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White Denim - D

5/1/2012

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Spotify Listen Link: White Denim – D
So, you can click here ^^^^^ OR you can scroll down to the bottom and press play on the little Spotify player there!


Anndddd I've never heard of them. So, here's what the research reveals:

"Spastic Indie Rock Trio" is how Spotify chooses to describe them. Josh, Steve, and James hail from Austin, TX, one of my music mecca places that I have seriously considered moving to just to experience their music scene. They got together in 2005, all having been a part of other Austin bands previously. They finally debuted with a 7" EP in 2007, Let's Talk About It. A second EP happened, and then retooled songs came together for their first full-length album.

This is a band that made more of a splash in Europe, hitting it big particularly in the U.K. This is their third full-length album actually, which we are now apparently finally appreciating in America. Leading up to this, they expanded their sound to become a 4-piece, adding Austin, another guitarist.


My eyes widened immediately upon the start of "It's Him!" The energy immediately exhibited by the band right at the get-go is extraordinary. I was barely paying attention to the lyrics because the music was so catchy right away. As I get my head back together though, I have to say - the grouping of voices is a little tough to handle, just because you're listening to something with too many voices at once when one would have sufficed. Regardless, this is that great recent rock sound that modernizes the 60's for me.

"Burnished" doesn't pull us in quite as strongly, but the strength of this band is quickly appearing to be the guitar work. There's a funk element that is going to bring out all of the hippies to the field, completely getting lost in whatever else may be going on in life. It ends far too suddenly, almost giving me a reason to purchase Spotify premium right now, because that ad killed my groove.

There's a little bit of a moving electronic element for "At The Farm," which totally doesn't fit the title (possibly the point) and I love it. The way things layer and move together is just awesome here. The electronic sound at the start could have very well have just been the humming of the guitar, but it's something new and different. As the song moves on, the verses and choruses are completely made by the instruments, with very clear and distinct sections being played. It's just damn brilliant.

"Street Joy" is a little more slow and steady. Again, I'm having issues paying too close of attention to the lyrics here. Nothing's really standing out on that side of things because of the recording style. The music accompaniment is easy to hear, but lacking emotion somehow - it just having in the air, filling a few more minutes of the album. It's like this is the palate cleanser before the next course.


For the first time, "Anvil Everything" has almost hear-able lyrics. There's one voice, which is kind of a nice change. The voice doesn't exactly stand out in anyway though, amongst the fast playing up and down that makes the song have far more beats per minute than are necessary. There's a bit more grit here though, than compared to the air of pop and happiness throughout the other songs. The guitar is saltier, giving a little more character overall to an otherwise very simple sound.

"River to Consider" brings hippie-ism to a whole new level for the album with a flute or pipe or something. If you're not dancing in the sunshine for this one, something is very, very wrong with you. I believed this is another instrumental track, as the vocals don't come on in until about a minute and a half in. The voice simply serves as another layer here though - I could care less what they're singing about (and that's a rarity for me), because I just want more of the sweet instrumental sections here.

I just finished watching Yellow Submarine, and "Drug" reminds me of it already, even without the name of the song. The sound is trippy in a way. It's probably a little too up-beat to truly fit in with that particular theme or in the film anywhere, but trust me in that the sound is fitting enough to make the comparison. The reverb effects used here aren't my favorite, but hey, keep the spirit/influence alive.

"Bess St." has the most simply rock sound going on. Even the vocals have a much more punk sound to them than the rest of the album so far. The grit's finally there and making the vocals so much easier to pay attention to. Here we've forgone the outdoor sound for more of a garage rock sound of the 80's. It's a little off when grouped in with the rest of the songs, but it's a welcome sound that somehow ties in. Plus, the funk guitar line that changes the whole thing up around the two minute mark sort of helps usher back in the dancing.

There's an insane amount of anticipation in my heart throughout "Is And Is And Is." I think it's primarily due to the beat going throughout. The breakout yelling for a few second actually provides some relief, but the beat comes back, sounding like it's going to build somewhere, but taking its damn time. There's got to be a break somewhere, and there never really is, just a slight shift, then a shift back. 

The final song to hear tonight is "Keys," which just has a steady beat and single voice at first. Instruments are added in the layers, and the song is just easy to hear as we end. This "Hey There, Delilah" with just a little more going on in each few lines. It could sort of be the ideal encore for a band - one guy starts, and each comes on and adds what they can give, until we're all back together.


Added to My Playlist:
  • "It's Him!"
  • "At The Farm"
  • "River to Consider"
  • "Keys"
Overall, one of the easiest albums I've listened to in a while. They're indie, but not so much in the way others try. We're given what is clearly going to be a great track list for a live show here, and one you need to be willing to love the sunshine for. It's just nice to hear - it's just nice. 

Check it out below!
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TV on the Radio - Nine Types of Light

1/18/2012

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I'm having a little trouble trying to figure out how exactly to write about this. See. this is an album, but what the nomination is for is Best Long For Music Video for "Nine Types of Light." Basically, it's an hour-long 'movie' video. So I guess that's where our concentration should be, given this is a Grammy Special post string.

Quick notes on the album though:

It was released in April of 2011, and is the fourth studio album by the band. It is also the last to include bassist Gerard Smith, who passed away from lung cancer a little over a week after the release. 

There is a note from the band on their vevo, where the long form music video is posted originally, that this album is "just as much an album as it is a movie. This movie is mean to be a visual re-imagining of the record. ... Tunde Adebimpe, the director for the full Nine Types of Light movie, storybooked the music videos together with interviews from local New Yorkers on various topics, including dreams, love, fame and the future."

And now I'm excited.

So, here's the full video:


So, obviously, we open up with people speaking about this dream. And this is not a song in any way. But then we do go into... the last song on the record. This is so breaking my usual review methods...
"Caffeinated Consciousness" (Track 10) is like this weird Yellow Submarine updated. And it screams green screen in this video - if not, I'd be amazed. It's an incredibly interesting approach to a song - like there's supposed to be tons to it, but really it's just about being hyped on caffeine and what that's like. I think for the video's purposes, it's just meant to get us hyped and in to the moment.

We're taken back to the beginning with "Second Song" (Track 1). The video takes on this wild monotone claymation concept now. That break with all of the colors fits the song in a really cool way. Maybe that was paper, not clay. Whatever. I'm hoping this connects well with the next video, because it didn't carry over well from the first at all.

"New Cannonball Blues" (Track 7) is opened with another montage of people. This time, their speaking on the world, the trash that's in it, and letting down our adult guard. And the video is totally different from the other two. I have to say, if these videos hadn't been compiled like this, you all still might be seeing them individually on this blog. The artistic approaches to the visualizations are really cool. Definitely not made for a sober state of mind, but really cool nonetheless.

We go from some crazy art animations into a quirky live video for "No Future Shock" (Track 4). Hahahaha, I'm cracking up about some of these dance moves. How can you not? It's just a weird kind of song and would be awesome in some club actually. The shots are a little weird. We go from something clear, to a shot that looks like someone is filming a television screen. Then there's the inputs of shots from around cities, which is probably where the message of it all is meant to come in.

"Repetition" (Track 8) starts right up after this. Very cool art work here, and different from anything we've seen thus far. It's more down to earth, but shows some opinions on work and life that pack more of a punch than any of the abstract work has been doing yet. Repetition is enhancing life from the bland norm that we usually experience.

Our "characters" are back - mind you, these are the few consistencies we have in the entire film. This time, it's about love. Yikes. Deep breath here. It's an emotion that they can all relate to, and understand it as something absolutely insane, but incredibly wonderful, all at once. Far too true. And how trying to get rid of it is the hardest thing.

The track starts up next, "Will Do" (Track 6). Now, this is probably the first video that seems to provide concept to the song. The virtual reality helmets take them back to their loves, which is just like what the song is saying. It's an entirely heartbreaking song, and knowing that the returns in the video are not real just adds to the hurt for it.

"Keep Your Heart" (Track 2) is a different voice, and thus different feel. It's a very crudely made video in comparison to the rest, but it's still different. I'm thinking that this one is meant to reflect more pain from love? Maybe this is what those people were getting at throughout their commentary. You're finding pieces of it, but having so much trouble with the whole. There's some kind fo twisted happy ending there though, when she finds all of him and gets what she's been searching for.

We now fade in to "Forgotten" (Track 9), another live action video, surprisingly. Wait... is that a.... ZOMBIE?? And then... a zombie killer saves the strippers? God I'm confused. I feel like all they wanted to do was a zombie video, and this was the way to it. Actually, it sort of transitions nicely into the next interview segment, talking about fame and fantasies of it. Don't ask em how, but it works.

Then there's comments about money and it changing people, giving an "unrealistic sense of self." "I think I want to be myself" is the last thing we hear going in to "Killer Crane" (Track 5). This one's kind of just a slideshow and mashup of the band's pictures and faces. It's a very trance-inducing song, maybe just because of the echo and citar throughout. It's extremely gentle and soothing, and in amazement at how the good things have managed to stay good. 

Then, there's a little story on them, saying that they broke up, then met a year later at a local diner. You need to watch this part and just laugh at their little stories.

"You" (Track 3) is the final song used in this film, and that little bit at the diner leads into it. I think he's being reminiscent on the band, if we're applying the lyrics to the video. Yeah, this is just sad, but sad enough to cross the line to hilarious. 


No, I don't have a "Stuff I Wouldn't Mind Hearing Again" list for this one. I think my reasoning's good enough though. As a full-form movie, the videos don't necessarily tie together as one story, but they do rely on those videos to be viable pieces. I loved so much of the artistic approach to this whole album, and they really went in a great direction putting the whole thing to visuals. I'll be interested to see the other approaches in this category to see how they measure up.
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The Kills - Midnight Boom

12/23/2011

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This is a band I have honest-to-goodness never heard of, which makes me about as excited as I was for Van Morrison yesterday. This was suggested to me by a brand new friend, loyal reader (I can't believe I actually get to type that!!), and music enthusiast, Christina. 

This album came out in 2008, and based on this band's Spotify alone, it looks like they keep busy. They're minorly comparable to The White Stripes, but definitely have their own thing going on here. Ever noticed how you don't know most of the music that plays in the best TV shows though? This band is one of the many amazing ones that contributes those tracks. Speaking of which, I really need to go back and make a "Grey's" playlist...

Anywhos... The track-by-track!

"U.R.A. Fever" starts things off extremely cleverly. So we've got a male and female voice, trading off lines and coming together in the bridge and chorus. This is intense, biting, and lovely. Very simple beat lends itself well to lyrics that are anything but simple. This was also the first single and a video was released to accompany it:


"Cheap and Cheerful" was used to open an episode of "House" and it's freaking awesome. "I want you to be crazy 'cause your stupid baby when you're safe." The melody and beat to this are unlike much you hear in mainstream rock. Thus far, these are the kind of sings I would most definitely love blasting in the background while getting ready or hanging out in my room. This video is trippy and awesome and I love it.
"Tape Song" is so painfully honest. It's got these lines about time not fixing anything. Er, I guess it's at least not going to cure anything. Damn, kick a guy when he's down. There's anger without losing the vocals though, and the instrumentation remains raw yet interesting.
I have to give mad props to Domino Records here, because they released a LOT of videos for this album, and did it simply with tour footage. What an awesome way to connect and get more music out there. 
We get our male voice back for "Getting Down." This band vaguely reminds me of a group I saw at a house show a year or so back. They performed in a little corner, but made that whole place light up. There's another rhythm thing going on here that's just fantastic to hear. There's something seriously fun and wonderful going on here.

"Last Day of Magic" keeps the energy high and dark. I am still not 100% sure what's going on here honestly. I think they lost me a tiny little bit on this track. Maybe I'll chalk it up to being sick? Is that an acceptable excuse? The thing that saves it for me is the video though. This time, it's an actually filmed video, not compiled footage:

I can't completely understand "Hook and Line" but I kind of don't care. I adore this musically more than anything else, because it's different, completely rockin', and wild. Anyone ever seen the scenes in "Grey's Anatomy" where Christina and Mer dance around with Tequila? This song would fit perfectly.

"Black Balloon" made me think immediately of the Goo Goo Dolls, but trust me, it's nothing like it. It's haunting while maintaining a beat for you toes. There's been a over-lying darkness to this entire album in a way that actually doesn't make it completely depressing. It's got just the right balance of what you need. There's a video for it too, which I think does a freaking amazing job of personifying the band's feel:

All right, what are doing here with all of these drums that sound like they're on an 8-track player? "M.E.X.I.C.O." comes up next with an awesome melody - seriously, the following of the lyrics is impressive on its own. I always admire people who aren't rappers who can get those lyrics out so quickly. Oh. This one's super short. Moving on!

"Sour Cherry" has this insane downbeat that almost makes you want to drop it like its hot. Yes, you read that right. I'm not digging this one as much - I think it's almost too stripped down for me; there's something missing. It's interesting though, and I always dig the weird. Here's a live video from SxSw, because I think the live experience can be so much a part of what a band is. This one seems to not disappoint!

"Alphabet Pony" is a fun one, but again, there's something just not hitting me here. It feels like just a jamming session without any real point. I don't know. Sorry, Christina.

"What New York Used To Be" is already interesting to me thanks to the title. They the song starts and I'm confused as hell, but kind of okay with it. Someone's mixing something weird on that board. The only thing keeping me from this track is the electronic sound to the voices as well. It's a departure from a lot of what we've already been hearing, without leaving the idea of the album as a whole. Eh, yeah, I'm a little confused too.

"Goodnight Bad Morning" slows things way down with much more familiar sounds. This is actually kind of trippy in a way - something much more appropriate to get lost in than the rest of the album. I love it enough to hear this on a bad day in some twisted way.

We end with "Night Train" which leaves me wondering how many times I've used "departure from" in this write-up. Again, something different. There's a heavy emphasis on the electric guitar and giving it that garage band sound. I like that she's taking charge here, "all my lovers take the train." There's something oddly empowering and kick-ass to this one.


Stuff I Wouldn't Mind Hearing Again:
  • "Cheap and Cheerful" - Spotify, YouTube
  • "Getting Down" - Spotify, YouTube
  • "Hook and Line" - Spotify, YouTube
  • "M.E.X.I.C.O." - Spotify, YouTube
  • "Night Train" - Spotify, YouTube
5/13

Actually if I'm being honest, given the right atmosphere, I could probably listen to this whole thing again.

The US Heatseakers chart placed this one at #1 actually. This is a chart compiled of songs that haven't made it into the Billboard top 100 with their initial release, but are kicking ass in sales regardless (just not as good as those top 100) and are set to do something big. 

The title apparently refers to that moment when the moon comes up and everyone else goes to bed. I think it's appropriate, then, for me to get the feel of wanting to get ready to go out to that album. I like the general feel of the band, and am incredibly grateful to have gotten into them. I feel more enlightened and kick-ass after this album. :)


Thoughts? Did you discover something new here tonight? Or am I behind the times? Either way, let me know!

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