Raves: Traci's Book Recommendations

 Everyone knows that I am pretty nerdy and really love books and that I work at the library.  But what everybody doesn’t know is that kids’ books are for grown-ups too!  So here are five kids books that I like that you can read no matter how old you are.

 

The City of Ember/ The People of Sparks by Jeanne DuPrau

I’m not really into futuristic fiction (think Brave New World), but I really liked these books.  The first one, The City of Ember is about a city lit entirely by light bulbs- no sun or moon.  But, the light bulb supply is starting to run out, and nobody really knows what to do.  Two 12-year-olds discover an old map and hope that it will lead them to a place where they can find more supplies.  The sequel, The People of Sparks, tells where the map leads them and what happens to the people of Ember after they arrive in the City of Sparks.  Sounds pretty nerdy, but they are really well written, and they kept my attention.  It’s a real thinker.

 

Dear Mrs. LaRue- Letters from Obedience School by Mark Teague 

This is a really funny picture book about a dog who writes all of these sad, sad letters to his owner, Mrs. LaRue, about how horrible obedience school is.  The thing is, as you are reading these letters, you can see that the school is actually really nice and the dogs are really living it up! At one point, the dogs are sitting in the hot tub being served drinks with little umbrellas in them.  I thought it was pretty funny.

 

 

To the Top: The Story of Everest by Stephen Venables

Anyone who knows me knows that I’m not really into nature and outdoors and stuff, so a book like this also usually wouldn’t interest me.  But, I had to read it, as it is nominated for a Beehive Book Award and I really thought it was interesting.  It is the history of people who have climbed Mount Everest, written by a guy who actually climbed Mount Everest himself.  And it has really cool photos of frostbitten toes and stuff.

Angus, Thongs, and Full-Frontal Snogging by Louise Rennison 

This isn’t really a kids’ book-more like a book for teens-but it is so funny! It’s like Bridget Jones, only in high school.  I think Bridget Jones is very funny, but if you don’t then you probably won’t think this is funny either.  There are now like four books in this series all about the main character, Georgia Nicholson, who lives in England.  England’s pretty funny, right? They talk funny, and use funny words.  If you’re counting, I think I’ve used the word funny like fived times. It’s funny. And it has the word “thongs” in the title--and “snogging.”

Raves: Napoleon Dynamite

 Napoleon Dynamite

"Napoleon Dynamite" is one of those movies that you either really love or really hate. There isn't much action and there doesn't even really seem to be a plot until the last 20 minutes of the film. Nevertheless, I thought it was "flippin'sweet!"

There is always at least one really weird kid in every school. How did those kids get so weird? Taking a look at Napoleon Dynamite may give a few answers.

Napoleon lives in Idaho with his grandma. He has a 32-year-old brother who meets "babes" on the internet and an uncle that wants to build a time machine to go back to 1982--his high school football glory days. It's no wonder Napoleon loves to draw Pegasus-es and that his favorite animal is the liger.

The movie revolves around Napoleon befriending Pedro, the new kid and Deb, the glamour-less, Glamour Shots employee. Here are some of the ways that they solve their problems:

Pedro deciding how to ask the most popular girl in school to the dance: "[I'll] build her a cake or something."

Napoleon telling Pedro why he should run for student body president: "You've got a sweet bike, you're good at getting chicks, plus you're the only guy at school who has a moustache."

Pedro explaining why was wearing a hood: "I realized it was my hair that was making my head so hot. I went into my kitchen and shaved it all off."

It all makes perfect sense, doesn't it? Great comedy.

If you liked the movie, you should definitely check out: http://www2.foxsearchlight.com/napoleondynamite/. You can relive the clips from the movie, make your own glamour shots, and even

make your own iron-on t-shirts. Sweet!

Raves: Mike Doughty

Mike Doughty

I was surprised and saddened when somehow the news of Soul Coughing breaking up reached me all the way in the Netherlands in 2000. Surprised because I didn't think anyone in Holland had even heard of Soul Coughing, and saddened because they were one of the most interesting acts of the second half of the 90s.

In retrospect, if a breakup had to happen, 2000 was the perfect time. Napster was reigning supreme and "Skittish," Soul Coughing frontman Mike Doughty's solo, mostly-acoustic, unreleased album found its why into cyberspace.

Since 2000, Doughty has been touring the country alone - just him and a guitar. Despite that "Skittish" has only been sold at shows in plain white paper jackets, everyone in the audience already knows all the words. Despite the simplicity of his solo material, Doughty's performances are captivating.

Though recorded in 1996, "Skittish" just recently received a proper release. It is now packaged along with "Rockity Roll," an EP Doughty released in 2003 and also contains some live material and "Skittish" b-sides.

After about 300 listens, I still enjoy "Skittish" as much as I did when I first heard it in 2001. "Rockity Roll" follows the same pattern - guitar and vocals - with the addition of some drum machine and a little bit of electric piano. Oh, so good.

Doughty is promising fans the release of "a fully-realized solo record," May 3.

Up Up Down Down Left Right Left Right B A

 Up Up Down Down Left Right Left Right B A

January 28, 2006--Despite its incredible length, any band named after the secret code used to get unlimited lives on original Nintendo version of Contra, immediately gets my respect. Oh, but the name’s not the best part.

Up Up writes beautifully direct, powerful (and short) love songs that I haven’t been able to get enough of. The band seems to be more into the music than the money, since they have just released their second completely-free-online EP called “Girls’ Names.” Their site offers more free music than purchasable, including three full EPs. I would recommend downloading them now, before the band realizes that sometimes you can sell music for well, you know, money.

If you are overwhelmed by the vast number of mp3s to download, I would suggest beginning with their music video…Love it.

CORRRECTION: "Just to set the record straight, up up down down... doesn't get you unlimited lives, just 30 per continue. I don’t want you to sound like an idiot for all us nintendo-educated readers." --Jonathan Wicks, Cincinnati, Ohio.

[Thanks 2 ½ Pounds of Bacon for the heads up.]

Utah Celebreality

 A swing and a miss - Thurl makes the mighty Goliath come to life...

Utah Celebreality

May 1, 2006--Since Utah doesn’t really have any real celebrities, we have to settle for news reporter [see Shauna Thomas Disappears], creepy Mormon recording artists [think Kurt Bestor] or senators who think it’s a great idea to blow up music file sharers [please don’t vote for Orrin Hatch, please].  Oh, and old basketball stars.

I interviewed ex-Utah Jazz star Thurl Bailey for Utah Business Magazine a couple of weeks ago.  Big T now has his own clothing line (cleverly called the Thurl Bailey Collection) in addition to his career as a Mormon music artist, his film career which includes such roles as Goliath in a seminary movie, a Jazz commentator and the owner of a fertilizer company (whah?!). 

I must say it was very cool to check the messages on my cell phone and hear, in the deepest voice imaginable, “Hey, Spencer.  This is Thurl Bailey.”  But the funny part was that he was calling to tell me that his email response to me kept getting sent back to him.  I gave him two other addresses, but still no luck.  I started thinking that Thurl wasn't such a superstar in the email department.  He called me again and told me he’d fax it to me.  Yes, Thurl Bailey printed off the email and faxed it to me.  I couldn’t help thinking of Kip singing at the end of Napoleon Dynamite, “Yes, I love technology.  But not as much as you, you see…”

July Raves: Music, Sports, and TV

 July 4, 2006

MUSIC

Dashboard Confessional
Chris Carabba certainly understands his audience.  Not only is he selling his new record Dusk and Summer for just $10 bucks but if you show your student ID when you buy it at lousy Best Buy, you get it for $7 (you will have to convince the cashier of this, though).  Dashboard isn’t something I would normally run out and buy from a store, but I thought it was a cool idea.  Note to the record industry: people will buy CDs if you offer them at a reasonable price. 

The Cardinal Sin
Also hailing from the Windy City, The Cardinal Sin share the same raw sound and intensity as early Alkaline Trio.  I was so immediately drawn to their music when I heard them on purevolume that I work tirelessly to track down their first full-length Hurry Up and Wait.  I couldn’t find it at any of my usual locations so I ended up buying it off of half.com.  Other than the outstanding Eye Opener, there aren’t really a lot of standout tracks, but it’s a really solid album.

SPORTS

World Cup Soccer
Though I suffered some mild depression when Holland lost to Portugal (once again), the World Cup is still exciting – and I’m not even a soccer guy.  Who says you can’t be thoroughly entertained by 120 minutes of scoreless action?  I’ve got tickets for the Real Madrid vs. Real Salt Lake exhibition in August, but it looks like the great David Beckham may not even be making the trip thanks to his injury against Portugal. 

BOOKS

An Ordinary Man
If you haven’t seen Hotel Rwanda, you should.  If you have seen it, you should read An Ordinary Man, the autobiography of Paul Rusesabagina, the man on whom the movie was based.  Rusesabagina explains how and why the Rwandan genocide went down, including sectarian violence, corrupt politicians and outsiders who were unwilling to stop it from happening.  Though it the book was based on the 1994 events it couldn’t be more applicable to current conflicts.

TELEVISION

VH1’s Supergroup
Without going into an entire dissertation, here’s why only has-been celebrities should be on reality TV shows.  Though you get the mega-exposure that you had (or always wanted to have) when you were in your prime, you also always kind of end up looking like an idiot. 

Sebastian Bach was so incredibly cool when he was in Skid Row.  Now he may be the whiniest, most annoying TV personality on the planet.  Even my sister, a die-hard Bach supporter, has given up on the show because he is so annoying.  “He has officially ruined the ‘rock on’ devil horns," she says.  But it does make for great television.

If you can get over the embarrassingly awkward moments of Bach telling the PR team that he has a top 20 hit (“I Remember You” on the newest Monster Ballads CD), him crying about his dad or drunkenly telling Anthrax’s Scott Ian that he loves him and that he'll never play with another guitar player (um, they are going to be in a band together for 12 days), you'll be glued. 

October Raves: She's the Man, Hard-Boiled Wonderland, Alternative Press

 October 2006

Movies

Traci and I have only been to one movie in the past year (and that was sub-par Nacho Libre), so we're not really the ones to ask for box office suggestions. However, we do watch a lot of DVDs. We finally got around to watching "She's the Man," starring Amanda Bynes. The movie is about Bynes pretending to be a boy so she can play on the men's soccer team to prove to her ex-boyfriend that she's a better soccer player than he is. Of course it's dumb, but Amanda Bynes is hot and David Cross, aka Tobias Funke, plays the high school principal. What more could you ask for? Traci won't admit that she liked it, but I think she secretly did.

Books

Part-time rockstar and full-time librarian Danny Hansen often has book recommendations for me. After reading two crap graphical novels by Daniel Clowes, I was about to refuse Danny's future book tips. However, he really came through with "Hard-Boiled Wonderland and the End of the World" by Haruki Murakami. Staged in a surreal, pseudo futuristic world, this is not my usual read. However, it turned out to be a book I couldn't put down. Much more intellectually challenging than, let's see, the book about the "hip-hop cop" I'm currently reading, I had to spend a good deal of time thinking about the book after I finished it. One thing that did stand out as odd about the book was the translation. Originally written in Japanese, in the English version the main character, who lives in Japan, eats and Denny's and listens to Duran Duran. Now that's surreal.

Magazines

The first time I read Alternative Press I felt like I was reading a magazine produced by seventh graders. However, thanks mostly to MySpace and YouTube, I too have the brain of a seventh grader. Now that I subscribe to the magazine (thanks to my friend RB and BigMags.com) I've come to really enjoy it. What makes it good is that it is written for seventh graders - the writers seem to be just a psyched about the music they're writing about as the kids that are reading it. It always includes tips for kids in bands - what equipment to use, how to tour effectively, how to record an album. Each issues educates as well, giving histories of influential bands in hopes of helping kids understand that My Chemical Romance did not invent rock and roll eyeliner. AP also knows how to avoid editorializing, and thankfully, just sticks writing about music.

The drawbacks are isn't emo esthetic - every issue has at least one band spread with blood seeping from band member's mouths - and it's reviewing scale. Everything, I mean everything, is a rave. If your band only gets 3 out of 5 stars in AP, man, you must really suck. If you want to know what's going on in the niches of emo, screamo, punk, hardcore, or in other words, if you want to read about the bands whose faces you see on lunchboxes at Hot Topic, this magazines is where it's at.

Local H -- Live at Ego's

Local H

June 2, 2004--Ego's

The Local H concert that I attended with Ty in 1997--when they opened for Silverchair--was one of the best concerts I have ever been to. Here we are, 7 years and 3 1/2 new Local H albums later, and I had high hopes for their concert at Ego's.

Due to the nature of concerts at bars, and some technical difficulties, Local H didn't start playing until 11:30 p.m. They started off the set with the 10-minute "BuffaloTrace" off their new record. While the song is relatively rocking, it seemed like they were easing the crowd into the show. I was disappointed that they didn't begin with what to me seems like the obvious opener "Alright, Oh yeah," which they did play midway through the set.

They played a handful of new tracks and mixed in all of the hits from "As Good As Dead:" Bound for the Floor, Fritz's Corner, High Fivin' MF, and Eddie Vedder. Despite the requests, there was no "Back in the Day."

Besides "Hands on the Bible" from the band's last release, only two albums were really represented. No "All the Kids are Right," and no "Sports Bar."

The set was a little loose. Each time the music started to really rock, they would pull it down with a new song or a meandering jam or arrangement. The band played the neo-rock "Hey Rita" from the new album, the worst song from "Whatever Happened to PJ Soles." Fortunately, "Where are They Now?" and "Heavy Metal Bakesale" showed that even the new material can rock.

It is unfortunate that Joe is no longer in the band, but new drummer Brian St. Clair is a no-nonsense heavy drummer. In Dave Grohl fashion he never lifted his head during the entire 60 minute set. NO fills, just straight pounding. Scott Lucas, on the other hand downed a few beers and multiple shots during the set and was dancing and head-banging and shouting at the crowd. "Walking through the set as drunk as we could get" now become more than just a clever line from "All the Kids are Right."

Local H has aged, so has their fan base. Since hard rock is harder to come by these days, it seems like Local H has become an oasis for all of the High Fivin' MFs would still want to mosh. Poor Scott Lucas.

The band ended with an encore "California Songs" and a 10-minute improv rant where Lucas screamed "You got the money, we've got the soul" over and over. The alcohol seemed to be getting to him.

The band did not seem as tight as it was 7 years ago, but still strong, especially if you are a bit intoxicated.

Napoleon Dynamite

Napoleon Dynamite

"Napoleon Dynamite" is one of those movies that you either really love or really hate. There isn't much action and there doesn't even really seem to be a plot until the last 20 minutes of the film. Nevertheless, I thought it was "flippin'sweet!"

There is always at least one really weird kid in every school. How did those kids get so weird? Taking a look at Napoleon Dynamite may give a few answers.

Napoleon lives in Idaho with his grandma. He has a 32-year-old brother who meets "babes" on the internet and an uncle that wants to build a time machine to go back to 1982--his high school football glory days. It's no wonder Napoleon loves to draw Pegasus-es and that his favorite animal is the liger.

The movie revolves around Napoleon befriending Pedro, the new kid and Deb, the glamour-less, Glamour Shots employee. Here are some of the ways that they solve their problems:

Pedro deciding how to ask the most popular girl in school to the dance: "[I'll] build her a cake or something."

Napoleon telling Pedro why he should run for student body president: "You've got a sweet bike, you're good at getting chicks, plus you're the only guy at school who has a moustache."

Pedro explaining why was wearing a hood: "I realized it was my hair that was making my head so hot. I went into my kitchen and shaved it all off."

It all makes perfect sense, doesn't it? Great comedy.

If you liked the movie, you should definitely check out: http://www2.foxsearchlight.com/napoleondynamite/. You can relive the clips from the movie, make your own glamour shots, and even
make your own iron-on t-shirts. Sweet!

Warped Tour 2004

 Warped Tour 2004

Tyler McHenry documents a day of walking back and forth at punk rock's traveling festival

Brett Gurewitz performs onstage with Bad Religion

After missing out on Millencolin in 1997, I knew it would be important to arrive at the fairgrounds before the noon start time of Warped Tour 2004. My veteran instinct led us to cut to the front of the line, wiping out the two hour wait which could have been fatal.

Gone are the days of the two stage setup; this musical circus brings seven stages with bands playing on any of four stages at any given time. The sets are even shorter now as each band--including the headliners--is allocated thirty minutes to perform their trick. Considering the doors opened at noon, I found it odd that Red West took the stage at 11:30.

The schedule looked pretty good for my tastes, the only major scheduling conflict was that Motion City Soundtrack played at 4:15, while The Alkaline Trio started at 3:30 and Bad Religion was slated to begin at 4:00. Thinking that the first big band didn't hit the stage until 12:45, I made my way around the venue. Arriving at the Volcom stage, a familiar voice rang in my ear. Pulley was already rocking out. Looking up at the schedule, it read Pulley 1:30. As I caught the last three songs of their set, I realized that I was one of the few onlookers who even knew who Pulley was. Scott Radinski belted out one of the great Epitaph classics "Cashed In," to end the set and I was a freshman in college all over again.

Rise Against seemed to have a large following, and looked to be one of the favorites on this year's tour. Ripping through their set with "Blood, Red, White, Blue," and "Like the Angel," Rise Against pleased the punk and the hardcorist alike. Making my way across the park, Story of the Year was ending their set with the radio hits. A lackluster performance was epitomized by the comment, "We are here to have fun, not fight. Godsmack is not here today, people." SOTY is the stereotypical band that kids listen to for about a year and then drop.

The show was still in its early stages, and the people kept filing in like the punk rock sheep they are. Back to the east side, Thursday was really getting the crowd going. They were playing really tight and sounded excellent. Impressive tracks included, "Understanding in a Car Crash," and "Autobiography of a Nation." Leaving their set a little early, I headed over to see the beloved Bouncing Souls. The band looked the same, except that Greg now has long hair with red patches scattered around his head. Warming up the crowd with "Ole'," the Souls seemed to be excited to be back in SLC. They followed that up with "Say Anything," "Hopeless Romantic," and "The Ballad of Johnny X." After busting out into "Kate is Great," the punk rocker in me couldn't hold back and I entered the circle pit. The Bouncing Souls continued to rock like it was 1998 all over again. The fun continued with "That Song," "Anchors Aweigh," and "True Believers." The set ended with a surprising rendition of "Night on Earth." The Bouncing Souls again proved that they are kings of the live performance.

Greg leads Bouncing Souls fans in a punk rock sing along

Another trek across the fairgrounds led me to the presence of Yellowcard. I had never seen them live, but was quite impressed. As expected, they had drawn the majority of the festival's crowd. Busting out all the hits, both soft and hard, the band mixed it up well and didn't disappoint.

As NOFX began their set, it was time to sit down and rest [EDITOR'S NOTE: NOFX and Rancid are bands that no matter how many times we've them, we've never watched their set]. Warped Tour provided a great sprinkler area to cool off in this year. A refreshing break from the warm sun was all I needed to gain my second wind. One of the major themes of this year's tour was an Anti-Bush sentiment. Almost all of the bands made known their disagreement with Bush's policy and direction during this time of conflict. NOFX even finished their set with a rousing number called, "Idiot Son of an Asshole," which is all about our current president. To nobody's surprise, Anti-Flag played some songs dedicated to the man in charge as well. At this point in the day, I decided to browse each band's tent and merchandise, which led me to miss out on Coheed and Cambria. This was okay because I had to get myself into perfecting listening position for The Alkaline Trio. Rumor has it that the Trio do not perform their best on the Warped Tour, and now I can attest to this. Coming out to play "We've Had Enough," the Trio said very little during their set. They were also playing with a mysterious fourth member. Alternating singers after each song, they continued with "Maybe I'll Catch Fire," the new song "Warbrain," and "Emma." Some of the tracks ending the performance included, "My Friend Peter," "Nose Over Tail," and "This Could be Love." Their performance was pretty poor and lacked a lot of energy. Sprinting away disappointed, I knew Greg Graffin and Co. were going to make things better.

Bad Religion started off with the new stuff by playing, "Sinister Rouge." To make things even nicer, Brett Gurewitz had joined his friends today. From then on, the band didn't stop playing. "Atomic Garden," "Supersonic," "American Jesus," "Infected," and "You" left all of us wanting more. Two more new songs followed "Let Them Eat War," and "God's Love." Graffin made an unnecessary comment about the Mormon garment as the set rolled forward. "Recipe for Hate," "21st Century Digital Boy," and "Sorrow" concluded another stellar performance by the ageless ones. Knowing that this would most likely be the last time seeing the legends, I cherished this moment.

The sun and the heat were finally taking their toll on my body. I knew I had to persevere. Senses Fail were already halfway through their set, but they were rivaling Bad Religion. Looks like Vagrant records have found themselves another gem. Stopping by the Epitaph tent, I realized something very upsetting to the stomach--Motion City Soundtrack had in fact played at 2:15 and not 4:15 as first posted at the entry. Knowing that during this time I was just resting made me upset because I was really hoping to see them. The newest problem with Warped Tour is that it has become too big. Wanting to see everything, and not being able to, is quite frustrating.

Hoping to avoid New Found Glory as much as possible, I waited patiently at one of the smaller stages for Hidden in Plain View. This was a bold move on my part, but it paid great dividends. HIPV were one of the top acts of the day. I'd be happy to support them on their next visit to the Lake town. Apparently on the other side, Flogging Molly was entertaining everybody with their Irish jigs and drinking songs as well. I really don't think I missed out.

The day was coming to a close as we prepared to see Taking Back Sunday. Right before they come out, the rain started to come down. TBS proved to be strong as well, as the music rang true through the downpour. It was one of those times that you'd like to see a full set from a band, rather than the 30 minute tease which is offered at the yearly festival. As the rain began to fall harder, it was time to go home. Few people would stick around to watch The Vandals this day.

Kanye West The College Dropout

 Kanye West

The College Dropout

I am by no means a very reliable source for hip-hop critique. Nevertheless, I enjoy the genre from a distance.

I had the chance to check out The College Dropout by Kanye West. West is famous for his production skills, most notably for hits like "Izzo (H.O.V.A.)" that he produced Jay-Z. This record marks West’s first attempt behind the mic.

Kanye West is not the most noteworthy rapper, but this album still shines because of the catchy beats. College Dropout draws heavily from soul and gospel samples. The standout tracks are “Spaceships,” a track about losing it at your day job, “Never Let Me Down,” with Jay-Z and “Jesus Walks” which contains the coolest line of the album, “God show me the way because the devil’s trying to break me dowwwwn.”

The drawbacks are:

1. The many high-pitched, Chipmunk-like background voices

2. Skits that break up the flow of the album

3. The hit “Slow Jamz.” (I know this a huge radio hit, but you should know how strongly I disdain all slow jams.)

Overall, a pretty good record.

Beastie Boys To the 5 Boroughs

 Beastie Boys

To the 5 Boroughs

Aptly titled, To the 5 Boroughs sounds just like it came out of New York circa 1985. It's old School and it’s oldest—stripped down beats, orchestra hits, scratching and rhyming. That’s it. This works great on “Ch-check it Out,” “Triple Trouble” and “An Open Letter to NYC.”

While hip-hop has always been their forte, the Beasties generally keep it interesting by mixing a bunch of styles. Unfortunately 5 Boroughs, is void of all funk or punk rock rants.

The irreverent boys of License to Ill are almost 40 now. They rap more about politics than partying, but most of these new songs still manage to get the party started.

Raves: I Love the '90s

 March 2004

I Love the 90s

I never really understood nostalgia until I found myself thinking that music hit its pinnacle in 1998--strangely the same year that I graduated high school.  I am beginning to understand why my oldest sister was replacing old old Warrant and Poison cassettes with Warrant and Poison CDs in 1997.  No matter how hard you try to fight it, we all have our wonder years.

 

VH1 knows that people are suckers for nostalgia.  When we saw a commercial for "I Love the 90s" Traci exclaimed, "We have to get cable!  The 90s--that's us!" We didn't get cable, but during our trip to California we had the chance to see every year of I Love the 90s at least once, with the exception of 1993. (We recognize that this means we spent of lot of time watching TV on our vacation, but cable TV is a vacation in and of itself for us)

The show pokes fun at all the fads that we all got caught up in during the 90s, and are now embarassed to admit--slap bracelets, the Macarena, Spice Girls, Teletubbies, Beanie babies, and those evil Furbies.  The best part of the show is that a lot of artists that were fads in the '90s are willing to laugh at themselves and give commentary.  MC Hammer introduces the "slammin' jammin' dance hits" of each year, Michael Bolton gives a list of the years' "hotties" and Sir Mix-a-Lot talks about why he never wants to hear "Baby Got Back" again.

As we watched the show, The memories came rushing back.  In my mind I saw myself in fluorescent orange and green Hammer pants. I actually remember wondering in 1992 why someone hadn't thought of fluorescent colors earlier. 

The 90s were great, but I'm sure 80s were great and the 70s were too.   As a magnet on my inlaws' refrigerator says "The older I get, the better I was." The 90s were great because they're over now and we only remember the good stuff.   Thanks, VH1 for helping us to remember that Vanilla Ice truly was the good stuff.

Arrested Development

July 2004 

 In case you were curious, Arrested Development is the funniest show on television. It is regularly shown Sunday nights at 8:30, but has been on at different times lately.

It is the story of the Bluth family. The father, George Bluth, is in jail after committing corporate fraud. His son Michael has taken over the company. This is the world's most dysfunctional family. A few examples:

Dr. Tobias Funke is married into the Bluth family. He quit his job as a psychiatrist to become an actor. He thought he was taking an acting job and ended up on a boat full of gay pirates.

Buster Bluth still lives with his mother, Lucille. To make her jealous he has fallen in love with their neighbor, who is also named Lucille, played by Liza Minnelli.

George-Michael is the family's straight-shooter. He loves the family and loves his cousin, Maeby, a bit too much.

Make sure to the check out the show. For more background go to http://www.fox.com/arresteddev/

Raves: The Streets - A Grand Don't Come for Free

The Streets (aka Mike Skinner)=skinny, white, British rapper who can't sing...at all. Why is it, then, that I can't stop listening to the new album A Grand Don't Come for Free?

Here's why I love the bloke (I don't know what bloke means exactly, but it's fun to use British talk):

1. He makes all the music. He puts down all of the beats, writes and and records it all himself at his mom's house. We're not talking Neptunes-style catchy beats, but somehow the off-tune singing is oddly appealing.

2. It doesn't sound like anything else. It is not a British guy trying to be a tough, American rapper. It's a British rapper talking about drinking tea with his mum and text messaging his friends. Nothing tough about that.

3. When Skinner attempts singing he kind of sounds like a robot. I love robots.

A Grand is a concept album. The entire LP tells the story of Mike losing a thousand pounds and his girlfriend, and suspecting that his friends are responsible for both. It is refreshing to hear a rapper talking about being extremely worried about losing money, and not just about rollin' in it.

The album's got humor, some slow stuff and some rough stuff. It's probably an acquired taste, but I would recommend checking it out.

The Killers - Hot Fuss

The Killers
Hot Fuss

It’s embarrassing enough to get introduced to a new band by MTV and it’s even harder to admit it. I’m swallowing my pride. I first saw “Somebody Told Me” by the Killers while I was in San Diego (we don’t have cable at our house). I thought it was a pretty good little tune and I am a sucker for the Moog (click here for more info on the Moog) sounds.

The Killers bring the 80’s electronic beats and sounds of Depeche Mode or Duran Duran and mix it with a bit more updated alternative rock. Their album Hot Fuss is not a masterpiece, but there are some really solid tracks. I list it here as a rave for the following reasons:

1. When I hear the repeated line “I’ve got soul, but I’m not a soldier” I find myself marching/dancing while I’m mowing my front lawn (the neighbors love it).

2. Most of the tunes cause me to play air keyboard (anyone can cause you to play air guitar, you have to be really hip to make people rock out to your keyboard).

3. The song title “Mr. Brightside” is pretty close to “Mr. Blue Skies,” and that’s a great song.

I am a sucker for bands that kind of sound like the Cure. So if you like the Cure, you may as well give the Killers a try.

*The Moog is an analog keyboard that makes wacky sounds. Check out "Return of the Rentals for a good example.

Death Cab for Cutie - Red Fest

 September 17,2004

RedFest

The University of Utah may not know how to issue a diploma, but they make up for it by throwing a great concert.  Death Cab for Cutie was booked as the headliner for this year's free RedFest event.  The performance was impressive from the opening number "The New Year" through the encore closer, "Transatlanticism."

The band's strength lies in its subtle showmanship and its ability to recreate the intricacies of its studio recordings in a live setting.  Death Cab had a myriad of different instruments on the stage.  Singer Ben Gibbard played not only his guitar, but a pair of electronic drums on "Title and Registration."  When he wasn't using the drumstick to keep rhythm, he was strumming his guitar with it.  Chris Walla alternated between playing guitar and keyboard and even switched bassist Nick Harmer instruments mid-song.  Harmer also added some sampler work on one song.  New drummer Jason McGerr was absolutely rock steady, sounding more like a drum machine than a human at times.

The majority of the setlist came from their latest, and best album, Transatlanticism.  The crowd was treated to "Tiny Vessels," an extended version of "We Looked Like Giants" and even got to "bah bah" along to "The Sound of Settling."

The highlight of the evening was the encore.  Gibbard sat behind  the keyboard pouring out his heart on "Transatlanticism."  By the third verse he had the entire crowd backing him up, singing "Come on, Come on" into the autumn air.  After the last note faded and the band exited, the crowd stood in the dark and exhaled collectively, having all been temporarily lost in a wonderful moment.

 

Travoltas - The High School Reunion

I have been anxiously awaiting the arrival of The High School Reunion, the latest release by the Dutch surf-pop-punkers, the Travoltas.  I was a bit nervous when it arrived in the mail because all of my favorite artists have done nothing but let me down lately.  Click here for a list of disappointing albums.   

On first listen, all of my worst fears came true.  It seemed devoid of the catchy hooks that make the Travoltas so good.  Being a huge fan, I refrained from writing anything until I gave it a few more listens.  I am glad that I did. 

If you are unfamiliar with the Travoltas, let me try to explain their sound—it’s the punk version of the Beach Boys, sung in English by native Dutch speakers, mixed with some ‘80s electronic pop.

High School Reunion is a nostalgic album about what happened in high school and what’s happened since.  The title track is about how all of the glory days of high school—quarterbacks and cheerleading captains—all fade away [The irony is that the Travoltas come from a country where neither quarterbacks nor cheerleaders exist].

This album is much more keyboard-driven than their previous records.  The techno beats on “(All We Want is) Rock ‘n Roll” are very cool, but on other tracks the keyboards seem incredibly cheesy i.e. the incredibly pointless instrumental ditty “At the Arcade.” 

There is also a cover of Peter Schilling’s 80s hit “Major Tom.”  I was a bit confused why a Dutch group would cover an English song, but sing it in German.  I guess I’m not up on my 80s trivia; I did a little research and found that the song was originally released in German.  This is a fitting cover for the Travoltas, but it still seems to be a strange choice to do it German, when the rest of their material is in English.

THE SKINNY: Not as good as their last release, Endless Summer, but still a very good listen.  Definitely recommended.

Outkast - ATLiens

 Outkast

ATLiens

October 2005

Since I hadn't checked out Outkast's pre-Stankonia material, I figured I would give this one a try.

ATLiens, Outkast's second album,is Big Boi and Dre before their huge success. The album has a very relaxed feel, with most of the tracks with a slower tempo.

There are no "Ms. Jackson" or "So Fresh So Clean" on this one, but "ATLiens" is certainly in the same league as those songs.

The Skinny: If you want to be a serious Outkast fan, you'll need this record to see how they got to where they are now.

Megadeth - The System has Failed

 Megadeth

The System has Failed

Does Megadeth resurrect metal with this political rant album? No.

Dave Mustane and the boys rifle through 12 songs with as much fury as ever. Unfortunately, it sounds a bit sludgy. There are few standout tracks other the opener, "Blackmail the Universe," a song about the president's helicopter being shot down and "Die Dead Enough," which offers the album's only song with a memorable hook.

The Skinny: This album still pummels listeners with the metal, and isn't that really all that we're looking for.

Cake - Pressure Chief

 Cake

Pressure Chief

Finally, a new album from an established band that doesn't disappoint. Pressure Chief offers all that you would expect from Cake--a mixture of country, rock, alternative, lone trumpeter and the signature talk/sing style of John McCrea. This album also adds a heavier dose of electronic and deeper melodies than the band's previous works.

As usual, Cake serves up a great radio hit with the keyboard driven "No Phone." This single is ably backed by a nice blend of great tunes and background yelps and hahs. That's not to say the album is perfect. "Baskets" and "Waiting" are a bit dull.

Pressure Chief is one of those records that you listen to and just feel good. The upbeat, disco tune "Carbon Monoxide" may cause you to get out of your chair and shake your money maker. My choice for best song, however, is "The End of the Movie" a quiet little banjo number. The accordeon solo makes me sit back and happily sigh. Pop music needs more accordeon.

Ima Robot

 Ima Robot

With a name like "Ima Robot," I figured this band would have to be cool. After hearing the track "Dynomite" (again, a very cool name) I thought I would be very impressed by the band's debut, self-titled record. I was very wrong.

Much like Hot Hot Heat and The Killers, Ima Robot tries to tug on the heartstrings of those who love(d) The Cure. Unfortunately, in trying to dig up some hits from the 80s, singer Alex Ebert mistakenly channeled the high-pitched squeal of Rush's Getty Lee.

This record aims for fun, danceable rock but ends up crossing over into the very annoying.

The Skinny: Pass on this one, please pass.

The Prodigy--Always Outnumbered, Never Outgunned

The Prodigy--Always Outnumbered, Never Outgunned

This country has never really been able to fully accept techno music. It's mostly reserved for gay bars and car commercials. But in 1997 the music world was abuzz with the anticipation that all of that was going to change, thanks to a British act known as The Prodigy.

Liam Howlett and his band of dancers had been setting London dancefloors and music charts on fire since 1992. The Prodigy had managed to present itself more as a rock group than a geek behind a pair of turntables and with 1997's The Fat of the Land they were hoped to be the crossover act that would bring techno into the mainstream.

Thanks to the over-the-top image of creepy "Firestarter" Keith Flynt, The Prodigy became an MTV staple and brought along groups like The Chemical Brothers and The Crystal Method.

America's interest in "electronica" (a term coined so people didn't have to admit they listened to techno) was fleeting and Liam Howlett quietly fell off the face of the earth.

He's back, and to prove he means business, the new LP is titled Always Outnumbered, Never Outgunned. With a title like that, it would seem that America would finally be conquered by the techno army. Not so.

Howlett has ditched the rest of the band, apparently to get back to his roots and to lose the hype. There is no doubt that all that is cool about The Prodigy is Howlett, so that in-and-of itself is not a problem. The letdown, however, is that Howlett just flat out fails to bring it--"it" meaning anything at all.

The album starts in attack mode with "Spitfire," the only decent track on the album. The rest of the record repetitively grinds along, headed nowhere. Howlett fails with a remake of "Lovebuzz" (made popular by early Nirvana) and even dares to take on Michael Jackson's "Thriller." Big mistake.

It's sad that we had to wait seven years for this record, I don't know who will be willing to wait another seven.

Green Day--American Idiot

 Green Day--American Idiot

Sometime around 1998 Green Day decided to become adults. Singer Billie Joe Armstrong was now a daddy and went through a phase where he thought maybe you can't be a punk forever. The band then released Warning, a toned-down, grown-up version of themselves.

After four adult years, Green Day has returned with something completely different. American Idiot is a full-on rock opera with tracks separated into movements.

Though the format has changed, the substance of the music has stayed the same. The bulk of the album is sneering, Green Day punk. By combining the punk with Warning-esque song writing and muscianship, Billie Joe and the boys are able to give the tunes a very theatrical feel.

Standout Tunes: Holiday, Boulevard of Broken Dreams, and Wake Me Up When September Ends

THE SKINNY: If you like Green Day and if you like rock operas, this one's for you, my friend. 

Jimmy Eat World--Futures

 Jimmy Eat World--Futures

It's been three long years since Jimmy Eat World hit the mainstream crowd with Bleed American. Though Futures is the band's fourth record, the popularity of Bleed American forced the band to face the challenge of overcoming the sophmore album slump. The band took their time on this record and it was worth the wait.

Futures is nothing new for Jimmy Eat World. The album does what their previous releases have already done--make you feel like you're floating somewhere, enjoying the wonders and heartaches of the teenage love that you may or may not have ever even had.

The album begins with the title track, a weak attempt at being political: "I hope for better in November," and "My darling, now's the time to disagree."

From that point forward, however, the album does not miss a beat--delivering the perfectly sweet harmonies and sing-along choruses. Mixed with the heartstring-tuggers is a rocker "Nothing Wrong" and a joyous "Jen." Without even listening, you find yourself singing along and getting lost in the music.

The tracks on this album are a bit longer, a la Clarity, but still sound just as tight as any track on Bleed American. It's a solid record from start to finish.

THE SKINNY: Good to the very last drop.

Taking Back Sunday--Where You Want to Be

 Taking Back Sunday--Where You Want to Be

By Tyler McHenry

Taking Back Sunday swept the emo world by storm with its debut “Tell All Your Friends” in 2002.  The band’s angry yet melodic style was a unique injection of creativity in an otherwise mundane genre.  Two years later, and with half of the band members replaced, one could only wonder how their latest album “Where You Want to Be” would turn out.  After one listen to the new album, it was apparent that TBS had written 11 more great tracks.

The band’s strength lies in lead and backup vocalists Adam Lazzara and Fred Mascherino respectively.  Mascherino has stepped right into the shoes of Shaun Cooper, whose presence isn’t even missed on the new production.  The new album also features a soft acoustic track entitled “New American Classic,” which goes to show that the band is more dynamic than first thought of.  While keeping their “sound” the same in essence, TBS has become tighter and more refined, which can be heard in “This Photograph is Proof” and “Little Devotional.”  Congratulations to TBS for creating another album whose songs will be sung in showers across America for the next two years. 

THE SKINNY: Music for showers

Stung Out - Exile in Oblivion

 Strung Out--Exile in Oblivion

First of all, Strung Out is the real deal. With their latest release, Exile in Oblivion, the So Cal veterans show the kids what punk music is all about. It's fast, hard, violent, political, angry.

Exile demonstrates that Strung Out are great at channeling their split personality, delivering melodic pop songs like "Swan Dive" one minute and then pulverizing listeners with hardcore rants like "Katatonia" the next.

While many early-90s punk units have disbanded (Face to Face) or have simply succumb to putting out sub-par records (Pennywise), Strung Out have taken a different approach. They don't tour endlessly and they taken a bit more time between releases. The result is songs that sound-if not exactly new-relevant, passionate and powerful.

Exile is strong from beginning to end, with less poppy tracks than the usual Strung Out record. However, "Anna Lee" and "The Misanthropic Effect" do fall into the sing-along category. "Analog" and "Blueprint of the Fall" give Strung Out fans everything they need.

Thank you, Strung Out, for again putting an album out that we can't listen to while our mother is in the car.

THE SKINNY: Hooray for Punk Rock Violence

Cake - Club Suede

Cake
Club Suede
Jan. 25, 2005

Cake is at the top of my list of "Bands I Love that I Still Haven't Seen in Concert." You can only imagine how happy I was when Neal Baugh tipped me off to a virtually unannounced Cake performance in Park City.

We - Ty McHenry, Neal and me - headed up through the almost impenetrable fog to make it to Club Suede for the 8 p.m. start time. Despite the weather-related delays we made it to the club right on time - right on time meaning we got there at 8 p.m. and quickly found out that Cake would be taking the stage at 11 p.m.

They were worth the wait. Clad in a hunter-orange zipup hoodie and trucker hat, John McCrea and his acoustic guitar started off the show with "Daria." The band quickly kicked in - the rhythm section was tight, the guitars were smokin' and Vince DiFiore took care of the trumpet, keyboards, back up vocals and various percussion. When not wielding his guitar, McCrea pointed his vibra slap at the crowd like a weapon.

(this is a vibra slap)

Cake sounded just as good in real life as they do on record. I tried keep count how many times McCrea sang "Oh no-s" or "Alright-s," but lost track after the first song.

The band played songs from each of their five albums, with the majority coming from 1996's Fashion Nugget. [A complete set list is included below] The only slow points in the evening came during the extended singalongs - the audience was recruited as back-up singers during the expletive call-and-response of "Nugget" and the anti-cell phone anthem "No Phone."

It wasn't surprising that a band whose lyrics are full of irony and sarcasm left their biggest radio hits - "The Distance," "Rock and Roll Lifestyle" and "Short Skirt/Long Jacket" - off of the set list. Fortunately, Cake has so many great songs that those three weren't really missed. Highlights of evening included: "Frank Sinatra," "Comfort Eagle" and a very unexpected track from Motorcade of Generosity, "Come Comanche."

Cake ended its encore with "I Will Survive," a song that McCrea dubbed the anthem of "Angry Black Women factions, Gay Men factions, European Soccer Player factions, and even Angry White Guy factions."

The opening act was The Ditty Bops. I don't really know how to describe them. It's two girls that play the guitar and mandolin, backed by an upright bass player, a violinist and an organ man. The ladies were wearing matching black corsets, with one girl in a pink and the other in a green tutu. They played music I figure you might do the lindy-hop to (I don't really know what the lindy-hop is) or some dance that our grandparents used to do. They were talented, but a bit out-there for me. Go here to listen to their music. "Sister Kate" is a good example of how they sounded live.

Their music was not engaging enough to distract me from the creepy (but not too creepy that I could stop watching) scene happening next to me -- a 20-year-old boy repeatedly licking his forty-year-old girlfriend. Disgusting. It was like "Harold and Maude" in real life.

Complete Set List, By Album

Motorcade of Generosity

• Comanche
• Is This Love

Fashion Nugget

• Daria
• Nugget
• I will survive
• Stickshifts and Safety Belts
• Frank Sinatra

Prolonging the Magic

• Never There
• Sheep Go to Heaven

Comfort Eagle

• Comfort Eagle
• Love You Madly

Pressure Chief

• Wheels
• No Phone

*plus one country cover song that I didn't know

Straylight Run

Straylight Run
Self-titled

Emo is all about broken hearts and love gone bad. Apparently in Taking Back Sunday’s case, the love went bad within the band as well. After the success of their first record Tell All Your Friends, band members John Noland and Shaun Cooper left after a bout of band members cheating on other band member’s sisters. (Be careful guys, this could turn into the emo version of Tupac vs. Biggie) Nolan and Cooper formed Straylight Run, which includes the sister in question on guitar and piano.

One would expect that Nolan’s songs with his new band would sound a lot like the material he co-wrote with TB but he takes a slightly different approach with Straylight. The overly dramatic, typical emo song titles are all there – “The Tension and the Terror,” “Existentialism on Prom Night” – but the screaming is not. Instead of shifting from pop/punk to screamo, Straylight heads the other direction – from pop/punk to super mellow.

This approach works for the most part. The album begins on a high point, the counter-intuitively titled opening track “The Perfect Ending.” At points the album gets a little boring, but if you like feeling like the world is falling apart you probably won't notice.

If Taking Back Sunday is the concert, Straylight Run is the music for the ride home.

Eminem - Encore

 Eminem

Encore

March 2006

All of the usual characters are back for Eminem’s latest full-length Encore– Kim, Hailie, Em’s mom Debbie, the dad he never knew and of course Dr. Dre.  New characters include his current or recent beefs – Benzino, Ja Rule and George Bush – and his guest appearances from his cash cow, 50 Cent.   

Eminem also brings back his apparently endless struggle between goofy Slim Shady and the overdramatic Marshal Mathers.  On Em’s last record The Eminem Show, he said, “People don’t want Marshal no more, they want Shady, I’m chopped liver.”  The success of 8 Mile and his grammy-winning “Just Lose Yourself” changed that.  Suddenly, Eminem wasn’t the foolish, sexist, homophobe that everyone loved to hate.  He was the media darling who was making serious music that everyone couldn’t help but love. 

He tries to change that on this record.  The ridiculous first single “Just Lose It” pokes fun at the easiest of all targets – Michael Jackson and Pee Wee Herman.   Eminem also goes to great lengths to prove he still is a homophobe.  The great disappointment of this album isn’t that Eminem refuses to grow up, it’s that the Slim Shady character’s immaturity bleeds over into possibly-really-good Marshal tracks such as “My First Single” and “Puke.” 

Eminem is at his best when he finds middle ground between the two characters.  Far and away the best track of the album “Encore,” combines catchy beats with a serious rap style.  It also proves that Dr. Dre still drops hits and that while featuring 50 Cent in a song gets airplay, it doesn’t really make the song much better. 

Only a few album tracks made it on to my iPod:

Evil Deeds, Yellowbrick Road, Like Toy Soldiers, One Shot Two Shot, Mockingbird, Encore

Raves: Kurt Cobain

 All in All is All We All Are:

Looking Back on Kurt Cobain

by Pat Barnum

Of all the things that can be said of Kurt Cobain, above all, he articulated the despair and anguish of his generation.  While everyone shies away from "generational spokesman" labels, there is no getting around that the essence of Nirvana's music was despair and that it struck a universal chord with America's youth.  Whether Kurt knew it or not (and he likely didn't), his band's 1991 arrival into the mainstream was huge because, as with the 1964 Beatles, it happened to be perfectly in tune with the national mood.   

Perhaps the greatest musical tribute that can be made to Kurt Cobain is that, like 9-11 and the Civil War, contemporary rock is now viewed in terms of before-Nirvana and after-Nirvana.  Their early-90's arrival was rock 'n' roll's watershed moment of today's generation.  Before Nirvana, alternative rock truly was the alternative; since Nirvana, "alternative" has become mainstream, and mainstream rock as we knew it ceased to exist. 

Kurt Cobain turned not only music, but pop culture itself, on its head.  Who can erase the image of the exasperated, blond-haired punk rocker ("Smells Like Teen Spirit" video) invading the high school basketball game; the band whose subversive, ominous drone had the effect of exposing Mr. Popular as the pretentious fraud he was.  Kurt Cobain held no secrets, and to listen to Nirvana was to hear a soul unveiled: rage, apology, tenderness, hopelessness, and no messing around.  Fans did not listen to Nirvana to "rock out." They listened to look into a mirror, to self-medicate.  Kurt was also the pioneer of self-deprecation with Radiohead's "Creep," Beck's "I'm a Loser Baby," and other pop icons following the lead. 

Cobain obliterated the rock scene as we knew it and enabled a whole new (and better, I might add) world to develop.  In this way, he did not simply change music, he changed the music market.  Virtually all important acts since then, from Weezer to Tool;  Smashing Pumpkinsto Linkin Park; and even The Dave Matthews Band to the "pop punk" movement, owe their success to the change Nirvana wrought on the musical landscape. 

Amazingly, Kurt Cobain brought about a rock 'n' roll philosophy which was the complete opposite of the one that preceded him.  As we all know, the 80's was the golden era of the macho-hedonistic-glutton rock championed by Motley Crue, Guns 'n' Roses and Bon Jovi.  Then comes this introspective, politically conscious, highly aggressive sound from Seattle, rendering the hair bands - quite literally overnight - as obsolete as the tape cassettes they made their millions with.   Nirvana, in the tradition of the Beatles, Led Zepplin, and Pink Floyd, made rock 'n' roll a thinking affair again.  They rescued us from the hair bands.

It seems to me we should regard Kurt Cobain as we would a favorite drink.  That drink is delectably good, full-spunk with flavor, and makes us feel so good inside.  But we know that if we get too close, too familiar with its magic, there is danger.  The problem with Kurt Cobain was that he meant what he said when he wrote the song "I Hate Myself and I Want to Die."  You can't listen to his music without hearing your own dangerous songs.  Unfortunately he got too close to his songs, and we are left to lament his loss. 

Su-Tang 3000 - Hover Low EP

Sutherland Manifesto
Hover Low EP

The first official review of the new EP. Not very objective since it's by my good friend Pat Barnum, but hey, I'll take it!

Spencer! Your debut release!! Congratulations on getting it wrapped up. Sorry I've been so slow in responding on it. More than any comments I might have on the songs, I want to tell you I'm inspired by your focus/passion in making it all happen. You are a genuine artist!

My basic reaction was that while you showcase an impressive variety of musical genres, your sound is original. That's why I say you're a genuine artist: good art unconsciously gathers the best of what's preceded it, only to assert its own voice. I hope I don't sound too cheezy in saying that, but I really mean it. I sense that it is so easy, as far as the music scene goes, to imitate a prevalant sound, to latch onto what's working. But it requires discipline and some bravery to ignore it all, and sing your song. So there's my soapbox.

My favorite is "Record Store." Playful, bouncy, slick, all the while with the sendimental catchiness underneath. I love the Ace of Base ref. And the 20 dollar bill. The windows down, aimless drives, and the CD's that never let down--a sendiment that strikes a chord with me!

And "Airport Song!" Maybe it is my favorite. Two things: it has the most personal, meaning-filled touch of all the tunes, and it captures your unique ability to combine elements of techno and punk. Spencer, that is what makes you you! How many people can melt punk and techno into an appealing sound of their own? I don't know of many. They are rather opposing

genres, and that you can pull it off is impressive.

Yeah, techno is an interesting thing for me...Traditionally I am slightly antagonistic toward it yet on the other hand I've recently found myself quite intrigued with it, at least as a component of a wider sound. It's grown on me more since Radiohead incorporated it in a significant way (via Kid A and Amnesiac).

That said, I enjoyed "fly high, hover low (or is it just the unnamed title track?)" and "mad mad city." For me, techno does something to your mind as opposed to being conventional listening material. And I would describe the effect of "hover low" as being warm. And massaging. Techno is very interesting. I'm curious as to what inspired "mad city," or which particular city it may be. But it has nice, sleek sound to it.

Well, I think that about does it for me. What can I say, su-tang 3-thou, but great job? Seriously Spencer, I am happy you've able to finish everything up, and I'm sure it feels good to have the big job done. It was "the bomb-diggitty" indeed!!

Iron & Wine - Woman King

 Iron & Wine

Woman King EP

Beautiful. Start to finish. This six song EP feels like a full album because every song is so incredibly good. Iron & Wine everything-man Sam Beane starts off with the haunting title track, a vision of a sword-wielding woman king and continues through the EP with the urgency of vigilante justice.

Things soften up for the pretty "Jezebel" and rainy-day "Gray Stables before the foot stomping, saloon rockin' "Freedom Hangs Like Heaven." It feels like the intro the old western, dusty dual about to take place outside the front door.

"My Lady's House" is the type of love song that makes your heart feel heavy and utterly worn out by the time it's over. No rest for the weary or for the lovelorn as Beane's last track is a battle hymn of dualing distorted guitars and angry violins.

Who needs an LP when you can say it all in six songs?

Styrofoam - Nothing's Lost

 Styrofoam

nothing's lost 

Apparently Death Cab for Cutie's Ben Gibbard can't get enough of working with electronic artists. After doing The Postal Service he co-wrote three songs for Styrofoam's (Belgian DJ Arne van Petegem) fourth album nothing's lost. Because The Postal Service was so good I decided I better check out Styrofoam. I am very happy that I did.

Nothing's Lost is 42 minutes of dreaming and floating. The real strength of the album is the seemlessness of the arrangements. Though there are different vocalists on almost each track, they are all similar enough that you don't even notice. More importantly, none of them try to steal the show. The vocals blend in so well that they became just another instrument in the mosaic of sound.

About half way through the record, Van Petegem reaches soaring altitude and never comes back down. He dips from the disco-love of Andrew Kenny's vocals on "Front to Back," down to the hypnotic "Safe + Broken" and back up again to the poppy "Anything."

This album is perfect for those times when you just want to check out of reality for a little while.

Hot Hot Heat - Elevator

 Hot Hot Heat

Elevator

When I got a hold of Hot Hot Heat's Make Up the Breakdown in 2002, I absolutely could not get enough. These Canucks were on the front-end of the Cure-influenced dance pop punk craze and their bouncy numbers literally forced me to get out of my seat and jump around, jump around.

Elevator just doesn't do that for me. On the surface, these new songs are similar to the old ones - dancy, guitar pop and Steve Bays unique vocal style - but are definitely missing some elements. Make Up was driven by incredibly creative guitar work, combined with rad organ solos and driving synthesizers. The guitar just doesn't have the same impact on this one (There must have been some issues there, since guitarist Dante DeCaro has now left the band), and where in the world is the organ?

This album is not a complete throw-away. There are a few very solid tracks - "Island of the Honest Man," "Dirty Mouth" and "Shame on You" are all very good. This album would have made a great 4-song EP.

Millencolin - Kingwood

Millencolin
Kingwood  Everyone has "their band" - you know, the band you say when someone asks you what kind of music you're into. Since 1997, mine has been Millencolin, everyone's favorite Swedish pop punks. When a band is that important to your own musical identity, it's scary when they stop putting out good music. Three years ago, I had a little panic attack when the band released its 5th album, Home from Home. While it wasn't a bad album, I didn't like the new "rock" direction I and started worrying that it was the beginning of the end. They're back with a new album and here's what they have to say about it: Kingwood is an album both looking forward and backwards; Forward in the sense that the band is continuing to develop the more rock-oriented side of the band, as heard on the latest album Home From Home…Backwards, as in hitting it harder, tougher and faster than in many years. I tore the shrink rap around Kingwood with trepidation, hoping that it wouldn't be a disappointment. Here's my thoughts: It is clear that the band is consciously trying to maintain a very punk rock intensity. The album starts off with the in-your-face "Farewell My Hell." The band even makes their first attempt at a gutter punk singalong "Cash or Clash" (Unfortunately, this is a not a good sound for them. It's too bad that they put this song so high on the tracklist.) Millencolin is at is best when combining fast, tough punk with big, undeniable harmonies. "Biftek Supernova" is a perfect example and by far the best Kingwood number. ("Biftek" and "Simple Twist of Hate" are the only really fast tracks on the album.) Their second-strongest move is the happy, poppy tune. "Ray" and "Mooseman's Jukebox" fill this niche nicely. The rest of the tracks fall into the slower, deliberate style that the band has been developing since Pennybridge Pioneers (think "Duckpond," "Penguins & Polar Bears). Though this isn't Millencolin's best record, it's solid. it's enough to make me feel that they can still rock and I can confidently keep them at top of the my "favorite bands" list.

Ben Folds - Songs for Silverman

Ben Folds
Songs For Silverman "The old bastard left his ties and a suit…Pretty soon you'll be an old bastard too." Well, an album can't start out much better than that. Unfortunately "Bastard," much like the the rest of Songs for Silverman, Ben Folds' second full album since the Ben Folds Five disbanded, can't quite hold the momentum. It's often hit and miss with Ben Folds. It seems like every-other record he puts out is good. The Unauthorized Biography was a dud, Rockin the Suburbs was a classic and Songs for Silverman struggles. The album alternates between beautiful quiet numbers like "Jesusland" (the records' best track) and b-side worthy 70s throwback numbers like "Give Judy My Notice" and "Sentimental Guy" that I swear I heard on that Sesame Street skit where the little boy learns to brush his teeth. The album is void of any solid upbeat tracks and all of the good soft tracks ("Trusted," "Late") seem to be sandwiched between songs better skipped over. My money's on Ben's next album being a knockout.

Weezer Make Believe

 Weezer

Make Believe

Weezer’s new record: a masterpiece or a piece of crap? The critics are divided!

It’s been interesting to read the different reactions and reviews about Make Believe. Rock dinosaurs Rolling Stone magazine gave the album 4 out of 5 stars (translation: basically the best thing out there) and hipster website Pitchfork gave it a rating of 0.4 out of 10 (translation: worse than the worst). Whom should we trust?

Let me take a stab at it. It’s easy for anyone who’s heard the first single, “Beverly Hills,” to know that the Rolling Stone review is still trying to make up for the fact that they gave Pinkerton such bad reviews when it first came out. “Beverly Hills” was a bad idea. You could hear Weezer fans everywhere were screaming, “We waited three years for this?” I think Pitchfork personally got their feelings hurt by the song’s crappiness.

However, if you can get past that song, and more importantly (and more difficult to do), you can get past what you think a Weezer album is supposed to sound like, you’ll be okay with this record. It’s mostly a collection of soft, mid-tempo songs about heartbreaks. It is most comparable to the Green Album in that on paper the lyrics may seem blue, but the sincerity and emotion seem to be missing. “The Damage in Your Heart” seems to be the closest thing to heartfelt.

At times however, it seems like Rivers Cuomo can’t even fake interest in the words. The chorus of “Best Friend"

“You are my best friend
And I love you, and I love you”
Yes I do”

From “Pardon me”

"I may not be a perfect soul
But I can learn self control"

After 12 years in the game, is this the best Rivers can do?

Despite a few slip-ups, (and since this album has 12 tracks instead of the usual 10, maybe that’s okay) this is a decent album. Between Pitchfork’s 0.4 and Rolling Stones 4, I'll give Make Believe 2.5 stars out of 5.

Weezer Album Ranking (Best to worst)

1. Pinkerton
2. Blue Album
3. Green Album
4. Make Believe
5. Maladroit (Who ever listens to this record?)

Headphones The Velvet Room

 Headphones

The Velvet Room
June 9

“This is the night where the bar doesn’t make any money,”  Opening act Crystal Skulls welcomed the very small crowd – small meaning about a dozen people - to The Velvet Room on June 9. 

I was excited to see the headliner, Headphones, a Pedro the Lion side project composed of David Bazan and TW Walsh.  Only mildly impressed by their only full-length release, I was attracted by the novelty of seeing Headphones on what I figured may be their one and only tour. 

The show was short; the two bands combined didn’t play more than an hour.  Normally I would feel slighted by shelling out $12 to her a band play eight songs, but I left the Velvet Room feeling very content.   

They seemed to have a sense of humor about the small crowd, “We’re going to go on another tour in the Fall if we can open for a band that might draw more of a crowd,” said David Bazan with a smile.     

Despite the simplicity of the setup - David sitting behind the keyboard, singing and TW manning the drums – the songs sounded much better live than on the album.  Unlike the album, Bazan’s vocals weren’t lost in the mix and when the low-end of the organ kicked in it really filled up the sparsely populated room. 

The band played 8 of its 10 album tracks. The highlight was “Gas and Matches,” which shook both my chair and my chest.  “Slow Car Crash” was eerie and beautiful and the non-album track “5 Chord” was so good that I gave in and paid 99 cents to buy it from iTunes.   

My first exposure to the opening act, The Crystal Skulls, was also positive.  They had an interesting Maroon 5-covers-Frank Sinatra vibe.  One of the best opening bands I’ve heard in a while.