck.

- Tim and Jeff

Flaming Lips - "Race for the Prize"

HANK ALTOGETHER:

Last night's Pitchfork-cast of the Pitchfork festival got me thinking of a 3 piece Flaming Lips video I saw right after Soft Bulletin came out. So, this one's for you, Zach.

Fiery Furnaces do NYT Playlist

HANK ALTOGETHER:
Today's Sunday NY Times features the Fiery Furnaces turning us onto what's on their playlist these days including Lang Lang, Rodriquez, and a grandpa genius.

Check it out here.

Passion Pit - "Kingdom Come" (Music Video)

ZACH THAT:

Passion Pit | To Kingdom Come from EFFIN' MEGA VIDEOS on Vimeo.

Box Of Tracks (JAGJAGUWAR EDITION!)

ZACH THAT:

LIGHTNING DUST - "I Knew"

LIGHTNING DUST - "Never Seen"

ONEIDA - "I Will Haunt You"

ONEIDA - "Saturday"

SUNSET RUBDOWN - "Idiot Heart"

DINOSAUR JR. - "I Want You To Know"

PINK MOUNTAINTOPS - "Vampire"

PINK MOUNTAINTOPS - "While We Were Dreaming"

OKKERVIL RIVER - "Pop Lie"

PTERODACTYL - "First Daze"

SWAN LAKE - "Spider"

JULIE DOIRON - "Consolation Prize"

BON IVER - Blood Bank"

WILDERNESS - "Strand The Test Of Time"

WOMEN - "Black Rice"

Neko Case - "iTunes Originals - Neko Case"

HANK ALTOGETHER:

It's always a good day when you can wake up with Neko Case. Today, Neko trots out "iTunes Originals" which culls together some wonderful live stuff interlaced with an interview with Neko.

Tracklist:

01 iTunes Originals
02 Ghoststory Song (Interview)
03 Furnace Room Lullaby
04 Written on the Road (Interview)
05 Set Out Running
06 You Guys Have No Idea (Interview)
07 I Wish I Was the Moon (iTunes Originals Version)
08 Waking Dream Song (Interview)
09 Deep Red Bells
10 Time in a Farmhouse (Interview)
11 If You Knew
12 Inspired by Paul (Interview)
13 That Teenage Feeling (iTunes Originals Version)
14 Take It as Far as It Can Go (Interview)
15 Hold On, Hold On (iTunes Originals Version)
16 Too Cool (Interview)
17 Middle Cyclone (iTunes Originals Version)
18 Animals Act Like Animals (Interview)
19 People Got a Lotta Nerve (iTunes Originals Version)
20 Hard to Cover (Interview)
21 Don't Forget Me (iTunes Originals Version)

Bonus is that it's only $9.99. If, like me, you live in Louisville and you may not be able to get to see her, check this out.

One time "band" named "Weezer" Plays "Songs" by Other "Artists"

HANK ALTOGETHER:

Any toleration I used to have for Weezer has officially worn off. I was going to nominate Pinkerton for our Hall of Fame, now, I think I'll just wait for them to open for Marcy Playground at Phoenix Hill. Shouldn't be too long.

Rufus Wainwright...Opera?

HANK ALTOGETHER:

Here's a WLFY first: Loudon Wainwright's kid, the same one he wrote the song "Rufus is a Tit Man" about, had his first opera "Prima Donna" premiere in Manchester, England. The NY Times review is pretty lukewarm, but still interesting. I'm not one for oprea, but wouldn't mind finding some tracks from this one. If you got a lead, hit us up in the comments.

Review here.

Sophie Madeline Has Stolen My Heart

ZACH THAT:

Sophie Madeleine is one of my favorite 2009 discoveries. Her debut album LOVE.LIFE.UKULELE is a great listen and everyone should go HERE and buy it. Recently Sophie has recorded a few live songs on her youtube page. Enjoy:

"Take Your Love With Me"

"Don't Think Twice It's All Right" (Bob Dylan Cover)

Box Of Tracks (July 12th, 2009)

ZACH THAT:

These United States – "I Want You to Keep Everything"

Black Feather – “Ardent Cloud”

The Rural Alberta Advantage - "Frank, AB"

UUVVWWZ - "Jap Dad"

Neon Indian - "Terminally Chill"

Caroline Weeks - "Elegy"

Lewis & Clarke - "Petrified Forest"

Neko Case on "Wait, Wait Don't Tell Me"

HANK ALTOGETHER:

Yesterday's rendition of "Wait, Wait Don't Tell Me" featured Neko Case reenacting parts of the civil war, explaining why she put pianos out to pasture, and confiding that cute guys never talk to her after shows.

Listen here.

I'll Stand on Steve Earle's Coffee Table and Tell Him This Is a Great Documentary

HANK ALTOGETHER:

One of the most enigmatic and troubled of the great Texas singer-songwriters is Townes Van Zandt. The riveting documentary, Be Here to Love Me, on his work whose jacket cover features this great quote from Steve Earle: "Townes Van Zandt is the greatest songwriter ever. I'll stand on Bob Dylan's coffee table and yell that at him." Silly Steve, Bob doesn't have a coffee table. He has bunch of gold records pile up. If you can't make it thru the whole thing, at least make it to the part about the airplane glue. Wow. From Pitchfork's One Week Only.

WATCH IT HERE

REVIEW: Discovery - LP

Discovery - LP

Release Date: July 7th, 2009
Label: XL



0.4






ZACH THAT:

You know that asshole that has a lot of fancy keyboards and their own in house studio who always makes you listen to their pain inducing demo? I think we all have a person like that in our lives. Now imagine if two less than talented groups, Vampire Weekend and Ra Ra Riot joined forces to create an album so disastrously douchebag, that it makes you yearn for those crappy demos your friend made.

The side project from this “Super Group” ironically picked the name Discovery. If bands are explorers and the art of music is untouched land…then Discovery’s contribution is on par with me declaring I stumbled upon America while on a spice hunt. The point here is, Discovery has not stolen, but photocopied from the pages of Passion Pit and other contemporary synth pop bands, while throwing in a little auto-tune if the product wasn’t cheesy enough. The music will be described by many critics and fans as “fun”. You know what…I’m sick of this statement. I like “fun” music as well…but I really can’t have fun with awful music, it bothers me too much. People defending music by saying it’s “fun” lead to us having to endure the likes of Lady Gag and in a few months question why that person even existed in the first place.

The music is simple and often verges on insulting. Many of my friends have claimed that this side project is a joke…making a comment on the current state of pop music. I really hope this is true, but I’m afraid this album these guys are serious. The album sent me over the edge when I hit the Jackson 5 cover, “I Want You Back”. A perfect cover in my mind is a track that can make you look at the original song in a new (positive) light. Never in my worst nightmares did I think I would be forced to hear this Jackson 5 classic raped by auto-tune and the simplistic pounding of Discoveries keyboards. For a great cover, look to Starfucker, who recently covered “Girl’s Just Want To Have Fun” on their new LP “Jupiter”. That’s a “fun” cover that is clever with its take on the Lauper tune.

Look, I get it. Some people really love this album…they have every right to love it. The flip side to this is I have every right to express my disgust that people find Discovery enjoyable. The album receives .4 points because it is so damn successful in being a complete failure. If the guys ever want to confirm my friends notions that this project is a joke, I would be glad to bump up the score to a 5.0…it’s about as funny as that Lonely Island album…but sadly these guys think they’re writing quality music. Discovery has taken a top spot, however, as my front-runner for worst album of the year.

Dan Deacon Was Not On Acid!

ZACH THAT:

Here is a quick myspace post from Dan Deacon where he seems to be wanting to clear some things up:

the video for 'drinking out of cups' (2003 meetle mice) seems to be going viral again, this time in the comedy world. sara silverman posted it on her twitter and 'opie and anthony' discussed it on their radio show. there is an amazing amount of disinformation and completely wrong information about this piece and i just want to clear some things up.

in 2002 i recorded myself watching television with the sound off doing a character that was meant to embody long island culture (where i grew up). i was NOT on acid when i made this piece. i have NEVER DONE ACID.

while i have no problem with psychedelics and think that they are important to human culture, i do want it to be known that i was not on any psychedelics or any drugs while making this piece. it was all stream of conscience, reacting to watching the tv, changing the channels, with the sound of, talking to it as if it were a person communicating back to me.

the track was on my 2003 album meetle mice. in 2005 or 2006 liam lynch came across the track as it was getting passed around on message boards and file sharing sites. he contacted me about making a video for it and about using my song 'big big big big big' as the theme song to his podcast show. i love liams work and of course said yes. the video has grown in popularity to the point where i get fan mail from soliders in iraq, blog about my celebrity comedians and its gotten 2.8 million views on youtube.

this is all great and whatever but i want people to know this video was created without drugs or acid. i'm glad that people like the video but lets just make this perfectly clear:

1. I WAS NOT ON ACID WHILE MAKING THIS VIDEO

2. I WAS NOT LOCKED IN THE CLOSED AND BEING RECORDED

3. I RECORDED THE TRACK 100% SOBER

4. I USED THE TRACK A SCHOOL PROJECT AS A SOLO VOICE/TAPE PIECE

5. I HAVE NEVER DONE ACID, AND LIKE JEFF LEWIS, NO I DON'T WANT ANY ACID, THANK YOU

6. YES, THAT IS ME TALKING AND I WROTE THE PIECE

7. ITS A CHARACTER SATIRIZING LONG ISLAND STEREOTYPES

8. THE SONG CAME OUT IN 2003

9. THE VIDEO CAME OUT IN 2006

its really insane to me that i have been the subject of two separate viral videos that exist simultaneously inside and outside of my music career. the internet is a strange place. i don't really know how i feel about this kind of stuff. while my work is weird and some what "experimental" its not that weird or that "experimental" where it should cause so much confusion and bewilderment among the mainstream audiences that it comes across. but i guess thats what happens when anything is out of the immediate ordinary.

anyway, thanks for taking the time to read this. please stick up for me if you see on message boards or youtube comment sections or anywhere if you see it being stated that i am on acid while making that piece. i made the piece to be funny and a piece of absurd humor. it was edited down and crafted with care. while it seems like a mindless ramble, some time and effort went into making it. if that ads or distracts from the piece so be it, it wasn't meant to be a process piece and i never thought i'd be explaining it or that it would be seen by nearly 3 million people.

i guess i should just be glad so many people enjoy it. however, to have it be stated that i was on acid time and time again takes away from any of the creative process i put into the piece. i'm not sure i'm getting my point across but i am tired of writing this and need to get back to work on whartscape. love you all.

dan deacon

Dave Berman Likes to Draw Pictures of People who vaguely resemeble him. Words at the bottom. Funny.

HANK ALTOGETHER:

Below are some cartoons from Dave Berman from his book out now via Drag City. Thanks P-fork.

Happy 4th of July from WLFY

Loudon Wainwright III - "Krugman Blues"

HANK ALTOGETHER:

Loudon Wainwright is one of the best political songwriters out there. He manages to blend a dash of humor in with every barb and the latest victim is NYT columnist, super-liberal, Nobel-winning Paul Krugman, whose hating on the economic state is lambasted by Wainwright in this tune.

Dirty Projectors - "Stillness is the Move" Video

Leave it to the DPs to put another layer between themselves and the audience by making an already absurdly difficult album even more strange by putting a video in some sort of weird rustic Lord of the Rings does South America with a llama, weirdo pants, and the incredible Amber Coffmann. Thanks for the heads up, Chris

Travis Morrison Retires

HANK ALTOGETHER:

It was a rough day for me when The Dismemberment Plan broke up. This one isn't as huge, but I'm disappointed nonetheless. Travis Morrison, former frontman of "The Plan" is one of the underlooked geniuses of indie rock. The Plan is my favorite band and will remain that way. They were doing things in a different way before there was a different way to do things in -- mixing samples with insanely musical punk tunes, bringing out the noise and knowing when to drop the melody as well. It's hard to think of there being bands like Dirty Projectors without the insanity of the Dismemberment Plan. Their album Emergency & I is still the ur-recording of the post-punk DC scene. Smarter than Q and not U, Morrison with the Plan was serious enough to be funny and funny enough to know that they were serious. I saw them on the farewell tour in Fayetteville, AR and they played requests for 2 hours.

Morrison's solo career, which he says is at an end, was a flummoxed, bizarro affair. The first record, Travistan, got the dreaded 0.0 from Pitchfork, made odd shout outs to Fugazi and Shamu. But the second, All Y'All, showed promise, though it did talk a lot about pie.

Morrison's always been a guy to put life before records. And friendship before commercial appeal or even musical sucess. The breakup of the Dismemberment Plan had as much to do with people needing full-time work and health insurance as it did some sort of friction inside the band. If anything, Morrison was one of the first people who taught me, as a listener, that music isn't just about "art" or "buisness" or some path between the two. Music is about the people you listen to it and make it with. People struggle mightily to do what they love to do and afford where they live and eat something besides salsa and beans. Particularly independent musicians. It's an important notion to keep in mind, and I'm glad I had Travis Morrison's music to teach it to me.

Maybe we'll hear from him again. After all, it is a life of possibilites...

The Dismemberment Plan - Following Through (from Change)

Travis Morrison – As We Proceed (from All Y'all)

Luke Jackson - "Goodbye London" (Music Video)

ZACH THAT:

Really cool music video that is ready for you eyes:

Bloc Party - "One More Chance" (Music Video)

ZACH THAT:

Download: Lollapalooza MP3 Sampler

ZACH THAT:

Go HERE and download 15 tracks from bands playing at Lollapalooza. Bands include Deerhunter, Fleet Foxes, Bon Iver, and the band that is drawing me to Chicago, LA greats, The Henry Clay People.

REVIEW: Deastro - "Moondagger"

Deastro - Moondagger

Release Date - June 2nd, 2009
Label - Ghostly International/IODA


8.7







BEN SHEENE:

Allow me if you will to copy and paste and excerpt from the Ghostly International website about Deastro’s Moondagger: “When Randolph Chabot, the 22 year-old auteur behind Deastro, is asked about the title of his new album, he recounts a dream about a prince, a kingdom, an evil King of Darkness, and a search for the mythical “Moondagger,” the bearer of which wields ultimate power.”

Holy Crap…

As you explore the depths of Moondagger it helps to keep this dream in mind. Not only does it ground the listening experience a bit in “reality” but it also makes for an extremely exciting listen; after all, how could you not want to listen to something that was inspired by kings of darkness and magical weapons?

I would like to offer a word to you, dear reader: celestial. That is the word that seems to fit the best when describing Deastro’s music. I am perfectly aware that what we are listening to is electronic music or electronic pop or whatever but Moondagger transcends that somewhat vast genre. Each song has this layered feel to it; movement after synthed movement is piled on forming individually epic (in their own way) songs. When I first heard opener “Biophelia” I thought for a minute that I was about to rock out to some sort of video game. In fact, that is part of the glee I get when listening to Deastro. After hearing Chabot’s debut Keepers I pictured some sort of ship flying through space passing planets and shooting lasers and vanquishing aliens. Weird, huh? Sorry, at times I have a hyper-vivid imagination. When Moondagger opened up I yet again felt that I was in for that same 8-bit ride. However, I realized that the scope for this album was more than what I was to initially believe. That is where this concept of “celestial” comes in. Yes, it is true that the sweeping and brilliant moments of electronics and syths that fly throughout the bulk of the album are something worthy of being bright and colorful like stars and planets.

There are also moments here that cause us to become more introspective. Like a barely visible star or a cloudy nebula there are quieter moments among all the epic grandeur. The standout “slow” track for me is the album closer “Kurgan Wave Number One” which feels like a moment to catch your breath and push all the air back in your lungs after having climbed so high in the past eleven tracks. That might take care of the obvious but the lyrics range from the visions of Chabot’s “moondagger” dream to more deeply introspective moments. It is a nice trade off. You don’t feel like you are being bludgeoned to death all the time with computer noises. In fact, I feel that the frantic tracks “Moondagger” and “Vermillion Plaza” have a sort of stealthy dream pop attitude towards them. It might just be me but that is how the album catches you as a whole. You really have to allow yourself to be put on this space ship of an album. Each song represents a new moment to look out your window and say “wow” (except in audio form) and each individual will be left with a different impression.

If you are a fan of deep and varied electronic pop Moondagger is for you. The same goes for those of you who like their music on the dreamier side. Don’t be deceived by the frantic and loud nature of what is first presented to you. Like I said, this album has a lot of layers for you to peel over and digest. As a final and side note, there is one thing that makes me undeniably happy while listening to this album and that is the inclusion of “The Shaded Forests (Gift Giver’s Version)”. “The Shaded Forests” is a perfect song and was on Deastro’s first album Keepers. More or less I suggest you listen to the original because it encapsulates the epic and celestial (yes I use that a lot) nature of what I like about Deastro’s work. Here, though, we get a remix and it is, like the subtitle suggests, a gift. I was pleasantly surprised to hear this remix because it strips away a couple layers from the original but maintains the deeply emotional and sweeping feeling I get from the song every time I hear it proving that Deastro isn’t just about the music but about the feeling. So, in other words, I really suggest you check this album out; it is one of the most pleasant and unique albums to come out this year.

MUST LISTEN: Erykah Badu & The Roots do "I Wanna Be Where You Are" & "Billie Jean" (Michael Jackson Tribute)

(Photo via Backseat Sandbar)

HANK ALTOGETHER:

First, 2 disclaimers.

1. I'm ambivalent about this whole Roots being the house band on Jimmy Fallon's show. I credit them with being smart enough to realize the cultural history behind being a house band for white talent. Likewise, I think they're working it to there advantage and making some money while doing it.

2. I'm pretty much over the whole Micheal Jackson thing. I, like most of us, was a huge fan back in the day. And though it's sad to see anyone die, I can't help but feel that I'm not missing any great music from him. MJ, for me, peaked in 1984. And, with the exception of getting down to "Working Day and Night" day and night, I haven't really shed a tear over MJ's death.

That said, these tracks are incredible. They were done on Jimmy Fallon's show last friday. They are a must listen by two of my favorite acts. Particularly the underplayed cantina sound of "Billie Jean." Thanks to It's All the Way Live.

The Roots & Erykah Badu - “I Wanna Be Where You Are” (Michael Jackson Tribute) [Download]

The Roots & Erykah Badu - “Billie Jean” (Michael Jackson Tribute) [Download]

If you got a vid link, give a shout.

Overlooked Albums of 2009 (So Far)

ZACH THAT:

Here are a few albums that demand more attention.

The Mint Chicks - "Screens"



Dent May - "The Good Feeling Music of Dent May & His Magnificent Ukulele"



Sophie Madeleine - LOVE​.​LIFE​.​UKULELE



Cocorosie - "Coconuts, Plenty Of Junk Food EP"



Starfucker - "Jupiter"



Sports: The Band - "Sports: The Band EP"

REVIEW: Wico (The Band) - "Wilco (The Album)"

Wilco - Wilco (The Album)

Release Date: June 30, 2009
Label: Nonesuch










HANK ALTOGETHER:

As a longtime Wilco fan, I must confess that I'm pretty baffled by the current state of the band. Have the once alt-country superstars turned avant-experimental idea band seem to have slipped into the inertia ridden landscape of a adult contemporary jams. In a word, sadly, yes. Turns out Sky Blue Sky wasn't a fluke. The group's latest effort Wilco (The Album) is an amalgamation of schlock, pretension, and slick production. Wha happened?!?

I know a lot of people have opinions on the band and, frankly, unless you start talking about AM or Being There, I'm apt not to listen. You have to understand (or at least appreciate) the group's roots to understand both their genius and what has happened since. See, Yankee Hotel Foxtrot -- one of my favorite albums of the millenium -- didn't arise out of nowhere. And the sound that Wilco cultivated on it; skyscrapers of electronics, out of tune guitar riffs, and infectious melodies filled with akimbo associative lyrics; persists as some of the best songwriting of the past decade. They distanced themselves from drummers and the recently deceased Jay Bennett. Got former Sonic Youth member, guitar all-star Jim O'Rourke and released the self-hating, panic attack that is A Ghost is Born. What remained the still point in the turning axis of Wilco's lineup was Jeff Tweedy, the kind of idiot savant of Uncle Tupelo. Tweedy's storytelling ceased to lineup with the straight punk-influenced country of Tupelo and became word clusters and associations to places, emotions, themes. Listening to Tweedy on these two albums is like having cognitive dissonance with reality -- both charmed and frightened by it at the same time. In the heyday of Wilco, they managed to do what possibly only Radiohead has managed -- change who they were album to album while still being uniquely themselves.

Listening to Wilco (The Album), as a Wilco fan, you can't help but feel some sort of nostalgia for these Ghost and Yankee. And, if as some have suggested this album is some attempt to pin the band down, I have to ask: Why? You were so much better when you were trying to figure out who you were. Instead, this album is a seeming rehash of genre-songwriting with a few Nels Cline riffs that seem more like frosting than cake. Tweedy's hushed delivery falls flat or like he's better than you are particularly on the uninspired "You Never Know" -- "C'mon Children, you're acting like children, acting like children..." A lyric that I would normally let pass, if it sounded like the band was having fun, but this album doesn't sound like fun at all. It's at best an affirmation and at worst a sermon. Gone are the associations and angst. What we're left with is a rather bland, unappealing statment of fact...yeah, we're a band, yeah, we named this album after ourselves, clever, huh?

The beauty of Wilco is that they were never aware of being clever. They were fucked up and they knew it. They made the kind of music that someone fucked up making something beautiful would make. I'm not saying they should get fucked up again, but I am saying that I wish they wouldn't make something that is like what everyone else would think is beautiful. Who they are is all Wilco needs to be. Sadly, this album is not that.

2 tracks make this album not a total waste. The lonely wanderings of "One Wing" and the headphone masterpiece "You and I." In both tracks, there are the rumblings of Tweedy's past gold -- the desperate ache to relase yourself from knowledge, knowing that you have to know to feel. This a condrum that Wilco does so well. Probably because it's not static. I, for one, hope they return to those ways.

Box Of Tracks (July 1st, 2009)

Cale Parks – “One At A Time”

Woods – “To Clean”

Phil and the Osophers – “We Have All Summer”

Marina and the Diamonds – “I Am Not A Robot”

Bishop Allen – “The Ancient Commonsense of Things”

Wavves – “So Bored”

Generationals – “When They Fight They Fight”