Crying Over Books

For some reason, Traci-the-librarian and I were talking about books that have made us cry. I told her that there are only two books that have ever brought me to tears: The Last Unicorn (I'm sure you can imagine the massive eye roll that elicited from Traci), and Rumblefish by S.E. Hinton. (Two books I hadn't read since high school.)

Despite the memory of such strong emotion around Rumblefish, I couldn't actually remember what it was about the book that had made me cry. In fact, I couldn't really remember what the story was even about. I figured it might be a good idea to read it again.

So I did. And not only did my eyes remain dry, I didn't even think the book was that good. I wondered if it was really That was Then, This is Now that had made me cry. So I read it. It wasn't. Maybe it was Tex. Nope. Next thing I knew, I'd re-read Hinton's entire catalog. Nothing.

Luckily, there's other great stuff out there to read (even if it doesn't make me cry). Here are some the books I've enjoyed lately:

One More Thing: Stories and More Stories - BJ Novak
Who knew that Ryan the Temp from The Office was also such a strong writer? Not all of the pieces in this collection of short stories are winners, but there are more hits than misses.

Boxers & Saints - Gene Luen Yang
I never thought I'd enjoy a graphic novel about China's 1898 Boxer Revolution, but I loved Boxers & Saints (especially the Boxers half of the collection). Right after I finished it, I moved on to Yang's American Born Chinese, which was also excellent.

The Visible Man - Chuck Klosterman
I love Klosterman's nonfiction, but this very fictional piece really drew me in. I followed this up with Klosterman's nonfiction I Wear the Black Hat: Grappling with Villans, which was only so-so. I'm curious to see where Klosterman's fiction will head next.

Turn Around Bright Eyes: The Rituals of Love & Karaoke - Rob Sheffield
Sheffield's Love is a Mixtape is still near the top of my all-time favs list, so I was very excited to check out his latest book. As someone who doesn't karaoke, I almost gave up on Bright Eyes after the first two chapters. But then Sheffield did what he does. Suddenly, a book about karaoke wasn't really about karaoke anymore. Two thumbs up.

Slow Getting Up: A Story of NFL Survival from the Bottom of the Pile - Nate Jackson
Former Denver Bronco benchwarmer Nate Jackson gives a very behind-the-scenes look at what the NFL is really like for guys who are always on the verge of getting cut from the team.  Infinitely interesting.

Album Reviews: Elway, Rural Alberta Advantage, One AM Radio

I get choked up just thinking about this clip.

Elway
Delusions

I’ll admit it. The only reason I checked out this Colorado band was because they’re named after my favorite Denver Broncos quarterback. The fact that the band delivers a solid debut album is just an added bonus. The strength of “Delusions” rests in its looseness. Elway churns out barroom punk rock in the vein of Hot Water Music or early Alkaline Trio, propelled by gruff vocals and catchy hooks. Though the record walks a path littered with broken hearts, the gang-vocal “whoa-oh-ohs” give an undeniable hope that everything is going to be okay. “Delusions” may not be wildly inventive, but still makes a great first impression.

For fans of: Lawrence Arms, Gaslight Anthem
Rating: 3 of 4
Check out: Passing Days (YouTube)
(And don't forget to watch the magical moment of "The Drive" by John Elway himself, shown above.)

Rural Alberta Advantage
Departing

A good band name should give a hint of what kind of music you play (see Megadeth, Sonic Youth, Geto Boys). True to its name, Rural Alberta Advantage gives off an earthy feel, but not in a Fleet Foxes, we-are-the-forest kind of way. “Departing” sounds more like a Bob Dylan record-- if he were to hole up in a cabin to make a dance record. The album is driven by a palpable tension between the vocals and the music--a singer who sounds like he should be accompanied by a banjo and a jaw harp, but instead fronts a band where the drums jump on the upbeat, xylophones plink joyously, and synthesizers sneak around in the background. It should be a mess, but somehow it makes perfect sense.

For fans of: Fleet Foxes, AA Bondy
Rating: 3 of 4
Check out: Under the Knife (YouTube)

The One AM Radio
Heaven Is Attached by a Slender Thread

Analog synths. Horns. Handclaps. “Heaven Is Attached by a Slender Thread” has all the makings of a typical dance record. But The One AM Radio doesn’t really do typical. Despite the upbeat ingredients, band leader Hrishikesh Hirway drenches the collection in lyrical melancholy. Somehow, the sadness just can’t compete with the persistent bounce. The album’s best track, “Plans,” ricochets off the walls like The Postal Service and “In a City without Seasons” feels like it was and conceived on the beach at sunset. There are brief moments with the music matches the solemnity of the message (see “The Heat”) but for the most part, despite his frowny face, Hirway can’t keep his feet from dancing.

For fans of: Hot Chip, Styrofoam
Rating: 3.5 of 4
Check out: Plans (YouTube)

The Rock 'n Roll Photo Pass: Demystified

Two feet away from CAKE's John McCrea

One of the perks of being a barely-paid music critic is that I get to go to a lot of shows for free. When I work with a band's publicist on a concert preview, they usually ask if I want to be on "the list" for the show. When people think of the list, they immediately imagine Wayne and Garth hanging out backstage with Alice Cooper.

Alas, nay. (Though I did get to hang out on Streetlight Manifesto's bus once. Coolest. Experience. Ever.)

It just means that I show up at the venue and say to the ticket person or whoever, "I'm on the list." They find my name -  on an actual list - and let me in without paying. While this sounds great, about every fourth time, my name hasn't really made it to the list, which results in no small amount of awkwardness, especially if I've brought a friend with me.

Sometimes I'm also offered a photo pass. If asked in advance, I say I don't need one. The reason is two fold:

1. I just have a crappy little point-and-shoot camera and I'd feel dumb standing up on the stage taking photos with it. 
2. I have no idea what such a pass entitles me to. Do I go on stage? Do I poke around in front of the band? Do I hold my pass up (again, a la Wayne's World) and work my way to the front of the crowd?

 So when I'm given a press pass at the door, I just stick it on my shirt (to look cool) and do nothing with it.

At the CAKE show a few weeks back, I was handed a pass. I decided to finally be a man and take some pictures. I bravely walked up to a security guy standing by the stage and said, "Where can I go with this photo pass?"

He looked blankly at me and shrugged his shoulders.

Eventually, another lady come up and said, "You can take pictures at the front of the stage for the first three songs."

So I did. I stood in front of the lounging-on-the-grass crowd at Red Butte garden and pretended like I knew what I was doing. Not looking like an idiot became more difficult once I was standing next to a photographer from SLUG magazine, who did know what he was doing. But I hung in there.

For about 90 seconds.

About halfway through the first song, I had taken a dozen or so pictures, which seemed like more than enough. I went back to seat, successfully having overcome my oh-so-life-threatening fear of photo passes. I am a changed man.

One of my photos is above. The SLUG guy's pics are here. I feel like I held my own.

Death Cab for Cutie - Codes and Keys

Death Cab for Cutie
Codes and Keys

Remember The OC? You know, with Marissa Cooper’s self-destructive tendencies and Ryan Atwood’s endless insecurities about growing up in Chino? And who could forget Seth Cohen, the lovable hipster with a passion for comic books and Death Cab for Cutie?

A lot has changed for Death Cab since they made an onscreen appearance on The OC, playing a gig at the show’s fictitious club, the Bait Shop, in 2005. Back then, Death Cab was a band who had earned a Seth Cohen-esque fan base by touring endless in a pre-MP3 Blog world. But they were also a band in transition--counting down the days to their major label debut and clearly on the verge of something much bigger.

If you ask me, 2003’s ”Transatlanticism” was the band’s high-water mark. The songwriting was miles beyond its LP predecessors, yet the endearing roughness remained, like Ben Gibbard’s warbly tenor or the fuzzed-out studio experimentation. Not to mention that it included two of the best songs in the band’s catalog--the title track and the heartbreaking “A Lack of Color.”

After such a strong release, fans were poised to disdain their first big budget release, “Plans.” But it didn’t happen. It couldn’t happen. The looseness of early records had disappeared, but the songwriting was stronger than ever before and the production was painstakingly perfect.

Given all of the effort to make “Plans” a masterpiece, it’s not surprising that 2008’s “Narrow Stairs” headed in the opposite direction. Filled with rock ‘n roll abandon, it was a guitar album, fueled by some of the darkest lyrics Gibbard has ever written.

In 2011, things feel a bit more sunny in the Death Cab camp. Gibbard is now a married man and alcohol-free. Their new record, “Codes and Keys,” is the most upbeat in years. Beats skip along wistfully, like a band in love (“You are a Tourist”). At times, it’s all the Gibbard can do to not start dancing (“Some Boys”). Even tracks that are less immediate (“Doors Wide Open,” “Unobstructed Views”) still deliver a rewarding punch.

Much like “Transatlanticism,” “Codes and Keys” strikes a beautiful balance between traditional arrangements and studio embellishment; it would not be surprising to hear these songs played on an a piano or an acoustic guitar, but the layers of synths and noise give the tracks an added depth.

Somewhere, the writers of The OC are huddled together, trying to figure out how to bring the show back to life, just so Seth Cohen can tell the world how much he likes this record.

For fans of: Modest Mouse, Franz Ferdinand
Rating: 3.5 of 4

This Week's Music, Fleet Foxes, The Naked and Famous, Reaganomics

Fleet Foxes
Helplessness Blues

Though he’s only in his 20s, Fleet Foxes singer and leader Robin Pecknold is an old soul. His band’s sound echoes former times, channeling the folk of Simon and Garfunkel and paying homage to the intricate harmonies of the Beach Boys. While the group’s debut LP was an ode to the majesty of the forest and the sun, Pecknold turns inward on “Helplessness Blues.” His wanderings are filled with introspective questions, as he ponders both his youth (“Now I am older than my mother and father/When they had their daughter/Now what does that say about me?”) and his eventual death (“I woke up one morning/All my fingers rotten/I woke up a dying man without a chance”). The music matches the weightiness of the subject matter and every note is perfectly placed—lush harmonies, finger-picked guitar melodies, and Pecknold’s soaring tenor.  Having successfully reached the top of the mountain, it’s hard to see where Fleet Foxes will go from here. 

For fans of: Simon and Garfunkel, Bon Iver

Rating: 3.5 of 4
Check out: Montezuma

The Naked and Famous
Passive Me, Aggressive You

These New Zealand electro-rockers are a sneaky bunch. Their outstanding, ultra-dancey lead single “Punching in a Dream” would lead you to believe that the group is nothing more than a well-polished, hook-heavy pop group. While that would be enough, their debut record offers up even more. Dueling boy-girl vocalists Thom Powers and Alisa Xayalith are equally adept at getting dark and moody (“Frayed,” “The Sun”). And just when you think they might drown in their ‘80s goth-inspired angst, they come back with another dreamy bounce-along (“Young Blood”) that should become the soundtrack for every teenage soap opera. Here’s to a solid debut and plenty of unexpected surprises.

For fans of: the xx, Tegan and Sara

Rating: 3.5 of 4
Check out: Young Blood

Reaganomics
Lower the Bar

Metal-punk trio Ryan's Hope were trying to make a record when they decided to take a break from taking themselves so serious. They kicked the tempo up a few hundred beats per second and unleashed every junior high joke they could remember. The result is “Lower the Bar,” a record that is equal parts NoFX and stand-up comedy. Other than a few outliers, each song track clocks in at under 90 seconds. The band masterfully tackles pressing social such as programming on The WB, Ed Hardy t-shirts, and Robocop. The songs are catchy, slightly stupid, and perfect for the pit.

For fans of: NoFX, Rancid

Rating: 3 of 4
Check out: Don't Worry, We'll Play First

Review: Beastie Boys

Beastie Boys
Hot Sauce Committee, Pt. 2

Did I miss something? Where did the “Hot Sauce Committee, Pt. 2” come from? I didn’t even know there was a Pt. 1.

It turns out the band played a fast one on me. (Or maybe a slow one.) The Beasties were planning on releasing a two-part “Hot Sauce” series until Adam Yauch was diagnosed with cancer in 2009. While he recovered, the New York City trio retooled the project, releasing it as just one disc. (You can find Pt. 1 as an import, but before you shell out the extra $20 bucks, you should know it’s almost exactly the same as Pt. 2.)

For most artist, a two-year delay would certainly kill a record. Not so for the Beastie Boys. Like all their records, “Hot Sauce” exists in a strange time warp, somewhere between 1985 and outerspace.

The Beastie Boys have never felt obliged to fit into a definable category. Over the past 25 years, the groups has done pretty much done whatever they’ve wanted. Obnoxious hip-hop (“License to Ill”)? Sure. An eight-song punk rock EP (“Aglio e Olio”) that clocks in at 11 minutes? Why not. An ‘80s throwback album (“To the 5 Boroughs”) followed by a an instrumental record (“The Mix-Up”). Of course.

While each of those records had a very specific flavor, “Hot Sauce” is more reminiscent of “Check Your Head,” when all those various styles got dropped in a blender. The record starts on a high note with the funky “Make Some Noise” and the robotic “Ok.” It gets even better when they make room for a rare guest appearance, inviting fellow New Yorker Nas to add some bite to the attacking “Too Many Rappers.”

While the trio have kept with the same rhyme patterns since their early days (who else can still get away with using lines like “Let me introduce myself, I’m Ad-Rock?”), their music never stays in the same place. “Say It” sounds like a cover of Onyx’s 1993 hit “Slam” and “Don’t Play No Game” finds the group on a tropical island with Santogold.

“Hot Sauce” is wildly uneven. Things get murky in the middle third (the fuzzy “Long Burn the Fire,” the warbly “Tadlock’s Glasses”) and there are a few misses (“Crazy A%% S*&%”). But that’s a small price to pay for a record that is willing to take risks without taking itself too seriously.



For fans of: Run-DMC, Rage Against the Machine
Rating: 3 of 4
Check out: Make Some Noise (Vevo)

Silverstein Good. Sharks Better. Bazan Best.

This week's reviews. Here's the Reader's Digest version.

Silverstein=Paint-my-numbers emo.Still good.

Sharks=Sounds like The Clash. Great if you like The Clash.

Bazan=A tough listen, but worth repeat listens.

David Bazan

Strange Negotiations

Over the past 15-plus years, David Bazan has spent his time praising God, then questioning his motives, and finally breaking up with Him entirely. On his first release since making the evangelical split official (see 2009’s “Curse Your Branches” ), Bazan faces the challenge of writing a record without the Big Guy. “Strange Negotiations” addresses the big question of “what’s next?” Not in terms of religion, but of what it takes to be a good human being. Instead of looking heavenward, Bazan dives deep into his own heart. He sings “I want to level with myself/I want to level with friends/I want to level with my kid/And be at peace with it.” While Bazan’s tongue remains silver, the music is much less polished. A darkness hangs over the record, which is uncharacteristically riff-heavy. Much like his Headphones side project, “Strange Negotiations” requires listener’s full attention and gets better with each listen.

For fans of: Death Cab for Cutie, Rocky Votolato

Rating: 3.5 of 4
Check out: Wolves At The Door (MP3, swear words)

Silverstein

Rescue

As emo bands go from having broken hearts to having a wife and kids, there is no shortage of growing pains. Some decide to get heavier, some get lighter, and most simply fall by the wayside. Scene stalwarts Silverstein have chosen to stay the course. On any given track of “Rescue,” the band screams up a lung, wields guitars as a blunt-force instrument, and dangles its heart from its sleeve. The band’s songwriting has certainly improved over their decade-long career, but more impressive is their ear for pacing. The record moves nicely between melodic rockers (“Intervention”), straightforward ballads (“Good Luck with Your Lives”), and ultra-heavy dirges (“The Artist”), without ever losing steam.

For fans of: Bayside, Taking Back Sunday

Rating: 3 of 4
Check out: Medication (YouTube)

Sharks

The Joys of Living 2008-2010

It’s comforting to know that 15 years after the demise of The Clash, the spirit of Joe Strummer is still alive and well. The Sharks, a four piece British outfit, follow The Clash’s model of mixing punk, reggae, and good ol’ fashioned rock ‘n roll. The band makes the sound their own not by musical innovation, but by sheer exuberance. The tunes jump out of the speakers and bounce off the walls, in hopes that someone out there would please just start a circle pit. A compilation of the band’s first three EPs, “The Joys of Living,” couldn’t be a better teaser for an eventual full-length debut .

For fans of: The Clash, Gaslight Anthem

Rating: 3 of 4
Check out: Three Houses (YouTube)

This Week's Music: Screeching Weasel, Pains of Being Pure in Heart, Explosions in the Sky

Screeching Weasel
First World Manifesto

After a 10-year hiatus, Ben Weasel and his band are out to prove they are just as punk as they were when they formed the band in 1986. The 43-year-old Weasel still sounds like he’s singing with his nose pinched closed as he spews sarcasm at his punk rock peers, ex-girlfriends, and young poseurs. The tales are tired and cliche, but with all of the three-chord bounce and high harmonies it’s hard to deny their catchiness. A dozen records into the catalog, “First World Manifesto” is far essential, but does serve as a reminder of why so many bands have been influenced by Mr. Weasel over the past  25 years.

For fans of: Teenage Bottlerocket, NoFX
Rating: 2.5 of 4

 Check out: Frankengirl

Explosions in the Sky [Manifesto Approved]
Take Care, Take Care, Take Care

In the era of the highly-compressed MP3 single, Explosions in the Sky make absolutely no sense.  The songs are long, winding, and completely void of vocals. The record clocks in at 45 minutes, with just six tracks. Fortunately, the same things that keep the band from fitting in also allow it to stand out. Over six records, the band has mastered the balance between the meandering, slow build (“Be Comfortable, Creature”) and cacophonous climax (“Last Known Surroundings”).  “Take Care, Take Care, Take Care” should only be listened to one way--in its entirety, from start to finish.


For fans of: Letting Up Despite Great Heights, Caspian
Rating: 3.5 of 4 

Check out: Last Known Surroundings

 
The Pains of Being Pure in Heart [Manifesto Approved]
Belong


The Pains of Being Pure in Heart have found plenty of inspiration in ‘90s shoegaze alterna-rock. So the choice of producer Flood and mixer Alan Moulder (the dudes that made bands like Smashing Pumpkins and Nine Inch Nails famous) makes perfect sense. Their influence is immediately apparent on the album opener, “Belong,” which is bathed in fuzzed-out guitars. The rest of the record, however, is more lighthearted, with hooks front and center and Kip Berman’s vocals always thin and dream-like. Both directions work well for the band, but “Belong” may have been even more interesting had the band explored more of a balance between the mega-fuzzy and the ultra-light.

For fans of: Temper Trap, the xx
Rating: 3.5 of 4 
Check out:  Belong

This Week's Music: Face to Face, Does It Offend You, Yeah?, Telekinesis

Not a bad bunch of records this week. Face to Face is a long time favorite. Their record is solid, not amazing. Both the Does It Offend You and Telekinesis albums are good, but not quite as memorable as their debuts.



Face to Face
Laugh Now, Laugh Later

Over the past 20 years, Face to Face front man Trever Keith hasn’t been afraid to experiment. There was the slowed-down “Ignorance is Bliss,” the nostalgic cover album “Standards & Practices,” and the nuanced solo record “Melancholics Anonymous.” But what Keith does best is write punk rock songs. After calling it quits in 2003, he recently decided it was time to get the band back together. The band picks right up where “How to Ruin Everything” left off. Following the signature Face to Face formula, the songs are both immediate--with machine gun drumming and lightning bass lines--and laid back, thanks to Keith’s behind-the-beat vocal delivery. Despite the musical detours throughout the years, “Laugh Now, Laugh Later” is right on track. On “I Don’t Mind and You Don’t Matter,” Keith sings, “I’ve come full circle/And I’m almost where I started from/In spite of all I’ve done.” That’s a good thing. This is where Keith belongs.

For fans of: Pennywise, Bad Religion
Rating: 3.5 of 4



Telekinesis
12 Desperate Straight Lines


In the studio, Telekinesis is one-man act Michael Benjamin Lerner. It’s not surprising that his upbeat tunes caught the attention of Death Cab for Cutie guitarist Chris Walla, as his tunes aren’t far removed from Death Cab’s early work. Walla has produced both Telekinesis records, allowing Lerner’s sense for hooks to stand front-and-center on both records. Though “12 Desperate Straight Lines” is deeply rooted in guitar-based indie rock, it wouldn’t be out of place in the ‘90s-college-rock bin, with the fuzzy bass lines and recorded-in-the garage feel. Many of the lyrics may be about heart break, but this is an album built for rejoicing.


For fans of: Death Cab for Cutie, Say Hi
Rating: 3.5 of 4




Does It Offend You, Yeah?
Don’t Say We Didn’t Warn You


The second record from British synth rockers Does It Offend You, Yeah? doesn’t vary much from their impressive 2008 debut. The band still vacillates between brash electronic riffs (“The Monkeys are Coming”) and straight-forward new wave throwbacks (“Pull Out My Insides”). What makes this band so interesting is their ability to occupy both spaces--often in the same track--without ever sounding disjointed. The most noticeable difference with the second record is the underlying haunted-funhouse feel, with spooky synth lines sneaking into nearly every track. Though slightly off-kilter, the sounds work perfectly for a band that doesn’t quite fit in.


For fans of: Pendulum, !!!
Rating: 3 of 4

This Week's Music: Avril, Rise Against, Aquabats

One of these things is better than the others. (Hint: the answer is Rise Against.)

Rise Against - Endgame So much rage against the machine. Love it.

Aquabats  - High-Five Soup! Souds more like Yo Gabba Gabba and less like the Aquabats. I realize this is a subtle difference, but noticeable nevertheless. I've never been a big fan of the Aquabats, and even spent a few years being a hater. But I actually really liked their last album Charge! quite a bit, so I was bummed out about being bummed out by this one.

Avril Lavigne - Goodbye Lullaby I like the Hot-Topic-angsty Avril, not the divorced-lady-ballad Avril. Not good. (Still the hottest of the three bands.)

Review: Iron & Wine - Kiss Each Other Clean

Iron & Wine
Kiss Each Other Clean

If you fell asleep in 2002 to the whispery folk strumming of Iron & Wine’s “The Creek Drank the Cradle” and woke up to 2011’s “Kiss Each Other Clean,” it would be a very confusing morning. Sam Beam is no longer a solo artist, but rather the leader of his wildest musical dreams. “Clean” is the next step in the progression of grandeur he’s explored over his past few releases. The record pulls from an endless supply of instruments ranging from xylophones to Stevie Wonder-esque synthesizers. There are brief moments when too much is too much (the saxophone solo on “Me & Lazarus”), but overall, the added instrumentation makes a good thing better--“Monkeys Uptown” gets spookier; “Walking Far From Home” gets more poetic; and “Big Burned Hand” gets funkier (yes, Beam is now getting funky, though it’s not his strong suit). There’s no guessing where Iron & Wine will go next, but it’s sure to be an interesting ride.

For fans of: Bon Iver, Sufjan Stevens    
Rating: 3.5 of 4
Check out this track: Monkeys Uptown

This Week's Music: Get Up Kids, Cake, Social D, Peter Wolf Crier

In case you were wondering, The Get Up Kids got back together. I haven't reviewed the new record yet (it's very different from anything they've done before), but here's my interview with the band. They're playing in Salt Lake this weekend.

Here are some records I have reviewed:

Social Distortion - Hard Times and Nursery Rhymes. If you like Social D, you'll like it. If you don't (or don't yet), I'm not really sure that you need start now.

Cake - Showroom of Compassion. I've been a fan of Cake for, what, 15 years now? As I look through the back catalog, there is a steady decline with each new album. This one goes at the bottom of the list. (Though I do love the track Long Time.)

Peter Wolf Crier - Inter-Be. The high-falsetto-ed indie sounds of the Midwest. I was listening to the CD in the front room and, all the way from the basement, Traci said, "I give that song an 11 on a 10 star scale of annoying-ness." I thought the song was pretty good.

Some Music: Robyn, Rihanna, Say Hi

Robyn - Body Talk I looked into Robyn after several of my Kylie Minogue-loving friends raved about her. For me, she's no Kylie, but there's some pretty enjoyable dancehall diva stuff here. (Check out Dancing on My Own.)

Rihanna - Loud I love Rihanna.I just wish she could put together a full album. There's 3-4 good tracks here. Which is I guess really all that I need for my iPod.

Say Hi - 'Um, Uh Oh' Say Hi has put out a million albums. Generally, I only like about half the songs, but put all those records together, and you've got a great band.  There's stuff I here I really like, but the jury is still out on what I think of it as a whole. Sounds like they've been listening to lots of Arcade Fire. (Check out Dots On Maps.)

In Music, Recently

Here is what's been in my headphones lately. (Click the links for full reviews)

The Black Pacific, The Black Pacific Former Pennywise singer's new band. Better than anything Pennywise has done in the 2000s. Highly recommended. (I'd also recommend his book Punk Rock Dad.)

Styrofoam, Disco Synthesizers & Daily Tranquilizers I loved Styrofoam's early, lo-fi stuff. This full-band style doesn't work for me.


Good Charlotte, Cardiology I only listened to this because of Chris Wilson. It was as pedestrian as I had expected.  

I also did my first band interview in a long time. Here's my article about Peter Wolf Crier. If you like the somber indie folk (Blind Pilot, AA Bondy, Chris Walla, etc.), it's worth checking out. Check out some videos:

Hard As Nails - http://vimeo.com/12376836

Down Down Down - http://vimeo.com/153404

Review: Ke$ha Cannibal

Ke-dollarsign-ha is the source of much contention--nay, hatred--at my work. Nevertheless, it is my job as a professional music critic (a job for which I get paid tons of money, believe me) to review even the albums of the most frowned upon artists. Enter Ke$ha.



With “Cannibal,” Ke$ha pulls a page from the Lady GaGa book, tacking a mini-LP onto her mega hit debut album “Animal.” Smart move. Not only does this allow her to strike while the grime is hot, but it also gives her the freedom to pump out more of the same tunes, without having to worry about silly things like growing as an artist or even facing the fears of a sophomore slump.

In a whirlwind 27 minutes, Ke$ha successfully amplifies her trash-to-riches persona. The valley-girl rhymes remain as wrinkled as last night’s clothes (“Me and all my friends, we don’t buy bottles, we bring ‘em/We take the drinks from the tables when you get up and leave ‘em”) and the choruses are bigger than ever.

Though she acknowledges her newfound success (“Now that I’m famous, you’re up my anus”), she has no plans of changing her lifestyle (“Dirt and glitter cover the floor/We’re pretty and sick/We’re young and we’re bored”). And why would she? That’s what made her famous. (“I know I’m the new **** on the block/I’ve been through my sketchy phases/Been broke, been a **** waitress/But I’m not now, guess it worked out.”)

Ke$ha understands her niche in the pop world. She doesn’t have Rihanna’s voice, Lady Gaga’s creativity, or even Katy Perry’s big rack. So she’s got to stick to her strength--being the girl passed out on your floor, who, by the way, just happens to be packing enormous hits.

Her songs may be obnoxious but they are also incredibly catchy. All those memorable hooks, combined with the throbbing beats, basically demand spontaneous, uncontrollable dancing. Combine club anthems like “We R Who We R” and “Blow” with a few I’m-not-always-a-party-girl confessions (“The Harold Song,” “C U Next Tuesday”) and you’ve got an EP that can stand toe to toe with the debut release.

If Ke$ha keeps pounding out these hits, she may have to add a few more dollar signs to the middle of her name.

The Return of the Librarian

Back in the day (after much coercion), Traci would write book reviews for the Manifesto. Though she now withholds her literary opinions from me--and thus you as well--she's sharing them with Murray Library patrons.

Here are a few of her recent reviews on MurrayLibrary.org.

Chains and Forge – Laurie Halse Anderson
Strength in What Remains – Tracy Kidder
29 by Adena Halpern 

Best Music of 2010

As is always the case, I find an album that I get excited to put atop my Best Of list, only to discover that it was released the previous year. So, before I start, let me give a little shout out to the 2009's "Weathervanes" by Freelance Whales, the album that I loved the most in 2010.



And now back to the list for this year, though I'm sure I left some things out.

Albums

Best repeat listen 
Tokyo Police Club - Champ
Long a fan of Tokyo Police Club, I was disappointed with the almost childlike feel of their new record. But when I saw them perform the material live, my mind was instantly changed. I have been singing "Favourite Colour" ever since.
Favourite Colour

Best 32 minutes of getting yelled at
The Thermals - Personal Life 
Shouty and brash, the best albums by The Thermals always feel like a pummeling. The band has smoothed out some of the edges over the years but "Personal Life" still operates in verbal attack mode.
Never Listen to Me

Best invitation to the dance floor
Taio Cruz  - Rokstarr
Taio Cruz may need some spelling lessons, but he's teaches the class on getting the party started. "Rokstarr" is textbook good times -- big beats, bigger hits, and an ultra-trashy duet with ultra-trashy Ke-dollarsign-ha.
Dynamite

Best turning of that frown upside down
Rogue Wave - Permalight
Rogue Wave is usually so delightfully melancholy. "Permalight" shows the band is just as impressive when they channel their efforts into upbeat, danceable indie rock. 
Solitary Gun

Best solo album that sounds like a full-band album
Brandon Flowers - Flamingo
It's a bit softer and a bit twangier than a Killers album, but Brandon Flowers brings the same knack for high drama and catchy hooks to his debut solo release. 
Crossfire

Best local band hitting the big time
Neon Trees - Habits
It's great to have known them as a local band, but it's even more exciting to see our very own Neon Trees hit the big time, with huge singles "Animal" and "1983." 
Animal

Best hip-hop crossover
B.o.B. - The Adventures of Bobby Ray
Mr. Ray is just as comfortable gettin' down and dirty with rap heavy hitters like T.I. and Lupe Fiasco as he is singing with Paramore's Hayley Williams or Weezer's Rivers Cuomo. 
Magic (feat. Rivers Cuomo)

Best getting back to basics
Alkaline Trio - This Addiction

This may not be the best record Alkaline Trio has put out in the last few years, but it's nice to hear them strip some of the goth away from their once-raw sound.
American Scream 

Honorable Mentions

Motion City Soundtrack - My Dinosaur Life
Streetlight Manifesto - 99 Songs of a Revolution: Vol. I
The National - High Violet
Matt & Kim - Sidewalks
Jimmy Eat World - Invented
Gaslight Anthem - American Slang
Four Year Strong - Enemy of the World
Deftones - Diamond Eyes
Bad Religion - The Dissent of Man
Arcade Fire - The Suburbs
Apache, The - Apache, The 


Misc.

Best thing to come out of Utah County
Drew Danburry - Goodnight Dannii
The curiously titled "Nirvana, by Kurt Cobain" is not about Nirvana or Kurt Cobain. But both the band and the deceased icon should be pleased to be connected to such a beautifully sad song about giving your love to music and not getting any in return.
Nirvana, by Kurt Cobain

Best use of a Rihanna hook
Eminem Love the Way You Lie
Rihanna is the best part of any song. She's even better when she's teamed up with the only artist in a more dysfunctional relationship than herself. (Second best use of a Rihanna hook; Kanye West, "All of the Lights.")
All the Lights

Reviews: Kanye West, Kid Cudi

I was very much looking forward to Kanye's Beautiful, Dark, Twisted Fantasy, thinking it would be his greatest masterpiece (though it would be hard to beat 808s, which I found amazing). Alas, it was not nearly as dark or twisted as I had hoped for. For all of the work he put into it, much of the record falls flat for me. (Read my full review here). Nevertheless, there are definitely some moments of awesomeness.

Make sure to check out All of the Lights (feat. Rihanna) and Runaway.

I also gave a listen to the new record by Kanye's protege Kid Cudi. After a great debut, Man on the Moon II is a real drag. There was very little that I loved here (see full review) but I do like the moody title track Mr. Rager.

Music Reviews: Matt & Kim, Weezer

Matt Kim - Sidewalks

Matt & Kim, aka the happiest couple in rock ’n’ roll, have always loved to get down. At the end of each show, they ditch their punk rock keyboards and drums, turn on the drum machine, and come out in the crowd to get the dance party started. “Sidewalks” is like the soundtrack for the afterparty. The record, the duo’s third, was made for the club. The hooks are as catchy as ever, but this time around, the usual bare-bones arrangements have been injected with a heavy dose of production — most notably huge hip-hop beats. There a bunch of great songs here (“Block After Block,” “Cameras,” “Red Paint,” “Wires”), but the record’s glossy sheen smooths out many of the wrinkles that make this band so fun to listen to. These songs will likely play better live, when they’re stripped down to the simple keyboards and drums that have induced booty-shaking for the past half decade.


Rating: 3 of 4




Weezer - Death to False Metal

You best watch your step or you’ll trip over a new Weezer album —the band has put out four in the past three years. “Death to False Metal” is a collection of newly recorded, old material. With any b-sides disc, you expect a few things: One or two good songs, some OK stuff, and a few weird ones. Probably the biggest disappointment with “False Metal” is the lack of the last category. The record begins with two catchy toe-tappers (“Turning Up the Radio,” “I Don’t Want Your Loving”) before falling into the formulaic mediocrity that has plagued each of Weezer’s past few records. It would be nice to hear some grand gestures, even if they were great disasters —just to know the band is still trying. Unfortunately, the only deviations from the norm are the slightly nu metal “Everyone,” the trudging cover of Toni Braxton’s “Unbreak My Heart” and the spacey “Autopilot.” Still, there are a few rough gems (check out the moody “Trampoline”) and, for a b-sides album, that’s all you can really ask for.

Rating: 2.5 of 4

This Week's Music: Sujfan, Bruno Mars, No Age

Sufjan Stevens, The Age of Adz -- I generally like about half of every Sufjan album (the soft, less annoying stuff). This one was far too complicated for me. 

Bruno Mars, Doo-wops and Hooligans -- Bruno Mars is getting lots of pop praise. I didn't love it. 

No Age, Everything In Between -- If you like the catchy surf punk, drenching in layers of noise (which I do), you should enjoy this. (They also get points for the best artwork and packaging I've seen in a long time.)