Suburban sprawl seemed like an unlikely target for inspiration and an album worth of material when Arcade Fire announced their third LP, The Suburbs, in May. We’ve seen them tackle the complexities of youth, family and death (Funeral) and monopolizing institutions (Neon Bible), but strip malls and housing developments?

The Suburbs is an ode to Win and Will Butler’s memories of growing up in suburban Texas, but it’s also a record that digs much deeper than simple autobiography and comes up with gold. Arcade Fire have created a masterpiece with deeper themes like growing up and moving on, wasted youth and a society in which things built so close together can seem so far apart.

Take, for example, “Wasted Hours,” a gorgeous slow jam on the record’s backend. It’s built on light percussion and a simple, repetitive yet elegant guitar riff. Like we’ve come to expect from Arcade Fire, the instrumentation is pristine but on closer inspection, Butler’s lyrics are what stand out and re-ground us in what this record is all about: “Spent the summer staring out the window/The wind it takes you where it wants to go/First they built the road, then they built the town/That’s why we’re still driving around and around/And all we see are kids in buses longing to be free.”

It’s hard to pull out standouts from a record this lush in its orchestration and lyricism and relentless in its exploration of an overarching theme. There are guitar-driven rockers (“Modern Man,” “City With No Children), there are piano-heavy ballads (“We Used To Wait,” “The Suburbs”) and string-laden epics (“Rococo,” “Empty Room”), even a little bit of ABBA-esque disco (“Sprawl II [Mountains Beyond Mountains]”). The Suburbs strikes a perfect balance between these types of song, never relying too heavily on one instrument or one band member.

Length is this record’s Achilles Heel. It’s obvious the band had some troubles cutting the album down and at a little longer than an hour, it can be tough to make it all the way through. A few more edits to cut the time by just ten minutes could have made The Suburbs even more of a masterpiece, but it’s tough to point to which songs could have or should have gotten the axe.

The Suburbs’ strongest hand is in its overarching themes of just what the suburbs are and mean to the people growing up there. On “Suburban War,” Butler yearns to get out: “In the suburbs I/I learned to drive/And you told me we would never survive/So grab your mother’s keys/We leave tonight.” That youthful angst and frustration with a place a supposed utopia that’s actually a personal hell saturates this record. This is how Win and Will Butler felt growing up near Houston Texas, and this is their rally cry and anthem for today’s modern suburban kids who feel the same way.

On “Rococo,” Butler damns the corporations and construction companies treating suburbia like a rotating wheel of opportunity. “They build it up just to burn it back down/The wind is blowing all the ashes around/Oh my dear god, what is that horrible sound?” We hear similar frustrations on “Sprawl (Flatland).” Backed by haunting cacophony of piano and strings, Butler croons: “Let’s take a drive through the sprawl/Through these towns they built to change/And then you said ‘Emotions are dead’/It’s no wonder you feel so estranged.”

The record’s potent lyrical themes and impeccable instrumentation are polished to perfection on the title tracks that bookend the album. The opener, “The Suburbs” is a simple piano-and-acoustic-guitar anthem in which Butler again implores “grab your mother’s keys, we’re leaving” while also craving something greater for his children: “I want a daughter while I’m still young/I want to hold her hand/Show her some beauty before all this damage is done.” That’s what this record is really all about: frustrating memories from a youth viewed as wasted in suburban hell.

Then there’s the closer, “The Suburbs (continued),” the most gorgeous, rich and deep song on The Suburbs. At 1:28, it’s by far the shortest song on the record, but it doesn’t take long to get its point across. As a lush symphony of strings swirls around, Win Butler and wife Regine Chassagne end the record on a nostalgic note: “If I could have it back/All the time that we wasted/I would love to waste it again.” It’s a sweet and hopeful tone rarely witnessed over the course of the record, one that gives us reason to believe that Butler & co. are done regretting wasted youth. Rather, as they grow older, they want to go back and do it all again.

Rating: 9.4/10

(The Suburbs is due out August 3 via Merge Records. Pre-order here.)

I was cruising down highway 65 to Virginia Beach for the 4th of July. It was meant to be an overnight retreat from DC and the ‘burbs. All I wanted was to get some beach sand between my toes and to see some massive explosives rocketed into the sky. I decided to take some new music with me, and my friend Paige suggested Crazy For You by Best Coast. She said it would maybe help in my relaxation during my excursion. So I put it in the CD player. And she was right.

Best Coast has made the first Summer album of this decade. I turned the air conditioning off, rolled the windows down and let my hand hang out the window, catching the whipping wind currents up and down. Breathing in the humidity, my shirt sticking to my back and the sweat beginning to glisten over, I was thirty minutes from the beach and the summer had arrived.

The best Best Coast thing is that their songs sound positive but they are about longing for love or being crazy The song “The End” has the lyric, “You say that we’re just friends / what I want is until the end,” which is such a simple way of saying something so complex. It’s also essentially saying that you want that quintessential love… until we’re dead. It’s these paradoxes that really make the simple sounds of Best Coast off the deep end.

What I found in Virginia Beach was that it really was the worst coast. It was overcrowded with people with the same intentions of retreat. The day after the fireworks I pitched an umbrella between two other suburbanite campers and closed my eyes and imagined California– the place of no responsibilities, where the weed grows on trees and cute indie bands play on every corner throughout the day. What I realized, lying in the sand with my headphones, even in dreamland Cali–where everything is perfect– Bethany Cosentino’s shining voice would be a beacon on the Best Coast.

Arcade Fire have been very secretive about the release of their new single. Here’s what we knew, before today: the A-side would be “The Suburbs” with “Month of May” as the b-side. It would be available on 12″ vinyl. It had a reported release date of June 1.

Well, all of that info became moot today when the two songs leaked online. Some independent record stores in the US and the UK stocked the 12″ single a little early and, naturally, some radio DJs (namely BBC1) got their hands on it.

“The Suburbs” is a sprawling, escalating piano ballad, akin to “Neighborhood #1 (Tunnels).” “Month of May” has a harder, edgier rock sound. Listen to them both via the links below. Buy the 12″ at your local premature-stocking indie record store or anywhere else on Tuesday. No word yet on a full-length LP from the Canadian troupe, but with tons of festival dates lined up for the summer, I doubt these two songs are all we’re hear from Win Butler & cetera.

Discuss in comments.

Arcade Fire – The Suburbs
Arcade Fire – Month of May

Artist: LCD Soundsystem
Title: This is Happening
Release Date: May 18
Label: DFA

Last we heard from James Murphy, he was brooding about New York bringing him down and pontificating on the “Us vs. Them” mentality of the world. 2007’s Sound of Silver was a breakthrough record for LCD Soundsystem, an indie dance smash with arguably the best song of the past decade, “All My Friends,” a sprawling piano epic about desperately trying to hold onto something great.

Three years later and Murphy’s back with This is Happening, an intimately deeper and personal record. Where Sound of Silver was intense in its breakneck beats (“Time To Get Away”) and political commentary (“North American Scum”), This is Happening gives us Murphy’s thoughts on moving on (“Dance Yrself Clean”), living up to expectations (“You Wanted A Hit”) and finding a place to feel comfortable (“Home”).

Those beats, synths, and in-your-face dance bass lines that dominated Sound of Silver and the band’s 2005 self-titled debut are here again, though more scattered than expected. Murphy waits until three minutes deep into the album’s opener, “Dance Yrself Clean,” to let the beat drop. Rest assured, though, that when he lets it drop, he lets it drop hard. The last six minutes of the song are indie dancehall heaven, with raging drum machines paired with Murphy’s wailing about aging and escaping failed relationships (“Every night’s a different story/It’s a thirty care pile-up with you/Everybody’s getting younger/It’s the end of an era, it’s true.”).

That excellent opener leads into “Drunk Girls,” Murphy’s ode to nightclub love. It’s the record’s lead single and weakest song, and therein lies the problem with This is Happening: littered amongst its gems are weak songs that don’t pull their weight to keep the record afloat. Some of these songs that feel like they must be slogged through (“Drunk Girls,” “One Touch,” “Somebody’s Calling Me”) don’t do enough to inspire repeat listens. A record that feels like a collection of a few strong singles mixed with tracks better served as tossed-aside b-sides is never a good thing, and that’s what makes This is Happening frustratingly inconsistent.

This is Happening is not a bad record. Even Murphy’s worst work manages to rise above the fray of mediocrity. And when This is Happening shines, it shines brightly. Take, for example, “All I Want,” a nearly-seven-minute-long emotional ballad of yearning. It’s guitar driven, with a persistent, slow-jam riff blended with Murphy’s beats. Murphy’s lyrics are at their strongest here, decrying the pain of waiting and begging for pity (“Wait for the day you come home from the lonely park/Look for the girl who has put up with all of your shit/You’ve never needed anyone for so long.”).

Then there’s album closer “Home.” This is Murphy’s real anthem on moving on (he has stated that This is Happening will likely be LCD Soundsystem’s final record). It’s a moody and brooding eight-minute look into the soul of a seemingly lost James Murphy, complete with relentless bass and ‘70s-disco synths. But again, the song’s strongest suit is Murphy’s words. “If you’re afraid of what you need/Look around you/It won’t get any better,” he warns after wondering aloud, “And this is what you waited for/But under lights we’re all unsure/So tell me/What would make you feel better?”

This song, this record, can’t help but give off the vibe that Murphy’s unhappy and longing for something new. This is Happening may not be the end of LCD Soundsystem. But there’s a lingering feeling of closure at the end of the record, like Murphy has said his piece and is ready to move on. It just would have been nice if the good-bye had been a little sweeter.

Rating: 7.9/10

Sea of Cowards is a killer. For those unfamiliar, the Dead Weather consists of Jack White of the White Stripes/the Raconteurs, Alison Mosshart of The Kills/Discount, Dean Fertita of Queens of the Stone Age/Raconteurs, and Jack Lawrence of the Raconteurs/the Greenhornes. Sea of Cowards marks the sophomore follow-up to the well-received Horehound, which was only released last July. Since the Dead Weather was formed back in 2009, the band has been consistently active in trying to chip away and tighten up their live show as well as their songwriting.

Unlike Horehound where the majority of tracks were primarily sung by vocalist Alison Mosshart, Sea of Cowards opens with “Blue Blood Blues,” a distorted bass-heavy track that is sung solely by drummer Jack White. The sharing of main vocal duty goes back and forth between Mosshart and White proves to be a recurrence that echos out for the remainder of the album. I’ll be the first to admit that I’ve never been the biggest Jack White fan, and that’s what initially drew me to the Dead Weather. Alison Mosshart is an incredible performer/vocalist, and Jack White willing to take the backseat on vocals was refreshing for once. This does not happen on Sea of Cowards, however, I have surprisingly (and finally) come around to appreciate and have actually grown fond of White’s vocals within the context of this band.

With all of that being said, the next song “Hussle and Cuss”  gets right back to the Dead Weather we all know and love; plenty of warm organ and Mosshart’s cheeky vocals to match. Tracks like the album’s first single “Die By the Drop” where Mosshart and White have equal dueling vocals complement each other so well, and a strong sense of confidence proves to be overwhelmingly evident. Songs similar to this that were originally found on Horehound prove to have grown exponentially stronger on this record.

The highlight of the album definitely comes in three, with the tracks “I Can’t Hear You,” “Gasoline,” and “No Horse” that all occur in sequential order. Fertita’s muffled guitar lines mixed with White’s highly-tuned piccolo snare gives an vintage rock and roll feel that in no way sounds forced. When Mosshart screeches out “I don’t want a sweetheart, sweetheart/ I want a machine,” it immediately forces you to hit the repeat button because of its infectious tenacity that exudes so naturally.

While White’s drumming is fairly simple and straightforward on Sea of Cowards, it has gotten technically more sound and a lot better compared to Horehound. However, I could see people taking issue with the repetitiveness of some of his drumming found in several songs on the album.

The record closes with the eerie “Old Mary,” which sounds more like Jack White leading a demonic-sermon backed with a droning organ-line. If there’s anything that I would have to identify as being my favorite part about the Dead Weather, it would have to be their ability to create and convey such an incredible mood/feel through their music. They produce this dark imagery through their songs that sound moody and frightening all at once.

I feel that this record is much more accessible than their last effort, and has a tremendous amount of cohesive songwriting that sounds way beyond a band that’s less than two years old. Sea of Cowards is out now via Jack White’s Third Man Records, and can be purchased here. The band has just announced a healthy amount of summer tour dates, which are not to be missed.

06-12 Manchester, TN – Bonnaroo
06-26 Pilton, England – Glastonbury Festival
07-02 Belfort, France – Les Eurockeennes Festival
07-13 Washington, DC – 9:30 Club
07-14 Boston, MA – House of Blues
07-15 Toronto, Ontario – Sound Academy
07-17 Denver, CO – Ogden Theatre
07-19 San Diego, CA – House of Blues
07-21 Los Angeles, CA – Hollywood Palladium
07-22 San Francisco, CA – Warfield Theatre
07-24 Portland, OR – Crystal Ballroom
07-27 Billings, MT – Babcock Theatre
07-28 Minneapolis, MN – First Avenue
07-29 Milwaukee, WI – The Rave
07-30 Chicago, IL – The Congress Theater
07-31 Detroit, MI – The Fillmore
08-02 Baltimore, MD – Ram’s Head Live!
08-03 Brooklyn, NY – Prospect Park

Artist: Sleigh Bells
Title: Treats
Label: N.E.E.T./Mom & Pop
Release Date: May 11

Has there been a buzzier band in recent memory than Sleigh Bells? The noise-pop duo of Alexis Krauss and Derek Miller exploded into the blogosphere last October with a handful of CMJ shows scattered throughout their stomping grounds of Brooklyn and a CD-R littered with fuzzy, lo-fi demos.

Sleigh Bells were praised for their wild, energetic live shows that were usually described in one word: LOUD. The demos provided the same, ear-pulsating effect. Bloggers drooled over the grungy dance-pop of “A/B Machines” and “Ring Ring.” The standout “Crown on the Ground” was Best-New-Music’ed and Top-100-Tracks-of-2009’ed by Pitchfork. Not too shabby for a guy and girl who met in a restaurant, recorded some demos and played a handful of shows.

As 2010 dawned and Sleigh Bells were signed to M.I.A.’s N.E.E.T. Recordings label, one question hung over the most-blogged-about band of 2009: Can this band possibly deliver a full-length LP to live up to the hype? That LP, Treats, has finally arrived. And Sleigh Bells use their signature fuzz, bubble-gum pop vocals bred with hardcore-inspired riffs for 32 minutes of bliss to respond to the world with a resounding yes, we can.

What Sleigh Bells have done with Treats is what fans of the demos had hoped for and what newcomers will find sonically pleasing. Songs like “Infinity Guitars” and “A/B Machines” have kept the core ingredients that made the demos so lovable and great in the first place – there’s the bubblegum-pop sensibilities of Krauss’ vocals juxtaposed with Miller’s thumping, relentless riffs that are deeply-seeded in his hardcore roots.

No song on Treats sounds over-produced – they all keep the lo-fi, noisy fuzz sound that gave the demos their unique and lovable aesthetic. The closest to high-quality, slickly-produced pop we’ve got here is “Rill Rill” (formerly known as “Ring Ring). Krauss’ voice sounds particularly polished here, and the addition of the literal ringing of a bell on top of the Funkadelic sample of the demo that fans fell in love with make this song ready for radio.

Apart from “Rill Rill,” Treats is littered with loud, pounding rock. As much attention as Krauss gets for the band’s success (she is the pretty face, after all), Miller’s also a great star here. His production is top-notch and his hooks and riffs hold the songs together like heavy glue.

Take “Infinity Guitars,” for example. Through the first 1:50 of the song, it remains unchanged from its demo version – a steady beat mixed with Krauss’ best punk screams and a simple, catchy riff on Miller’s guitar. Then, with 40 seconds left in the song, all hell breaks loose. Miller took what was a simple breakdown point in the demo song and turned it into a complete, in-your-face, turn-your-speakers-up-as-loud-as-you-can jam session.

Other gems littered throughout the record are the brand new “Riot Rhythm” and “Run the Heart,” a rare Sleigh Bells slow jam about a messy breakup: “You want to know what’s good for me?/You don’t know, you don’t really want to know/You took my heart, I can take out you,” a dejected Krauss mopes.

And then there’s “Crown on the Ground,” – the song that arguably started it all for the band. It’s the demo Stereogum posted when naming them a Band to Watch in October. It’s the song Pitchfork posted days later under its “Best New Music.” It’s the song with which the band closes out every single setlist. And it’s here, on a brilliant, heavy and bold debut, that it gets its turn to shine.

Sleigh Bells knew well enough to not fix something that’s not broken with this song. The Treats version is the same length as the demo and, with the opening riff, sounds like we’re in for the exact same song. But when the beat drops at the 12-second mark, we hear a deeper, more tightly-produced sound than the pure noise we’ve come to expect from Sleigh Bells since they took the indie rock world by storm last year.

“Crown” really epitomizes the brilliance of Treats: it takes the band’s signature sound, adds a little bit of polish while leaving behind a necessary amount of fuzz and noise and then rocks out with a level of intensity that can be matched by few bands in the industry today. “Crown on the Ground” is a song and Treats is an album that begs to be played at full volume, at full intensity and with full energy. Derek and Alexis wouldn’t have it any other way.

Rating: 9.2/10

People, I am filled with the most lovely dose of magic right now. Just returned home from the best show I’ve seen all week, and YES, that is rivaling favorites like Broken Social Scene, Minus The Bear, and Jonsi, all of which I saw in the last seven days. Patrick Watson’s performance at the First Unitarian Church Side Chapel (maybe 50 people in the pews of a breathtaking nook with wooden detailing and stained glass windows) was just something short of majestic. Imagine throwing on “Tracy’s Waters” or “Where The Wild Things Are” off the album Wooden Arms (two distinct favorites from tonight) and locking yourself in a confined holy place. Know what I’m talking about? If not, take yourself and your iPod to your nearest place of worship, close your eyes, and pray with Patrick Watson. I don’t know if I even remember how to pray OR to who, but damn I felt like I was doing it tonight. Now open your eyes, imagine godly flashes of dark&light and four creatively talented human beings successfully experimenting with unconventional instruments (including a saw, a spoon, and a balloon) and beautifully utilizing the classics at new levels. At first, I questioned how they could pull it off in such a small space, but the ambiance was serenely intimate to say the least. Adding to that is Watson’s young-at-heart presence, which makes others feel like care-free kids again, and man, let me tell you, that’s such a special feeling. So happy I accompanied myself to tonight’s show; I bought 3 tickets thinking I had 3 friends, but I didn’t even have one! [insert sad, awkward laugh here]. Anyway I wish I could end all my days with such beautiful serenades like one I received tonight, even if we’re all going to hell anyway. I’ma go kiss the stars now…

GO SEE PATRICK WATSON PLAY NEAR YOU:

May 17 2010  8:00P Chicago IL @ Schuba’s Chicago, Illinois , US

May 19 2010 8:00P Denver CO @ Larimer Lounge Denver, Colorado , US

May 21 2010 5:00P Phoenix AZ @ Rhythm Room Phoenix, Arizona

May 22 2010 9:00P Los Angeles CA @ Hotel Café Los Angeles, California

May 24 2010 8:30P San Diego CA @ Casbah San Diego, California, US

May 26 2010 8:00P San Francisco CA @ Café du NordSan Francisco, California, US

May 28 2010 8:00P Portland OR @ Doug Fir w/ LAURA MARLING Portland, Oregon , US

May 29 2010 8:00P Quincy WA @ Sasquatch Festival Quincy, Washington, US

Where to even begin with Minus the Bear. The band has been churning out albums and EPs ever since their inception back in 2001, while subsequently establishing a loyal following to match the non-stop touring. With acclaimed releases such as 2002’s Highly Refined Pirates and 2005’s Menos el Oso, the band definitely knows how to put themselves in a difficult position to try and follow-up all of these solid releases. Besides touring off of their last full-length Planet of Ice, which was released all the way back in 2007, the Seattle natives have been hard at work crafting OMNI, their most recent album that has been long overdue and highly anticipated.

The album kicks off with “My Time,” which is an upbeat-groover of a track that utilizes an omnichord synthesizer to drive the song along. Note that it’s important to keep in mind for those unfamiliar with Minus the Bear’s back catalog, that the subject matter and lyrical content in a fair amount of the band’s discography tends to steer towards sex and other things related to the matter. “My Time” (and the rest of OMNI) are no exceptions to this.

“Summer Angel” then follows, and clocks in at nearly five minutes. The song ends up moving along smoothly and in no way feels like its 4:45 long. As usual, it’s tight instrumentally, and the verses have all of the classic MTB synth lines to compliment them. This all sets up for a chorus that sounds so huge and open, in which you can definitely recognize that producer Joe Chiccarelli (the White Stripes, The Shins, My Morning Jacket) brought a whole lot to this recording.

“Hold Me Down” is a definite stand out and has the same charm that can be found on Highly Refined Pirates, except much more polished. Frontman Jake Snider elegantly sings: “I’m in the wind/ I don’t know how long the breeze will let me stay/ maybe your kiss, maybe your kiss will calm the weather down and let me wait.”

Another great track comes in “Animal Backwards.” This is where the band seems to branch out into unexplored territory. Heavy guitar looping, a distorted bass line, and excellent sampling all fit together perfectly to create this almost washed-out song.

Unlike the album’s opener which doesn’t waste anytime by diving right in, OMNI’s closer “Fooled By the Night” slows things down a bunch. This leads to an eventual build up with over the top guitar solos that draws out the remainder of the album.

Considering that this is Minus the Bear’s Dangerbird Records debut, they definitely deliver. With a new record, a new label, and a new tour to support all under their belt, it’s nice to see Minus the Bear back doing what they do best. OMNI is out now, and can be purchased here.

Tour Dates:

May 5 Wilbur Theatre Boston, MA

May 6 Trocadero Philadelphia, PA

May 7 9:30 Club Washington, DC

May 8 The National Richmond, VA

May 9 The Fillmore Charlotte Charlotte, NC

May 10 Variety Playhouse Atlanta, GA

May 11 Revolution Ft. Lauderdale, FL

May 12 The Ritz Tampa, FL

May 14 House Of Blues Houston, TX

May 15 Granada Dallas, TX

May 16 La Zona Rosa Austin, TX

May 18 Sunshine Theatre Albuquerque, NM

May 19 House Of Blues Las Vegas, NV

May 20 Mayan Theatre Los Angeles, CA

May 21 Glass House Pomona, CA

May 22 SOMA San Diego, CA

May 23 Marquee Theater Tempe, AZ

May 26 Regency Ballroom San Francisco, CA

May 27 Knitting Factory Reno, NV

May 28 Roseland Theatre Portland, OR

May 29 Sasquatch Music Festival George, WA

My Morning Jacket never fails to impress in a live setting. Their concerts are two to three hour juggernauts of raw emotional power driven by flawless musicianship and the soulful croon of front man Jim James. James came out wearing duel holsters, one of which contained an orange tipped silver cap gun, the second a super Nintendo “duck hunt” light gun, both of which he spiraled between his fingers at various rocking points in the show.

The crowd was eating it up from the start. About four songs in Jim James commented on the incredible energy at Merriweather, saying: “AAHHHHHH! Now that’s what the fuck I’m talking about! It’s good to hear a crowd with some life, God bless you guys!”

The set list pulled largely from the albums It Still Moves, and Z. All the classics like “Gideon” and “Steamroller” were played to their spiraling spiritual potential, complete with transcendent crescendos and cosmic guitar solos. There were also two newer songs played, the wonderful “Wonderful (The Way I Feel)” and a show stopping number called “Carried Away.” The latter of which was reminiscent of The Band; a slow and heavy piece sung by guitarist Carl Broemel and, for me, a true standout of the entire night.

The four song encore included three songs with the entire Preservation Hall Jazz Band sitting in. The Curtis Mayfield song “Move On Up” closed the show and sent the crowd into the streets of Columbia, MD dancing (and damning the 11 o’clock curfew that prevented the band from playing a longer show).

It’s great to see a band when they aren’t pushing anything. It’s been two years since Evil Urges was released and the boys seemed simply happy to be playing. Much of their early, and darker material, was conspicuously absent. As much as I would have loved to hear some of those songs I can’t help but think that this band is in a happier place than perhaps they have ever been. Saturday was a performance by a band that loves what they do, that is completely sincere in every note they play, and that, with any luck, will be around for many years to come.

My Morning Jacket
May 1rst, 2010. Merriweather Post Pavilion
Get the live audience recording (amazing quality!)
download for free: http://www.archive.org/details/mmj2010-05-01

Disc One
01. Kentucky Derby call > intro >
02. One Big Holiday
03. Gideon
04. Off The Record
05. I’m Amazed
06. Mahgeetah
07. Tonight I Want to Celebrate With You
08. Golden
09. What a Wonderful Man
10. Lay Low
11. The Way That He Sings
12. Wonderful (The Way I Feel)
13. Carried Away

Disc Two

01. Steam Engine
02. Smokin From Shootin >
03. Run Thru >
04. Touch Me I’m Going To Scream Pt. 2
05. Anytime
06. crowd
Encore:
07. Wordless
08. Carnival Time *
09. Dancefloors*
10. Move On Up (Curtis Mayfield cover)*

*with the Preservation Hall Jazz Band

Artist: Delorean

Album Title: Subiza

Label: True Panther

Release Date: Out now digitally, CD/LP out June 8

First impressions are everything, so it’s a good thing Spanish foursome Delorean chose “Stay Close” as the opener for the sprawling album Subiza.

It’s a majestic song, full of washed-out vocals and house beats and beach synths. “Now I’m lost/Why can’t I reach you?” the band asks in its Animal-Collective-esque harmony, before a rapid-fire chorus of “Get up, get up, get up, get up, get up, get up.” Think Merriweather Post Pavilion’s “Brothersport” meets a house DJ stoned out of his mind on a Barcelona beach.

That’s the vibe all of Subiza gives off – an airy, breezy sun-shiney, summery, feel-good trip for the ears. This is a collection of nine complex songs, each with its own plateau and climax. We’ve got the gorgeous “Real Love,” which has a relentless, pulsating synth and a floating chorus of “ahhhs” that gives off the feeling of, well, real love.

The tracklist here reads like an epic love story, with titles that perfectly encompass the light, feel-good vibe of the album. We’ve got: Stay Close, Real Love, Endless Sunset, Grow, Simple Graces, Infinite Desert, Come Wander, Warmer Places, It’s All Ours.

Album highlight “Simple Graces” is crammed in the middle of the set – which, I’ll admit, sounds monotonous in parts. “Graces,” though, epitomizes Subiza’s sound. There’s, again, the trippy, washed-out, barely decipherable vocals. A steady bass line accompanies the jungle beat and the rest of the deep, bright instrumentation that makes the song a quintessential summer jam.

But Delorean may have tried a bit too hard with Subiza to capture that light feeling of the summer sun. There’s the aforementioned monotony of some of the songs, which bleed into each other and never really stand out as single entities. 25 listens deep, and I still couldn’t tell you which song is “Endless Sunset” and which is “Come Wander” just by listening to them.

But when Subiza is on its game, it’s a glorious trip for the ears. “Stay Close” is a definite keeper and, as the album’s lead single, will be most listeners’ first introduction to the band.

Subiza ends the way it begins – on a strong and high (in more ways than one) note. A simple drum beat grows into something deeper – layers upon layers of synths, piano, guitar, fuzzed-out vocals and bass that explode into a wild conglomeration of sound. It all drops at the two-and-a-half-minute mark into an epic star-gazing pop melody before quickly picking up again. This moment is maybe Delorean at their best – toying with your ears with something so complex and deep before replacing it with something simpler, but more beautiful.

I’ll admit that I liked Subiza more upon first listen than I do at listen number 26. Don’t get me wrong, it is a gorgeous, deep, brilliant and fantastic record that deserves many accolades. It’ll likely find a strong place in my year-end Top 10 list. I just can’t shake the feeling it may have been better served as an EP with a couple of tracks shaved from the final cut.

Rating: 8.4/10

Artist: the morning benders
Title: Big Echo
Label: Rough Trade
Release Date: March 9

Is it too early to call San Francisco’s the morning benders (who stubbornly insist on keeping the band’s name lowercased) the indie-music-blog darlings of 2010? In February, the band’s video of a live, wall-of-sound recording of the gorgeous “Excuses” hit the Web and immediately sent Christopher Chu et al. soaring into the blog stratosphere.

And for good reason. “Excuses,” which opens “Big Echo,” is a sprawling, five-minute epic full of strings, acoustic strums, and Chu’s yearning vocals. Chu has said the song is about trying to reconcile falling in love for the very first time while trying to picture yourself with someone forever. He nails it on the head here, while crooning lines crafted to make the girls swoon: “We are so smooth now/Our edges are beaten driftwood whittled down/Old bodies slip when they make love/We’ll mine our sparks to shoot us above.”

If there’s one flaw with this record, it’s that it peaks too early with this song. I had a hard time moving beyond “Excuses” my first few times through “Big Echo.” And it’s not for lack of quality music on the rest of the album – there are plenty of gorgeous, sweeping songs to be had here. But with a song this majestic, this good, the morning benders may have been better served to save it for later.

But upon repeat listens, “Big Echo” continues to churn out pleasure for the ears. There’s that killer bass line on lead single “Promises,” which sounds like it was ripped straight from Grizzly Bear’s “Veckatimest.” (Perhaps we can look to Grizzly Bear’s Chris Taylor’s production of “Big Echo” as the source for that inspiration.) There’s the quiet, floating calm of “Wet Cement,” the morning benders’ take on a dream pop love song that returns to the theme of falling in love and growing old. (In it, we move from the opening lyrics of “We met one day in the wet cement,” to “Now the cement’s hardened in my chest.”)

Chris Taylor’s beautiful production is evident throughout “Big Echo.” The liner notes thank Grizzly Bear, and it’s no wonder. “Big Echo” really does feel like a close relative of “Veckatimest.” We’ve got haunting harmonies (“Stitches”) and sunshine-y pop (“All Day Daylight”) and the entire thing is sonically deep (listen to this record on vinyl and try to tell me you don’t notice something new each time.).

I’m not saying that “Big Echo” is essentially “Veckatimest: Redux.” While the two albums have their similarities, “Big Echo” stands tall on its own merits. This is an unexpected record from an unexpected band. (Give their debut, “Talking Through Tin Cans,” a shot and I promise you’ll be shocked at how quickly these guys have matured.)

For one, there’s that deeply-embedded theme about love and maturity and growing old, leaving old pleasures behind, and Chu’s soothing croon embodies it perfectly. “I can’t help but thinking we grew up too fast,” he screams on “Promises.” He continues: “But I know, I know it just won’t last.”

Maybe it will last for the morning benders. The buzz, the sold-out shows, the sonic beauty. I can honestly say that right now, in late April, this is my record of 2010 so far. Yes, it’s early. Far too early to even think about saying it’ll come out on top once all is said and done for the rest of this year. But I can say this: this is an absolutely stunning record, worth the purchase for the opening track alone, that other bands will be hard pressed to pass. Watch out, Grizzly Bear, Chris Chu may be producing you next time around.

Score: 9.3/10

Baltimore’s Octaves unique and refreshing approach to heavy music has resulted in their first full-length, and is appropriately titled Greener Pastures. Greener Pastures has the tremendous ability to grab people’s attention, while offering an exhilarating, yet accessible debut album.

The album’s opener “Fix the Fernback” is our first glimpse at Greener Pastures, and the band does not waste any time in allowing listeners to brace themselves for what else’s to come. It’s loud, aggressive, and tongue and cheek-like qualities lets us recognize that this album is going to be quite the adventure.

“Be Angry At the Sun for Setting on a Set of Sons” begins with a dirty, empty guitar line that rings out in dissonance. Just as soon as the listener seems to get comfortable, the song quickly takes a turn and picks up the pace. This track probably best exemplifies the band’s willingness to experiment and toy around with different tempo changes, in which they successfully do so.

The interlude “Anaconda Squeeze” only clocks in at 39 seconds and is a tease. It’s very rhythmic, and gives off almost a Latin vibe. It’s something that has the potential to manifest into a full song, but does not. However, it still proves to be an excellent fit as a lead into “I Am He Who is Called I Am.” The song displays bassist Tony Savero experimenting with some different bass effects. The strongest part about the track is the build up to its end, which grows into a loud, controlled chaos of a finish.

The vocals on Greener Pastures are tough to pin down, but they keep everyone on their toes. Vocalist Phil Fossler is primarily on duty, but everyone else in the band also contributes, as well as various additional guest vocalists. This gives the album that little bit of something extra, and there is a never lull in the grand scheme in its entirety. It’s refreshing, especially when listening to heavier music. Each song also seems to play off one another lyrically, and the content throughout the duration of Greener Pastures reads more as a narrative that is telling a story, rather than individual pieces that stand alone.

The album’s standout track definitely comes through in “I’m Just Going Down to the Corner to Get a Pack of Cigarettes.” This song draws on all of the components that are found throughout the album, and expands upon them by adding little unique nuances in between. It openly challenges listeners to step outside of their comfort zone, something that is always risky, yet the band pulls off well. Also on display is Shane Walsh’s fine drumming, which is technically sound, yet powerful. He proves to be the driving force not only in this song, but throughout the whole record.

Just as abruptly and aggressive as Greener Pastures opens, it closes in a similar fashion. “Absent Kids Count” has melodic guitar lines courtesy of Bob Elder and Wes Young, which are backed by some locked down bass and drums and a spastic conclusion. Some guest vocals are also contributed by Pianos Become The Teeth frontman, Kyle Durfey. It is loud and obnoxious, yet extremely enjoyable to listen to. This song acts as a bookend to the entire piece.

What Octaves has given us is an eight-song glimpse of what’s to come for not only the band’s future, but for heavy/hardcore music in general. Rarely does a heavier band ever have the ability to create an album that is so readily accessible for those who wouldn’t usually listen or have any interest in this certain genre of music, but is something that I honestly believe they do, and do exceedingly well. This says a lot about the band as musicians, and should be commended. No matter what style or genre music you adhere too, if someone is able to break this barrier, it’s definitely worth stopping and taking notice of. Greener Pastures is out April 24th, courtesy of Hotfoot Records. Purchase the album here.

Octaves are:

Phil Fossler

Bob Elder

Wes Young

Tony Savero

Shane Walsh

Souther rappers have always had a sense of pride and an individual style associated with their musical style.  the original southern crew was of course the dungeon family crew which has put out some of your favorite artists from the ATL mainly Outkast and Cee-Lo Green aka the voice of gnarls barkley.  In recent years this crew mentality has left hip hop leading to the emergence of the star rapper due mainly to the homogenization of hip hop and rappers going to producers from different backgrounds for their music.  The closest thing to a southern crew in the last few years is probably the Cash Money crew but that is only because Mr Carter is featured on every song.  It gives me great pleasure to share with you a new group of southern rappers that have recaptured this spirit of hip hop and they are the PAPER ROUTE GANGSTAZ.  In their mixtape Fear and Loathing in Hunts Vegas which was released in 2008 with indie dance party djs extraordinaires Diplo and Benzi they bring  a distinctly alabama sound to a mainstream hip hop landscape that was becoming remarkably trite and infuse southern funk to their music.  check out their singles “alabama” “bama gettin money” “woodgrain” and their new soon to be stoner classic “keyshia cole”.  These guys are going to bring the noize in 2010 and ya’ll should get ready for a great ride!

ya’ll keep it funky and remember to sleep with one mind open

jazzy

I first saw Portugal the Man back in the summer of 2006, opening for some very mediocre bands, in a tiny club. They had caught my attention with the release of their first album Waiter: “You Vultures,” and my young ears had never heard anything quite like it. Their oddly-captivating live show had also gotten my attention, and put it in a strangle hold. Back then they were still a young band, and I had no idea what they would be capable of accomplishing, or what the future would have in store for them. Now four short years later, and five full-lengths, yes five full-lengths later (and various EPs and digital singles), Portugal the Man have established themselves as living proof that a band with a driving work ethic can release amazing music, without compromising their creativity.

The band dropped American Ghetto on March 2nd, which was the follow-up to magnificently Paul Q. Kolderie (The Pixies, Radiohead) produced, and well received, The Satanic Satanist. The Satanic Satanist was only released in July of 2009, which is an insanely short time-frame to release a follow-up when you put things into perspective, but something that Portugal the Man has done consistently throughout their entire career. For a band to put out an album every year (two in 2009 if you include The Majestic Majesty which is the acoustic accompaniment to The Satanic Satanist) in the awful climate that is the music industry today, is an accomplishment all in itself which should be applauded. This rings especially true when every album grows exceptionally stronger than the last.

American Ghetto picks up right where The Satanic Satanist left off, which is a blend of progressive indie, and smooth electronic drum machines that meets some sampling and looping. However, where The Satanic Satanist was more of a fast-paced, driving rocker of an album, American Ghetto slows things down a bit gets way more soulful. Tracks like “Fantastic Pace,” “The Pushers Party,” and “Some Men” are fine examples of vocalist John Baldwin Gourley utilizing his voice and creating unique vocal melodies that seem to come out of nowhere, but yet will be stuck in your head for days. His vocals on this album sound more like the kind that can be found on an R &B or hip-hop record. It’s incredibly intoxicating.

Other tracks like the album’s opener “The Dead Dog,” “60 Years,” and the closer “When the War Ends,” are much more guitar and riff heavy. Various synth and keyboard arrangements are also scattered throughout the entire record to act as the glue, and brings everything together. A song like “1000 Years” takes all of the various elements that can be found on the album and embodies what I feel is the entire spirit of the record.

If you’re still reading this rather lengthy post, and haven’t already guessed, this is one of my favorite bands whom I deeply admire. Their ability to release so much music, with so much substance is unparalleled. I cannot think of another band today for whom I share this admiration for. I have seen Portugal the Man six times and will see them again for a seventh later this week, which is something I am very much looking forward to. They have gone from opening small dive bars to headlining and selling out substantially larger venues, which will take them all the way to California this April to play Coachella. They are true artists and deserve all of their much earned success. Go do yourself a favor and buy American Ghetto, or simply any other of their releases here. You will not be disappointed.

Tour Dates:

3/11 Orlando, FL @ The Social

3/12 Elkton, FL @ Harvest of Hope Festival

3/13 Atlanta, GA @ The Earl

3/18 Washington, DC @ 9:30 Club

3/19 New York, NY @ Highline Ballroom

3/20 Millvale, PA @ Mr. Small’s Theatre

3/21 Cincinnati, OH @ 20th Century Theatre

3/24 Columbia, MO @ Mojo’s

3/26 Denver, CO @ Bluebird Theatre

3/27 Vail, CO @ The Sandbar

3/28 Aspen, CO @ Belly Up Aspen

4/13 Eugene, OR @ WOW Hall

4/14 Santa Cruz, CA @ Rio Theatre

4/17 Indio, CA @ Coachella Music and Arts Festival

4/22 Anchorage, AK @ Bear Tooth Theatre

Florida natives Look Mexico have just released their Suburban Records debut To Bed To Battle. The record is a melodic ten song journey, which proves to be an easy and enjoyable listen. Chances are, most of you probably have never even heard of Look Mexico, but do not fret.

To Bed To Battle is the band’s second full-length, and also comes after the release of several EPs. To Bed To Battle was recorded last summer in the band’s home state of Florida, in the basement of a pizza shop. The band’s first single and opening track off of the record “You stay. I go. No following” is an intense introduction to the album, and offers a glimpse of whats to come on the remainder of the album. The accompanying music video (which is excellent as well) can be viewed here.

To avoid confusion, it should be cleared up that To Bed To Battle is a straight-up, rock and roll record. However, there are songs on the album that take an acoustic, and more folksy route, which could potentially even be categorized into the “ballads” (gasp!) category.  Such songs are “Take It Upstairs, Einstein,” and the standout track “They Only Take the Backroads.”

What Look Mexico does so beautifully on To Bed To Battle, is take emotionally charged rock songs and incorporate incredible instrumentation. The band uses horns, steel pedal guitar, organ, violin and cello, as well as electric piano throughout the entire record. By using this eclectic mix of instruments, it allows each song to have it’s own unique feel, without straying or taking away from the the overall cohesion  of the entire album.

Tracks like “They Offered Me a Deal (I Said No, Naturally)” and the albums epic closer “Just Like Old Times” sound huge, and spices up the album just enough. Look Mexico is an outstanding example of a modern rock band, doing their own thing, and doing it the right way. The physical release of To Bed To Battle comes out at the end of March, but you are able to pre-order it now and instantly download the album digitally (320 Kbps), or simply just purchase it digitally. By pre-ordering it on vinyl, you will also receive a button and beer coozie, and the deluxe pre-order includes a shirt, a coozie, as well as a pint glass (awesome right?) Pre-orders can be found here. I would suggest physically purchasing this album just for the incredible album artwork, which elegantly complements it.

Growth: it’s all you can really hope for when you’re anticipating a long-awaited release from an artist that you admire. To be honest, you expect to hear growth no matter where you can find it. Growth can mean many different things for certain people. Whether it’s expanding upon a certain sound, or branching out into uncharted, new territory; it’s completely necessary in creating any kind of art or contributing to the human experience. If for some reason any of this is comprised, you feel short-changed and cheated, which could potentially ruin everything.

With all that being said, Rocky Votolato’s most recent Barsuk effort True Devotion does not disappoint. True Devotion is the follow up to 2007’s The Brag And The Cuss, which received mixed reviews.

Votolato definitely sticks to what he knows best on True Devotion, which is keeping true to his stripped-down singer songwriter tendencies. The album opens up with the emotional “Lucky Clover Coin,” which is beautifully accompanied by a string arrangement.

The album takes bits of Votolato’s past and expands upon it successfully. The track “Red River” sounds very similar to song that can be found on 2003’s Suicide Medicine, while “Sparklers” sounds like it draws a heavy influence on his 2006 effort Makers. It might seem strange to hear an assortment of songs come together, all of which go back and virtually span Votolato’s entire career, but they all blend together and fit together incredibly well.

The album’s standout song comes right in the middle and can be found in the track titled “Instrument.” The song is Votolato at his best; which is him, his acoustic guitar, and his harmonica. It is vulnerable, and really exemplifies Votolato taking his game to the next level.

Do not sleep on this album. Thematically, this record touches on nearly every emotion that can be found on the spectrum that is human emotion. It has the ability to appeal to nearly anybody, and everybody. It is so delicately, and intricately constructed that it shows how much care went into this album. Please support this man by either purchasing True Devotion, going to see him on his up and coming tour, or just telling a friend about him. Like I’ve said before about Rocky Votolato: he is a musician who is true to his craft. He takes what he does very seriously and injects everything he has into his music, which is commended.

Pre-order True Devotion on vinyl here

Tour Dates:

02/24/10 Wed. New York, NY @ The Mercury Lounge
Buy Tickets Here
02/26/10 Fri. Chicago, IL @ Schubas Tavern
Buy Tickets Here
03/02/10 Tues. Portland, OR @ Mississippi Sudios
Buy Tickets Here
03/04/10 Thurs. San Francisco, CA @ Bottom Of The Hill ##
Buy Tickets Here
03/05/10 Fri. West Hollywood, CA @ Troubadour ##
Buy Tickets Here
03/06/10 Sat. Upland, CA @ The Wire Music & Art Venue ##
Buy Tickets Here
03/07/10 Sun. San Diego, CA @ The Casbah ##
Buy Tickets Here
03/08/10 Mon. Phoenix, AZ @ Rhythm Room ##
Buy Tickets Here
03/09/10 Tues. Albuquerque, NM @ Launchpad ##
Buy Tickets Here
03/10/10 Wed. Denver, CO @ Hi Dive ##
Buy Tickets Here
03/11/10 Thurs. Provo, UT @ Velour ##
Buy Tickets Here
03/13/10 Sat. Seattle, WA @ Neumo’s ##
Buy Tickets Here
04/01/10 Thurs. Minneapolis, MN @ Triple Rock **
Buy Tickets Here
04/03/10 Sat. Lansing, MI @ Mac’s Bar **
Buy Tickets Here
04/05/10 Mon. Toronto, ON @ The Drake Hotel **
Buy Tickets Here
04/07/10 Wed. Allston, MA @ Great Scott **
Buy Tickets Here
04/10/10 Sat. Philadelphia, PA @ First Unitarian Church **
Buy Tickets Here
04/11/10 Sun. Washington DC @ DC9 **
Buy Tickets Here
04/13/10 Tues. Pittsburgh, PA @ Garfield Artworks **
Buy Tickets Here
04/14/10 Wed. Akron, OH @ Musica **
Buy Tickets Here
04/15/10 Thurs. Newport, KY @ Southgate House **
Buy Tickets Here

## = with Adam H. Stephens (from Two Gallants)
** = with Brooke Waggoner

Three long years after the release of “On Letting Go,” Circa Survive has officially announced the release date of their third full-length entitled: “Blue Sky Noise.”

The album is set to drop on April 20, 2010, and will be the band’s Atlantic Records debut. David Bottrill (Muse, Silverchair) produced the full-length, and it was mixed by Rick Costey (Interpol, Bloc Party, Mew). The album art was completed by New York’s Esao Andrews, who has done the artwork for all band’s previous releases.

In even more exciting news, the band has also released what can only be assumed as the album’s first single, which is titled “Get Out.”

Without a doubt, the song is driven by the intensely powerful vocals courtesy of frontman Anthony Green. The musicianship (especially the guitars) is also as solid as ever, and displays a full on rhythmic roller coaster.

Pre-orders for the album have also gone up on the band’s website (www.circasurvive.com), and dates for their Spring plans have also surfaced. Give “Get Out” a listen, and get excited for this release.

Get Out by circasurvive

3/11 – Cats Cradle , Carrboro, NC
3/12 – Exit In – Nashville, TN
3/13 – Workplay Theatre – Birmingham, AL
3/14 – The Village – Little Rock, AR
3/16 – White Rabbit – San Antonio, TX
3/17- 3/21 – Austin, TX (SXSW festival) @ TBD
3/22 – Firebird – St Louis, Mo
3/23 – Emerson Theater – Indianapolis, IN
3/24 – Grog Shop – Cleveland, OH
3/26 – Hoodwink – Anaheim, CA @ Grove of Anaheim
3/27 – The Bamboozle – Anaheim, CA @ The Festival Grounds at Angels Stadium
4/22 – The Fillmore Charlotte – Charlotte, NC
4/23 – Tabernacle – Atlanta, GA
4/24 – House of Blues – Lake Buena Vista, FL
4/25 – Revolution – Fort Lauderdale, FL
4/27 – Warehouse Live – Houston, TX
4/28 – Stubb’s Waller Creek Outdoor Amphitheater – Austin, TX
4/29 – Palladium Ballroom – Dallas, TX
4/30 – Cain’s Ballroom – Tulsa, OK
5/01 – Diamond Ballroom – Oklahoma City, OK
5/03 – Marquee Theatre – Tempe, AZ
5/04 – Fox Theatre – Pomona, CA
5/05 – The Warfield Theatre – San Francisco, CA
5/07 – Roseland Theater – Portland, OR
5/08 – Showbox SoDo – Seattle, WA
5/10 – Murray Theater – Salt Lake City, UT
5/11 – Ogden Theatre – Denver, CO
5/13 – First Avenue – Minneapolis, MN
5/14 – Congress Theater – Chicago, IL
5/15 – Royal Oak Music Theatre – Royal Oak, MI
5/17 – House of Blues – Boston, MA
5/18 – Metropolis – Montreal, QC
5/19 – Sound Academy – Toronto, ON
5/22 – Electric Factory – Philadelphia, PA
5/26 – Rumsey Playfield – New York, NY
5/27 – 9:30 Club – Washington, D.C.

Florida’s Surfer Blood recently put out their debut “Astro Coast,” and boy, it’s a doozy. When you listen to the first three tracks, which includes the single “Swim,” you’ll notice that it’s almost too difficult to continue listening to the rest of the album, mainly because they are so addicting.

Once you manage to dive into the remainder of the album, you’ll find it to be a sun-drenched, reverb-filled journey that takes you on a trip down memory lane.

The band’s sound is very reminiscent to the early 90’s, indie-grunge movement, with a sound that can be compared to the likes of: Weezer, Pavement, Dinosaur Jr., and Built to Spill.

If any of those bands caught your interest, don’t take my word for it, and go and check out “Astro Coast” or see this band live.

Finally, after an agonizing day of compulsively stalking the @bonnaroo twitterfeed, we have the motherlist of the acts we can expect to see at Bonnaroo this year.

There are moments of bliss, but I’m kind of underwhelmed. Oh yeah, probably because I though Paul Simon was headlining; and he’s not.

But who am I kidding. I’m going. And it’s going to be fantastic. It’s Bonnaroo after all.

Fellow ac+r djs will leave their mark (if they please) for their 5 top picks. Just look for their show name.

# Dave Matthews Band
# Kings of Leon
# Stevie Wonder
# Jay-Z
# Tenacious D
# Weezer
# The Dead Weather
# Damian Marley and Nas
# Phoenix
# Norah Jones
# Michael Franti and Spearhead
# John Fogerty
# Regina Spektor
# Jimmy Cliff
# LCD Soundsystem
# The Avett Brothers
# Thievery Corporation
# Rise Against
# Tori Amos
# The National
# Zac Brown Band
# Les Claypool
# John Prine
# The Black Keys audiocandy+
# Steve Martin & the Steep Canyon Rangers
# Jeff Beck
# Dropkick Murphys
# She & Him
# Against Me!
# The Disco Biscuits
# Daryl Hall & Chromeo
# Jamey Johnson
# Clutch
# Bassnectar
# Kid Cudi
# Baaba Maal
# Kris Kristofferson
# Medeski Martin & Wood audiocandy+
# The xx
# GWAR
# Dan Deacon Ensemble
# Tinariwen
# Wale
# Deadmau5
# The Melvins
# The Gaslight Anthem
# Miike Snow
# The Nitty Gritty Dirt Band
# Dr. Dog audiocandy+
# They Might Be Giants
# Punch Brothers
# Isis
# Blitzen Trapper
# Blues Traveler
# Miranda Lambert
# Calexico
# OK Go
# Trombone Shorty & Orleans Avenue
# Martin Sexton
# Lotus
# Dave Rawlings Machine
# Mayer Hawthorne and the County
# Japandroids
# Jay Electronica
# Edward Sharpe & the Magnetic Zeros
# Ingrid Michaelson
# The Dodos audiocandy+
# Manchester Orchestra
# The Temper Trap
# Cross Canadian Ragweed
# Big Sam’s Funky Nation
# Carolina Chocolate Drops
# NEEDTOBREATHE
# Tokyo Police Club
# The Entrance Band
# Local Natives
# Brandi Carlile
# Mumford & Sons
# Rebelution
# Diane Birch
# Monte Montgomery
# Julia Nunes
# The Postelles
# Lucero
# Here We Go Magic
# Hot Rize
# Neon Indian audiocandy+
# B.O.B

“In my opinion, Bonnaroo dropped the ball in neglecting to book…”
audiocandy+: vampire weekend, beach house, paul simon, girls, the strange boys, john mayer, james taylor, tegan & sara

Does anybody find new music on the television anymore?  It seems like today everybody uses websites like pandora or music sites like pitchfork, hell even youtube, to “discover” new music, but remember way back when music was on the tellie? Channels like THE BOX  existed and a little known channel called MTV actually played music… oh late 90′s, what a strange time you were.  I am here to tell you that there is still plenty of good music to be found on the tv, but it is in the place you would least expect it, and though it seems like it should be wrong it is sooo right!  I present to you, the TV commercial! the new venue for the emerging artists of the world!  This is a great place to showcase new artists, who may not get airplay on popular radio, give money and support to these artists, and to now expense to the listener (unless you are actually going to buy the shit that the song is in the commercial for).  I have been noticing over my many years, but most recently when i encountered the Phoenix single 1901 in a Cadillac commercial.  Phoenix is a band that i really hadn’t listened or payed attention to, as it hasn’t really been my flavor for many years, but after hearing them in the commercial i checked them out, and enjoyed the hell out of their music.  This isn’t the first time this has happened to my (maybe i’m just weird) it also happened with a Samsung commercial with the song Daydreamin’ by Lupe Fiasco feat Jill Scott (PHILLY!) and a sample from I Monster, which has since i saw it around 2 years ago become one of my favorite groups.  It also happened with the song California Soul by Marlena Shaw in a docker’s commercial.  I believe that the start of this phenomenon-enon started with the ipod commercials such as fiest’s – 1234.  Needless to say this is great for the artists exposure, and actually puts good music on the television again!

i know i didn’t write about what i said at the end of my last rant, but hell if you leave no feedback you better not know what to expect.

jazzy out

Seattle, Washington’s Minus the Bear have just recently finished recording their untitled fourth album, which is expected to be released sometime this Spring. They have also recently just wrapped up a mini-East Coast tour with Maps and Atlases and Phantogram.

Maps and Atlases opened the Allentown show and offered a healthy serving off of their 2008 Sargent House release, “You and Me and the Mountain.” The Chicago natives are a intricately-rhythmic powerhouse, and played an extremely solid set. For those in attendance who had never heard of Maps and Atlases before hand, they definitely left being pleasantly surprised with the band’s performance.

Recent-Barsuk-signees Phantogram were up next, and in support of their up and coming release “Eyelid Movies,” which is set to be released February 9th. The duo plays electronically infused dance music, with guitar and vocals layered over top. A lot of the audience seemed to lose attention, and Phantogram seemed to be a bit out of place in the grand scheme of the night.

Minus the Bear then took the stage to a near full-capacity Crocodile Rock. The band played an extensive set which consisted of songs off of every release the band has in its past nine year life-span.

Particular stand outs during the show were “Fine + 2pts,” “Into the Mirror,” and “The Game Needed Me,” which offered an eclectic mix of Minus the Bear’s past and present.

The Untitled New Song that was played was a very mellow-paced track, and sounded very reminiscent to a lot of songs off the 2004 EP, “The Make Beer Commercials Like This.” The band was as spot on as ever, and left everyone anxiously anticipating their up and coming Spring release.

Set list
Drilling
Into The Mirror (New Song)
Thanks For The Killer Game of Crisco Twister
White Mystery
Throwin Shapes
Untitled (New Song)
The Fix
The Game Needed Me
Fine + 2pts
We Are Not A Football Team
Broken China (New Song)
Absinthe Party At The Fly Honey Warehouse
Knights

Encore:
Spritz!!! Spritz!!!
Pachuca Sunrise

“Bear Hands formed in August, 2006. They’re doing the best they can.” This can be found in the ‘About Me’ section on Bear Hand’s website. Simple, and straight to the point.

Bear Hands hails from Brooklyn, NY and is still a relatively young band. Their only other release is the “Golden EP,” which came out all the way back in 2007. Right now they’re gearing up for their Cantora Records 7” and digital single which officially drops February 16, 2010. The 7” includes two brand new songs and a remix.

I know what you’re thinking: who cares about an unsigned Brooklyn band who doesn’t even have a full length out yet? Well, to be honest, everyone should start caring about Bear Hands. After they complete a tour with We Were Promised Jetpacks and a four day stint at South By Southwest (SXSW), they will be supporting Passion Pit on their Spring tour. Passion Pit? Yes, Passion Pit.

“What a Drag” is the lead single off of the 7”, and it’s as catchy as anything. This track (which now has a music video and can also be found on their website), is most likely to be stuck on repeat for days. It’s a rockingly-dancey three-minute gem and has the ability to gain the band some much needed attention.

“Can’t Stick Em” is the other song on the 7”, and just like its predecessor “What a Drag,” is driven by tambourine and distorted vocals. This track is also extremely cacthy, and is a nice complement to “What a Drag.”

The last song on the 7” is a remix of “What a Drag.” Just like you’ll find on any other remix, it’s virtually the same as the original, just with an electronic face lift. It isn’t necessarily anything to write home about, but some people really do enjoy remixes, and those who do will eat this up.

If you’re not into buying vinyl (what’s wrong with you?), the best part about this EP is that you are able to download it for free at www.bearhandsband.com. It’s definitely worth checking out. And if you’re into this 7”, go purchase their 2007 “Golden EP” from any online music distributor to satisfy your Bear Hands obsession until they have a full length come out, which hopefully comes sooner than later.

Check out their tour dates after the jump:

Feb 16 2010 8:00P
Studio at Webster Hall
New York, NY

Feb 17 2010 8:00P
Brillobox
Pittsburgh, PA

Feb 18 2010 8:00P
Southgate House Parlor
Newport, KY

Feb 19 2010 8:00P
The Old Rock House
St. Louis, MO

Feb 20 2010 8:00P
Conservatory
Oklahoma City, OK

Feb 21 2010 8:00P
Launchpad
Albuquerque, NM

Feb 23 2010 8:00P
Rhythm Room w/ We Were Promised Jetpacks
Phoenix, AZ

Feb 24 2010 8:00P
The Loft UCSD w/ We Were Promised Jetpacks
La Jolla, CA

Feb 25 2010 8:00P
Spaceland
Los Angeles, CA

Feb 26 2010 8:00P
The Troubador w/ We Were Promised Jetpacks
Los Angeles, CA

Feb 27 2010 8:00P
Noise Pop @ Slim’s w/ We Were Promised Jetpacks
San Francisco, CA

Mar 1 2010 8:00P
Biltmore Cabaret w/ We Were Promised Jetpacks
Vancouver, BC

Mar 2 2010 8:00P
Neumo’s Crystal Ball Reading Room w/ We Were Promised Jetpacks
Seattle, WA

Mar 3 2010 8:00P
Doug Fir Lounge w/ We Were Promised Jetpacks
Portland, OR

Mar 5 2010 8:00P
Kilby Court w/ We Were Promised Jetpacks
Salt Lake City, UT

Mar 6 2010 8:00P
Hi Dive w/ We Were Promised Jetpacks
Denver, CO

Mar 7 2010 8:00P
Jackpot Saloon w/ We Were Promised Jetpacks
Lawrence, KS

Mar 8 2010 8:00P
The Waiting Room w/ We Were Promised Jetpacks
Omaha, NE

Mar 9 2010 8:00P
Varsity Theatre w/ We Were Promised Jetpacks
Minneapolis, MN

Mar 11 2010 8:00P
Lincoln Hall w/ We Were Promised Jetpacks
Chicago, IL

Mar 12 2010 8:00P
Grog Shop w/ We Were Promised Jetpacks
Cleveland, OH

Mar 15 2010 8:00P
The Old Rock House w/ We Were Promised Jetpacks
St Louis, MO

Mar 17 2010 – Mar 20 2010
SXSW
Austin, Tx

Mar 28 2010 8:00P
Town Ballroom w/ Passion Pit
Buffalo, NY

Mar 30 2010 8:00P
House of Blues w/ Passion Pit
Cleveland, OH

Mar 31 2010 8:00P
Music Hall w/ Passion Pit
Columbus, OH

Apr 2 2010 8:00P
Congress Theater w/ Passion Pit (SOLD OUT)
Chicago, IL

Apr 3 2010 8:00P
Turner Hall w/ Passion Pit
Milwaukee, WI

Apr 4 2010 8:00P
First Ave w/ Passion Pit (SOLD OUT)
Minneapolis, MN

Apr 5 2010 8:00P
Beaumont w/ Passion Pit
Kansas City, MO

Apr 7 2010 8:00P
Ogden Theater w/ Passion Pit
Denver, CO

Apr 8 2010 8:00P
In The Venue w/ Passion Pit
Salt Lake City, UT

Apr 10 2010 8:00P
McDonald Theater w/ Passion Pit
Eugene, OR

Apr 11 2010 8:00P
Commodore w/ Passion Pit (SOLD OUT)
Vancouver, BC

Apr 12 2010 8:00P
Roseland w/ Passion Pit
Portland, OR

Apr 15 2010 8:00P
Warfield Theater w/ Passion Pit
San Francisco, CA

uncle jazzy whitebass here for all the fans that are wondering where I have been.  Been having some issues with the comp and unable to broadcast, but we are working on it and i should be up in a couple of weeks.  Just wanted to share whats been on my mind recently musically and spread a little insight out into the world.  recently i’ve been really digging DUBSTEP which for those unfamiliar is an english (england) form of dance music heavily influenced by reggae and dub with a bit of a hip hop taste as well.  VERY VERY CRUNCH BASS so for all my bass heads out there you should check it out.  In particular Jazzsteppa, their self titled album is rich is groovable so everybody should hear it… if i had my show already you would be.  other news is regarding K’naan, a somali born, Canadain raised rapper who has done work with Damian marley, Wale,  and M1 of Dead Prez fame.  His most recent mixtape with producer J.Period titled The Messengers (Trilogy) is a, surprise, tribute to Fela Kuti, Bob Marley, and Bob Dylan and everybody should check it out, I know its early in the year but it is already being considered the best mixtape of the new decade, you can hear it at www.jperiod.com/knaan and its really amazing commenting on the effect of these revolutionary musicans.  If you don’t know them, and by them i mean Fela Kuti, go to wikipedia RIGHT NOW.  Thats all for the uncle more news on new music soon including bashy, some house, gorillaz, new RJD2, Little Dragon, and much much more, so if it gets to be too much JUST SAY UNCLE!

To say that Beach House is a buzz band, is a massive understatement. The Baltimore duo has a had a whirlwind of a year which has included: signing with famed Sub Pop, lending guest vocal’s on Grizzly Bear’s acclaimed “Veckatimest,” and just recently completing a massive tour. With all of that behind them, Beach House had set the bar pretty high to produce a follow up to their 2006 full length “Devotion.”

Their third and most recent album “Teen Dream” surpasses any expectations or hype that has surrounded this band. “Teen Dream’s” opening track “Zebra” is standard Beach House; strong vocals, haunting organ, an infectiously droning guitar line, all of which are drenched in reverb. However, there is a noticeable difference. All of the elements that make Beach House Beach House, have grown significantly stronger. The track is more driving and up tempo, which contributes for a much more diverse album as a whole.

Songs like “Norway” and “Better Times” showcase Victoria Legrand’s vocals, and how much more confident she has as a frontwoman. Guitarist Alex Scally’s musicianship is solid and the backbone of the album.

Another stand out track is “10 Mile Stereo.” It is a driving force to be reckoned with and again shows the band’s progression when it comes to songwriting. The song starts out with an electronic drum machine, then adds guitar, and then vocals; eventually building up to manifest in a beautifully crafted piece of art.

Beach House’s progression is easy to recognize in nearly every aspect of “Teen Dream,” with one exception: the lyrical content. Legrand’s lyrics do not fall far from the heartbroken, loveless words from previous albums whereas experimentation with time changes and vocal harmonies is very much apparent. Songs about heartache, love, and loss of love drive these songs. This isn’t necessarily a bad thing, but the duo definitely stuck to what they know lyrically on this record.

After the album’s grove-inspired closer “Take Care,” it is nearly impossibly not to be awe struck by the cohesiveness and attention to detail that “Teen Dream” possesses. It is a uniquely delicate, and sensitive sounding pop record that is solid from start to finish. Although it is still very early in the year, do not be surprised if this album tops many of the year’s “Best Of” lists for 2010. It definitely will for me.