Lo-fi pop can be a tricky balancing act.  In the past it was exclusively employed by those who had no access to more sophisticated means of production.  Since the full takeover of digital recording, any asshole with a Macbook and a couple hundred dollars worth of microphones can make fairly polished music.  When a contemporary artists comes out with a unsophisticated, static filled sound, it almost always happens as a result of a decision to impart a murky, abstruse quality to the music. Maybe they’ve spent a great deal of time listening to lo-fi artists of the past or maybe they’re just not completely confident in the songs.  It often remains and intentional choice. Because of that intentionality, most lo-fi acts have to toe a pretty strict line of producing numerous pop hooks that are only slightly obscured by the murk of their style.  If they’re able to get that ratio right, it’s delightful.  If they fail, it becomes less so.

Here’s the fun part of this review:  Pinebocks is the music project of a former (I think) Illinois and now Texas resident named Corey Clifford.  I grabbed it out of a pretty big file of music submissions that Sock Monkey Sound writers share on Google Docs.  Pages and pages of people that were like, “Hi. Wanna review my music?” and then were (usually) met with a blanket of crushing silence because many of the staff members sometimes forgot that it exists or started watching Sherlock and didn’t for a while.   I guess I’m only speaking for myself with that last part.

Anyway!

I went digging through it a while back and found the following note:

Hi, my name is Cory Clifford and I have a musical project entitled Pinebocks. To describe my music, I’d say it’s a combination of Orange Juice and The Clean, and it could easily fit into NME’s C86 compilation.

I like all of those signifiers so I decided to have a listen.

Let’s first examine the claims made in Clifford’s self designation.  C86 this is definitely not.  The music is far to sparse and haunting to be confused for the relatively full and sunny sounds of early Pastels or Primal Scream.   This is much more rough shod music. The guitar sounds like Clifford found it in an abandoned basement and decided to record there instead of taking it home. There is a constant hiss and digital reverb makes it all bouncy and tinny. I’m not saying that’s a bad thing because it fits the actual songwriting and performances to a tee.  The Orange Juice comparison does hold up well as there is an obvious Edwyn Collins influence on Clifford’s demented croon.  It’s a cartoonishly sinister vocal style that is adds a sense of ironic comedy. That is very helpful because these songs are fucking dark.  “Flee,” finds a man having abandoned his roots and absconded south, all the while regretting his choices. He sings,

“I’ve never felt so bad about myself as I do now. I’m chronically cursed with a furl in my brow.”

and there is a real fun sense of hyperbolic jokiness.

I hope.

The sinister tone returns in the second song, “My Unfunny Valentine,” a dirgey ode to a dysfunctional romantic connection. Clifford goes at it like a Lynchian lounge act. The song ends with the repeated figure, “My unfunny valentine, you make life so asinine.”  Then I start laughing because I’m kind of fucked up.

Pinebocks are the dark side of Twee.  If you’re into that sort of thing, you’ll probably enjoy Flee/My Unfunny Valentine. Make sure to check out the Bandcamp page for other singles and EPs, or like them on Facebook if that is more your style.

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B.durazzo

When I first took a look at a video of B.Durazzo playing a beat live on two MPCs, I thought to myself, “Damn, this isn’t just some kid playing around with Fruityloops and a sampler. Dude’s talented.” Over the course of the video, Ben played each machine like it was a part of a larger instrument. This is something which defies the notion that most hip-hop isn’t “real music” because of the lack of live instrumentation involved in the creative process. Sure, The Roots have been playing live instruments for to make their music for years, but the vast majority of people that make hip-hop do not. Even the turntable has been questioned as a legitimate instrument but if you’ve ever watched a DMC level DJ, you can see that there really shouldn’t be much of a question. Is Ben using other people’s music to make his? Yes, but you could argue that any musician does the same through their influences. As they say, “There ain’t nothin’ new under the sun.”

Not only was watching Ben play interesting, but the beat which he composes is pretty ill. The instrumental has a haunting quality reminiscent of RJD2′s earlier work and that classic boom-bap feel that really gets your head nodding.

As I listened to each track off of Ben’s album, that reminscence of RJD2 was further reinforced. While he does remind me of RJ’s older work, it’s not in a way that is offensive or “biting” as they call it in hip-hop. Durazzo’s music has an intelligent sound that doesn’t need an emcee to make it interesting. Instead of making his music just a background for another person’s words, each track has a voice of its own. His instrumentals are laden with horns and flutes that carry each track from beginning to end and function to give the album a cohesive feel. The album could use a bit of diversity just to provide a break from the norm but overall, it’s a hella solid effort.

Would I listen to it again? Hell yeah mos def I would. My favorte tracks are probably “Monkey Bars” and “Arsenal”. The drums hit hard as fuck in the intro of “Monkey Bars” and really set the tone for the track. ”Arsenal” just has that quality to it that makes you wanna do something ignorant, like paint graffiti or slap a Wal-Mart greeter. It’s rare to find producers in hip-hop who respect their craft enough to learn the tools of their trade like any other musican would. Unlike most producers, Brandon could even perfom this material live as the process of making it is pretty cool to watch and allows for improvisation. Overall, B.Durazzo has a sound that is well crafted and intelligent. You can listen to Ben’s album and also purchase it HERE.

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Iron Reagan Demo 2012 cover

Let’s Open Up This Pit (Of Horrible Memories).

If you were in a hardcore band during the 80s, you probably had a song about then-president Ronald Reagan, and for good reason. Reagan, while somewhat charming in a Hank Hill sort of way, built his presidency on Bible/chest-thumping rhetoric and borderline racist, anti-poor policy.

With the (moral) majority of Americans seemingly under his spell, it was up to punk rock to step up and form a united opposition. And punk rock delivered, resulting in some of the most memorable songs and bands of that era.

Iron Reagan is a nostalgic throwback to that period of political hardcore, in both aesthetic and sound. With members of Municipal Waste and Cannabis Corpse, it may be assumed that Iron Reagan is a “joke project,” but fortunately, this is not the case. The band shows a great affinity for the artists they are emulating; this is definitely homage, not parody.

While some metal riffs sneak their way in, these four songs are pretty much straight hardcore/thrash in the vein of Cro-Mags or DRI. All four tracks are solid and fun; and coming in at just around the five minute mark (total) makes this demo lend itself to repeated listens.

By the end of the 80s, everything that could possibly be said (or sung) about “The Gipper” had been. But there is always a place for hardcore in the vein of those who were leading the opposition. Maybe this band will even inspire others to do the same. It’s never too late (or too soon) to make an anti-Dubya record, ya know.

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theHELL – Sauve Les Requins cover

One issue I have with side projects is that oftentimes they involve drastic genre-changes that artists are not always capable of making relevant to their fans. The cycle usually goes like this: a musician in a punk or indie band makes a statement announcing the project such as “I’ve always enjoyed juke joint blues, so we’ve decided to make a juke joint blues record.” Then the record comes out and all of the hardcore fans of the musician’s “main” band buy it and are like “well this is neat, I guess,” listen to it for a week, then shelve it for eternity. In an interview a few years later, the musician will apologize for the record, calling it “a bit of a misstep,” then announce his new reggae fusion project, and the cycle begins again.

Thankfully, The Hell does not fall into this trap. This side project from singer/guitarist Matt Skiba (Alkaline Trio) and drummer Atom Willard (Angels & Airwaves, Rocket from the Crypt) has each musician doing what they do best, which is constructing excellent pop punk songs. By bringing their talents together, they have created a record that sounds different enough from their current bands to justify its existence as a separate product, but not so far removed that it alienates fans.

This is unmistakably a straight-up punk rock record. The four tracks on this EP all come in under the 3 minute mark, and the production is far less pronounced than on Angels & Airwaves and more recent Alkaline Trio releases. The vocal delivery and lyrical content also invoke memories of early-to-mid-career Alk3, with f-bomb laden blasphemous songs primarily about well, Hell. However, the EP is not merely a rehash of Matt’s output in that era of Alkaline Trio. The song construction is tight and focused, but more driving, with some more traditional punk “whoa-ohs” and “1, 2, fuck yous” thrown in which also serve to differentiate this record from Alk3 releases.

Given my general suspicion regarding side projects, I went into this EP cautiously optimistic. Less than 45 seconds into the opening track “Gasoline,” I was sold. This EP greatly exceeded my expectations and is exactly what I want from a side project – a record that plays on the musicians’ strengths and does not alienate fans, but is different enough to separate it from the artists’ principal bands. I hope that this was not just a one-time deal and that we’ll see more from The Hell in the future, even if it takes until the members finish their alt-country/Eurobeat/visual kei record.

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The Mediocre Fight – We Are Enablers cover

Jacks of All Trades, Mediocre at None.

One striking aspect of The Mediocre Fight’s bio is the band members’ diverse musical backgrounds. The group consists of “a jam-band drummer, a jazz pianist and an indie-rock bassist, guitarist, and lead singer,” not to mention the other rotating members of the ensemble who bring the total number of Mediocre Fighters to twelve (a number which may or may not include the violin talents of Margot & The Nuclear So and So’s Erik Kang). Each one of these backgrounds surface on these eight tracks, resulting in a record that has something for everyone, but will appeal most to those with a diverse palate of musical tastes.

We Are Enablers opens with “The Circus,” an upbeat track that showcases many of the best aspects of the record: a full and intricate ensemble sound, excellent professional production, and pleasant vocal delivery. The next song, “Bored and Young” is comparatively scaled down, but one of the highlights on the album with its infectious melody and amusing lyrics. Other standout tracks include “Alright to be Alright,” a positive love song that settles at just the right spot on the sappiness spectrum and the brief, rollicking, all-over-the-place “The Girl Who Steals.” While the last track, “Passing Time” is the longest with the most varied parts and changes, “All Things Go” stands out to me as the most ambitious song on the record. It’s a brilliantly arranged ballad that, with its strings, choruses, and sincere delivery of the lyrics, really shows off the musical talents and songwriting chops of the band.

This excellent debut album succeeds in showcasing where each of the members are from. I, for one, am curious to see where this diverse and talented group of musicians will go in their very bright future.

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This is a few days late, but here’s my top ten hip-hop and rap albums from over the last year. This is a list of records I found myself listening to more often than everything else that dropped in 2011. Enjoy.

Action Bronson – Dr. Lecter

Any emcee that can correctly use the term amouse bouche on a track deserves some recognition. Action Bronson has been one of the breakout successes in indie rap this year. Blending his penchant for the finer things in life with grimy lyrics about street shit like guns and drugs, Bronsalino consistently kills it on every track. The former gourmet chef and graffiti artist proves he’s more than just a obese white guy that sounds a lot like Ghostface. Check out his follow up with Statik Selectah “Well Done” for further rhymes about prosciutto and other ill shit like that. Listen to the tracks “Get off My P P” and “Larry Czonka” to get familiar.

Random Axe – Self Titled

Random Axe is a group comprised of emcees Sean Price & Guilty Simpson and producer Black Milk. Sean and Guilty’s raps about drugs, guns and other cool stuff work well with Black Milk’s production. Both heavyweights on the rap scene with in their own right, P and Guilt consistently deliver well conceptualized rhymes full of gritty content. With guest appearances by Danny Brown & Rock (of Heltah Skeltah), the album is well rounded effort. Check out “Jalphy Joe” and “Chewbacca” for proof.

Danny Brown – XXX

Detroit native Danny Brown is a weird cat. I dig that. More comfortable in skinny jeans and a haircut suitable for an indie rocker, Danny is a comic book character that loves violence, drugs, women and more drugs. Reminiscent of Cage, Danny has a talent for delivering some of the illest similes I’ve heard in a mad minute. This follow up to his previous mixtapes is a concerted effort to further showcase his drug crazed personality. Danny’s voice might not be for everyone, but tracks like “I Will”, “Radio Song” and “Adderal Admiral” are sure to have you nodding your head.

ASAP Rocky – Live, Love, ASAP

I waited a while for this album to drop and it was worth it. Since dropping, it’s been on steady rotation. The album seemed a bit over-hyped on the blogosphere but in my opinion, it exceeded expectations greatly. Rocky’s ability to use trademark aspects of different regional hip-hop influences makes the record an interesting listen. Who says that just because you’re not from Houston you can’t get trashed on codeine syrup and chop and screw your tracks, certainly not ASAP Rocky. Check out “Peso” and “Trilla” to get better acquainted with his sound.

Hail Mary Mallon – Are You Gonna Eat That?

This is another great “supergroup” album from three underground staples. Hail Mary Mallon is Aesop Rock, Rob Sonic and DJ Big Whiz and they kick ass together. I kinda thought that Rob Sonic was a bit of an Aesop Clone but on this record, he even seems to outshine the king of weird rap on more than just a couple of tracks. The videos they’ve put out for “Breakdance Beach” and “Grubsteak” are nothing short of hilarious.

Pusha T – Fear of God

Following the success of the Clipse’s sophomore effort, Pusha T puts out this solid effort. Rather than just being a half-assed reminder of his existence to Clipse fans, Fear of God is a record that stands on its own. The single, “My God” is dope and frankly so is the rest of the record. With some other bangers out this year such as his collaboration with Tyler, the Creator for “Trouble on My Mind”, Pusha’s had a solid year musically. Yeeeeeeach.

Wu-Tang Clan – Legendary Weapons

What’s to say? The Wu is back like they never left. Longevity in the rap game is something that is to be admired when most rappers, let alone groups are good for only one hit single. This record proves that Shaolins’s finest can still be not only relevant but reinvent the idea of what good rap music is. Plus, this album has the highly anticipated collaboration between Ghostface Killah and Action Bronson, “Meteor Hammer”. Bronson’s been criticized for sounding too much like the Wallabee Champ, but this track is a banger that proves otherwise.

Clams Casino – Instrumentals

Clams Casino makes even the shittiest rappers sound good. Whether it’s Lil B or Soulja Boy, Clams’ beats are the silver lining to the ignorant cloud that many artists he works with are floating on. Rather than having to listen to Lil B say “swag” fifty times just to hear some really ill production, pop on this record. His ability to sample a wide variety of music and pair it well with hip-hop drums makes this worth a few listens. Peep “Motivation” and “Realest Alive” for futher proof of his adeptness with production.

Ghostface Killah – Apollo Kids

Technically, this album came out in 2010 but it was like 10 days before 2011 started so that doesn’t count. Ghostface is consistently one of Wu’s most productive members and proves that it’s not just to stay in the spotlight. With each solo release, Ghost solidifies his place as one of the greats. Featuring dope collaborations and slick production, this record still is on heavy rotation over a year later. Check out his track with Black Thought of the Roots, “In tha Park” for some nostalgia about the golden era of rap.

Doomtree – No Kings

This came out a bit later in the year, so I haven’t been able to give it as many listens as I would like. However, the Doomtree camp out of Minneapolis has proven that more that “Minnesota Nice” applies to more than just the overly friendly residents. Both the production and lyrics are well above par. Tracks like “Bolt Cutter” and “Bangarang” showcase the group’s ability to work each individual’s talents into a cohesive sound. While POS may seem to be the standout of the crew on most tracks, Dessa is displays star quality throughout the entire album. I’ll be listening to this well into 2012.

Now, I know you’re thinking “Where in the hell is Watch the Throne?” Pfffffft, Jay did the whole collab album thing with R. Kelly for “Best of Both Worlds” years ago and frankly did it better then. Don’t get me wrong, it’s nice but not top ten material in my opinion. You’re probably also thinking The Roots should’ve made this list too. As far as I’m concerned, it didn’t get much better than “Things Fall Apart”. Honorable mention goes to Das Racist for their weirdly awesome sophomore album, “Relax”. My favorite song of the year probably has to go to Mr. Muthafuckin’ eXquire for his underground rap all-star line up on his “Huzzah” remix. That’s it.

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Bedroom Sons – Father EP cover

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Best 10 of 2011 List- no order (per usual- I’m bad with rankings)

• St Vincent – Strange Mercy
• Bon Iver – Bon Iver, Bon Iver
• Algernon Cadwallader – Parrot Flies (my review)
• Radiohead – King of Limbs
• James Blake – James Blake
• Wilco – The Whole Love
• William Elliott Whitmore – Field Songs
• Amy LaVere – Stranger Me
• Tyler, the Creator – Goblin (my review)
• The Decemberists – The King is Dead

Best Shows of 2011-

•  Steely Dan, Riverside Theater (Milwaukee), August 28th
• Algernon Cadwallader/Snowing, Strangelight (Chicago), June 18th

Most Overrated of 2011

Maroon 5 – Moves Like Jagger

Zooey Deschanel

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Staff Picks: Best of 2011 – Ryan Grove from Sock Monkey Sound on 8tracks.

Favorite Records of 2011

1. Bomb the Music Industry! – Vacation

(My Review)

2. Bright Eyes – The People’s Key 

While Oberst’s songwriting and lyrics may have lost some of their rawness and intensity over the years, they have also evolved and grown. An incredibly interesting and listenable record throughout. (SMS Review)

3. The World Inferno/Friendship Society – The Anarchy and the Ecstasy

Ragtime! Punk! Ska! Jazz! Antiestablishmentarianism! Everything you could want from a WIFS record, plus some legitimately pretty songs as well.

4. Angels & Airwaves – Love Part Two

(My Review)

5. The Mountain Goats – All Eternals Deck

Of course it’s great. (SMS Review)

6. Saves the Day – Daybreak

(My Review)

7. Okkervil River – I Am Very Far

Typically great songwriting and some of the most ambitious production the band has ever had.

8. Andrew Jackson Jihad – Knife Man

Funny, sad, offensive, raw, and honest rock. Oh, and kazoos.

9. Toh Kay – Streetlight Lullabies

Yeah, it’s “just” an album of acoustic versions of Streetlight Manifesto songs, but the format really gives the lyrics and pretty damn impressive guitar work a chance to shine through in these tracks.

10. VA – Muppets: The Green Album

The Weezer/Hayley Williams version of “Rainbow Connection” and the Alkaline Trio cover of Movin’ Right Along are the highlights to me, but the whole album (even the Amy Lee song!) is pretty solid.

Best Video Game Soundtrack of the Year: 

Shadows of the Damned

When you get composer Akira Yamaoka (Silent Hill series) to do a soundtrack for a game from Shinji Mikami (Resident Evil) and Suda 51 (No More Heroes, Killer 7), it’s obviously going to be something special. From haunting and beautiful piano melodies to pounding and thrashing industrial rock, this soundtrack has everything that makes a Silent Hill soundtrack great, but somehow sounds completely different.

Favorite EPs of 2011 (This list is short, like EPs)

1. Minotaur – S/T

2. Cobra Skulls – Bringing the War Home

3. Less Than Jake – Greetings From Less Than Jake (SMS Review)

Album I may have really liked but couldn’t bring myself to purchase due to its uncomfortable title:

Arctic Monkeys – Suck it and See

Record that would be considered a “guilty pleasure” if I had even an elementary understanding of the concept of shame:

Patrick Stump – Soul Punk

Best New Discovery:

The Wild – Set Ourselves Free (2010)

Favorite Songs of the Year:

1. “Vocal Coach” – Bomb the Music Industry!

“Oh, I get so embarrassed when my voice pops out and it’s not like in my head. If I got a new vocal coach and I could hit the notes, you’d fall in love again…”

2. “I Am Sick of People Being Sick of My Shit” – The World/Inferno Friendship Society

“I know you’ve tried so hard to package joy. You try so hard to sell us things that are already ours, like the bones in my ears, like the air in my lungs, which whistle songs so carefree..”

3. “Jejune Stars” – Bright Eyes

“Any expression of love is a way to return to that place that I think of so often but I never mention. The one the voice in the back of my head says that I don’t deserve…”

4. “Hanging From a Hit” – Okkervil River

“A day she spends the night and I can hear her sighing. As she’s almost asleep on one side, I lie back on my pillow and ask what her husband is like…”

5. “For Charles Bronson” – The Mountain Goats

“Keep the heart of a champion. Never let them see you’re weak. And whatever they say on your page three mention, focus on the parts that make you feel good. Be grateful for the attention…”

6. “American Tune” – Andrew Jackson Jihad

“If I see a penny on the ground, I leave it alone or fucking flip it. I’m a straight white male in America, I’ve got all the luck I need…”

7. “My Heroine (It’s Not Over)” – Angels & Airwaves

“A bit like love and heroin…”

8. “Living Without Love” – Saves the Day

“We’re lost, we’re torn, we praise, we scorn, we’re stuck and we’ll stay the same…”

 Best Worst Song of the Year:

“Get Up” – Korn feat. Skrillex

“Shut the fuck up, get up.”

Favorite Video Game of the Year:

Super Mario 3D Land (Nintendo 3DS)

A colorful and challenging game with brilliant classic Nintendo design that permeates everything from the level designs to the character animations. Super Mario 3D Land is pure blue sky platforming joy and represents (to me) everything video games should be.

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In a lot of cases, a female indie singer producing peppy love songs could be infinitely annoying. Especially since this is not generally my favorite genre of music.

Surprisingly, Cathy Heller‘s latest EP You’re Home to Me doesn’t get on my last nerve. In fact, I really like it. I’ve been a little bitter and down on love lately, but this album makes me believe in happy endings again.

There’s not one thing about the lyrics or melodies that I can pick out that makes this album not work for me. The songs are simple, pretty, and just sweet. Even when there is more production put into the final song–”You’re Home to Me” the simplicity shines through and highlights Heller’s natural talent as a singer.

This album is definitely worth a listen. Cathy’s songs will be featured in the American Girl movie, and she is working with the Jim Henson Company on her own music-driven series (via her website)

On an unrelated note: Cathy’s song “Gonna Be Happy” was also featured in One Tree Hill. Between her, and Wakey! Wakey! I might have to start watching the show for musical influences alone!

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Top Bands You Probably Aren’t Listening To (But You Should)

7) Gold Motel
6) Wakey! Wakey!
5) The Usual Things (previously Apparently Nothing)
4) Nightmare of You
3) Locksley
2) I Fight Dragons
1) Mannequin Men

Mannequin Men

My Prediction: Mannequin Men are going to blow up this year. I’m not just saying that because they are my favorite twitter friends. I really think they are one of the most talented bands I’ve seen in Chicago in the last few years. You can see them at Schuba’s on January 15th.

Top Album of 2011

Kaboom! — I Fight Dragons
Try as I might, I just can’t get sick of this album. I’ve had it for months and I have yet to get sick of it. It’s well written. It’s fun. I just love it.

Best Show of 2011

Suicide Machines — AAA (Riot Fest)
Some shows go right to heart, and this was one of those for me. Every once in a while, I forget what started me on this whole concert thing. Shows like this one remind me who I am.

Favorite Movies of 2011:

11) Win Win
10) Cowboys & Aliens
9) Super 8
X-Men: First Class
7) Fright Night
6) The Muppets
5) Captain America
4) 50/50
3) The Adventures of Tin Tin
2) Attack the Block
1) Hanna

Favorite Movie of the Year:

This was a really really close call. I loved Attack the Block. A LOT. The special effects were amazing. It was funny and exciting at the same time. I really am surprised more people didn’t notice it.
However, Hanna still wins by a landslide. It was a movie that exceeded all my expectations, which were very low. On the surface, it looked like this simple movie about a child assassin. In reality, it was a complex fairy tale with a kick-ass soundtrack. It is one of the best movies that I’ve seen in years.

Worst Movie I Saw This Year

Insidious
For sure, this one just was not good. It started out fairly creepy, but then became some sort of mash-up of horror clichés. It could have been cool–without the added comic relief of the ghost hunters, and the ridiculous-looking demons.

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Top 10 Favorite Releases of 2011

note: This is not necessarily a list of the best albums of the year; I’m not nearly qualified enough to make that list. Instead, this is my list of what I’ve listened to and loved the most.

1. Bon Iver, “Bon Iver”
   It’s hard not to put the new release from Justin Vernon and co. at the top of my list. While I used to be Team Emma when it came to Bon Iver’s music, I’ve slowly become a convert. Vernon stepped away from the guitar and into the studio, invited more collaborations, and apparently got wistful for the 80’s.
2. Island of Misfit Toys, “Bear Hair”
   This album is close to my heart not only because it’s a fantastic first release, but because some of my dearest friends and favorite people are behind the sound. Exploring the trouble with growing up and using every inch of their then-8 piece band (seriously, they have two drummers… who does that?), the album begs for singing along. It’s a favorite to crank in my car while driving.
3. Doomtree, “No Kings”
   The most recent release from Milwaukee rap collective Doomtree (boasting familiar face P.O.S. among others) has practically been on repeat since it came out. While each member boasts strong releases of their own, there’s something perfect about the music they make when the come together. The album’s solid beats and clean flow feels effortless and is infinitely listenable.
4. The Antlers, “Burst Apart”
   Thank God, not another album that makes me want to give up on life. Coming off of critically acclaimed “Hospice”, The Antlers built on what they created before. “Burst Apart” is lush and beautiful, and it lends itself to your full attention. It isn’t an album for all seasons, but man, is it wonderful.
5. Johnny Foreigner, “Johnny Foreigner Vs. Everything
   Some albums call for you to sit and listen and concentrate. Some are good background music and some are good for driving. Johnny Foreigner’s newest is made to jump around the room to. JoFo has never disappointed before and they don’t here. They hit notes all over the board, both musically and emotionally. I find new things to love about this album every time I listen to it.
6. Peter Bjorn and John, “Gimme Some”I like my albums fun. “Gimme Some” gladly delivers on that. With a sound that feels pulled from another time, the band has released an album that is catchy, which in this case isn’t a dirty word. I found myself wanting to continuously revisit this release and it puts a smile on my face every time I hear it. Turns out you can have fun and listen to quality music.
7. Clap Your Hands Say Yeah, “Hysterical”
   Whether you classify CYHSY as indie, alternative, or twee (or you skip classifying them because you don’t feel like saying their entire name), there is no confusion about what a great listen their newest is. It’s a versatile album that I’ve been able to visit in different occasions and different moods. The band has been consistent in producing quality music and “Hysterical” keeps with tradition.
8. Childish Gambino, “Camp”
   Quadruple threat Donald Glover seems to be enjoying his newest creative endeavor. He gained quite a bit of buzz thanks to two LPs and an EP (among other remix albums and B-sides) that he produced and released himself. His releases featured not only rhymes by Glover, but also his beats and hooks. He teamed up with Glassnote for his first major label release that was well-received by critics and fans alike. Gambino raps with wit and self-awareness, peppering reflections on being famous and being black (among other things) with pop culture references. It’s animpressive step into the professional arena.
9. Adele, “21”
   What can I possibly say about Adele, arguably the queen of pop music, and her most recent release that hasn’t already been said? It is a beautiful work on honesty, power, and talent. There is no autotuning to be found here. As a note, this album would be worth including if only for the presence of the song “Someone Like You” (and, of course, the Saturday Night Live skit it spawned).
10. The Black Keys, “El Camino”I just cannot get enough of The Black Keys. They seem to be a band that attracts fans from all walks of life and all music styles… probably because they consistently make quality music that is easy to listen to. I listen to “El Camino” and I forget that there are only two people in the band because the sound is so full. I also love hearing a band that plays rock, pure and simple, that plays timelessly. This is an album you’ll love, and your dad probably will too.

Honorable mentions: Explosions In The Sky, “Take Care, Take Care, Take Care”; Los Campesinos!, “Hello Sadness”; Fleet Foxes, “Helplessness Blues”; Slow Club, “Paradise”; The Pains of Being Pure At Heart, “Belong”; Childish Gambino, “EP”

Top 8 Songs of the Year (in no particular order)

1. “Towers”, Bon Iver
   No, “Beth/Rest” is not my favorite song off this album. Every single time I hear the horn riff, I grin. If that’s not a favorite song, I don’t know what is.
   
2. “Freaks and Geeks”, Childish Gambino
   While I think Gambino’s major label debut is wonderful, I think this single off his EP is a near perfect song.
   
3. “Someone Like You”, Adele
   If I need to explain this, you don’t have a heart.
4. “Bolt Cutter”, Doomtree
   As my friend so eloquently-and-succinctly put it, “Bolt Cutter is a fucking jam.”
5. “Hello Sadness”, Los Campesinos!
   This album was received with mixed feelings, but I think the title track off “Hello Sadness” gets at all the things I love about LC!
6. “Beginnings of a Beard”, Island of Misfit Toys
   The song that starts the album and started IMT’s live shows gets me pumped every time.
7. “(Don’t Let Them) Cool Off”, Peter Bjorn and John
   Fun. What more can I say? It’s the epitome of the album.
8. “Two Cousins”, Slow Club
   Brilliant single off of a good album.

Top 10 Discoveries of Old Releases (in no particular order)

1. Tullycraft, “Disenchanted Hearts Unite”
2. Dessa, “A Badly Broken Code”
3. Camera Obscura, “My Maudlin Career”
4. Anathallo, “Canopy Glow”
5. Johnny Foreigner, “Waited Up Til It Was Light”
6. Owen, “New Leaves”
7. Matt and Kim, “Sidewalks”
8. The Mountain Goats, “The Sunset Tree”
9. Justin Vernon, “Hazeltons”
10. Gayngs, “Relayted”

Top 5 Songs I’m A Little Ashamed To Love

1. LMFAO, “I’m Sexy and I Know It”
2. Glee Cast, “Rumor Has It/Someone Like You”
3. Beyonce, “Girls”
4. Nicki Minaj, “Super Bass”
5. Maroon 5 (feat. Christina Aguilera), “Moves Like Jagger”

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Records:

• 

  Beady Eye by Steve Gullic

  Beady Eye, ‘Different Gear, Still Speeding’

• Foo Fighters, ‘Wasting Light’
• Pink Floyd, ‘ALL Remasters’
• Eddie Vedder, ‘Ukelele Songs’
• Arctic Monkeys, ‘Suck it And See’
• They Might Be Giants, ‘Join Us’
• Noel Gallagher, ‘High Flying Birds’
• The Black Keys, ‘El Camino’

Songs:

• Beady Eye: The Roller
• Foo Fighters: Arlandria
• Pink Floyd: Echoes
• Arctic Monkeys: Don’t Sit ‘Cause I’ve Moved Your Chair
• Noel Gallagher’s High Flying Birds: The Death of You and Me
• The Black Keys: Gold on the Ceiling
• They Might Be Giants: Can’t Keep Johnny Down
• Eddie Vedder: Longing to Belong

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Full Toilet 7" cover

After listening to the Full Toilet 7″ for the first time, I wanted to find out a little more about the band. I checked Sub Pop’s site, which gave me precious little insight into who they were, outside of the fact that the singer’s name is Don Sheets and apparently dude is kind of a dick. Unsatisfied, I did a Google search for the band’s name, not really realizing what I had done until it was too late and the first page of results were already on the screen. Thankfully, my SafeSearch settings were at moderate, which sheltered me quite a bit, I’m sure.

Fortunately, it’s not necessary to have any background on Full Toilet to enjoy their record and understand their sensibilities. The 7” consists of 13 songs, most under a minute. Overall, the songs are somewhat of a satirical take on late-70s UK anarcho/skinhead punk, complete with “oi”s and constant Crass-like drum rolls. The 7″ starts with the the pounding “Loaded Gun, Loaded Youth,” which is probably the closest thing to a traditional hardcore song on the record. After this, things get weirder. From the second track on, the tempos and vocal stylings vary from track to track, ranging from Tom Waits-esque chatter to high pitched screaming to anthemic singalongs.

The lyrical content is mostly about drinking and being pissed off and not liking cops, which is kind of what you want from this type of band. Despite the angry subject matter, the record is really a lot of fun, with some pretty silly lyrics. For example, on “Pist Office,” “I want a goddamn stamp” is repeated for the duration of the track while the chorus of “You fucking suck, so shut up” in “WYPL/Shut Up” would not be out of place in a Meatmen song. This 7” was crafted with equal parts homage and humor and is a bizarre and boisterous listen from beginning to end (which is about 8 minutes). It’s a perfect record to put on and listen to with friends while drinking; between the head-scratching and laughing you may even find yourself getting a bit pumped.

Oh, and if you want to learn some new and disturbing facts about S&M acts, just run a search for the band’s name.

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Danger presents his top choices of Best Music 2011

Top Eleven Albums of 2011 (in order)

1. Girls – Father, Son, Holy Ghost
2. St Vincent – Strange Mercy
3. Yuck – Yuck
4. Atlas Sound – Parallax
5. Wilco – The Whole Love
6. Wild Flag – Wild Flag
7. Cymbals Eat Guitars – Lenses Alien
8. The Pains of Being Pure at Heart – Belong
9. Telekinesis – 12 Desperate Straight Lines
10. Smith Westerns – Dye it Blonde
11. Feist – Metals

Just Missed It

1. Radiohead – King of Limbs
2. Bill Callahan – Apocalypse
3. Antlers – Burst Apart
4. Ringo Deathstarr – Colour Trip
5. Dum Dum Girls – He Gets Me High EP
6. Jay-Z and Kayne West – Watch the Throne
7. The Mountain Goats – All Eternals Deck
8. Male Bonding – Endless Now

New Discoveries

1. Jad Fair & Yo La Tengo – Strange But True
2. Thee Oh Sees – Castlemania
3. Fitz and the Tantrums – Pickin’ Up the Pieces
4. Sleep Bellum Sonno – Judge Us by How we Lived our Lives not by How we Made our Living
5. Papas Fritas – Helioself

Happy Revisits

1. David Bowie – Young Americans
2. Guided by Voices – Bee Thousand
3. Smog – Red Apple Falls
4. Built to Spill – Keep it Like a Secret
5. The Kinks – Village Green Preservation Society

Further Listening Required (2012 homework)

1. Wye Oak – Civilian
2. Fucked Up – David Comes to Life
3. Real Estate – Days
4. Low – C’mon

Best Tape Release

1. Geronimo – Buzz Yr Girlfriend: Vol. 1

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Black Lips – Arabia Mountain

1. Black Lips – Arabia Mountain

2. Cage The Elephant – Thank You, Happy Birthday

3. Ty Segall – Goodbye Bread

4. Radiohead – King of Limbs

5. JEFF the Brotherhood – We Are The Champions

6. The Strokes – Angles

7. Arkells – Michigan Left

8. Black Keys – El Camino

9. Fucked Up – David Comes To Life

10. Foo Fighters – Wasting Light

Top 5 Favourite New Discoveries

1. OFWGKTA

2. Yuck

3. The Naked and Famous

4. Vampire Weekend

5. Mother Mother

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Tony Hawk's Pro Skater Playstation cover

The announcement of Tony Hawk HD was, to me, the most exciting news from Spike TV’s video-game-award-show-that-I’m-definitely-not-the-target-audience-for earlier in the month. The downloadable title combines levels from the first two games in the series, while using HD magic to make them not look completely awful on modern TVs. However, I was bummed to find out a few days later that this HD version would not have the original soundtracks from the games (which is not really a surprise I guess). This is unfortunate because those soundtracks are so closely tied to my experiences playing the games, partially due to the repetitive nature of replaying stages, but for some personal reasons as well…

In my teens there were three things I cared about: skateboarding, punk rock, and video games. When the first Tony Hawk Pro Skater dropped on Playstation in 1999, it was kind of the game I had waited my entire high school life for. I bought it as soon as it came out and played nonstop for months, competing with friends and myself for higher scores on the game’s nine courses. What initially drew me in to the game (and made me an evangelist for it) was the way it authentically captured skate culture, better than any game before it. Having real life skaters wreck cop cars in San Francisco and kickflip through the legendary Burnside skatepark in Portland made the game feel almost like a counter-culture Madden.

But what really gave the game an air of authenticity was the soundtrack. There were legitimate old school punk and hardcore bands like Dead Kennedys, Unsane, and Suicidal Tendencies mixed in with some of my favorite bands at the time such as The Vandals, Suicide Machines, and whatever-I’m-not-ashamed-to-admit-it, Goldfinger. There was even a Primus song for dudes who like Primus! Minus a handful of forgettable butt rock tracks, this was a huge accomplishment; not only in the realm of typically crap licensed game soundtracks, but in mainstream portrayal of skate culture in general.

And mainstream it was. Tony Hawk’s Pro Skater played a huge role ushering in a new era of skateboard acceptance. Suddenly, wearing an Alien Workshop shirt to school wouldn’t get your ass kicked, because now all the former kickers-of-asses were wearing them too. Overnight, my friends and I were no longer getting spit on and shoved into lockers between classes; we were getting invited to the hottest parties and dating cheerleaders!

OK, maybe that’s a bit of an exaggeration, but the fact that the game had broken into the mainstream was undeniable, and launched a franchise that (for better or worse) still exists today. The sudden and enormous success of the game made a sequel a no-brainer. Tony Hawk’s Pro Skater 2 was released on September 20^th, 2000 and improved on the original in (almost) every way possible. From the game-changing implementation of the manual into the player’s arsenal to the larger courses, huge amount of secrets, stat increases, and awesome hidden characters, the game was an even bigger critical and commercial success than its predecessor. In spite of this, I could not muster the same love I had for the original for its sequel, and the major reason for this was the soundtrack.

Tony Hawk's Pro Skater 2 Playstation cover

Over the course of the year between games, the face of skate culture had changed dramatically. Skaters were no longer just dudes in Minor Threat hoodies with Crass patches sewn onto their jeans. Skaters were now hip hop kids, jocks, hippies, and metal heads too. This changing culture and demographic had a huge impact on the second game’s soundtrack. Suddenly, there were hip hop and nu metal tracks in heavy rotation as I skated through the game’s brilliantly designed new courses. I didn’t mind new additions like Rage Against the Machine (though it didn’t quite fit my idea of what skate music “should be”), but stuff like Papa Roach was just inexcusable in my mind. Thankfully there were still some pretty good tracks by Bad Religion, Swinging Utters, and Millencolin, plus one of my favorite Lagwagon songs, “May 16.”

But even the comfort of Fat and Epitaph bands couldn’t keep me from feeling like an outsider in a culture that was once composed primarily of outsiders. Around this time, I began, consciously or not, shedding my “skater” identity and the time I spent skating dwindled away to nothing. Maybe it was because the new skate fashions of raver pants and basketball jerseys didn’t appeal to me or maybe it was simply because I really wasn’t ever very good and was tired of embarrassing myself and getting hurt. Regardless, I’ll always remember Tony Hawk 2 as the moment when I realized skating was no longer for me.

So it’s with apprehension and strange nostalgia that I await Tony Hawk HD and more specifically, the new soundtrack listing. On one hand, it will likely not contain any songs by Dead Kennedys or Lagwagon, but on the other, at least there won’t be any goddamn Papa Roach.

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This begins the first in a series of best of 2011 entries by our writers and contributors.

Andy’s Best of 2011

Girls – Father, Son, Holy Ghost

Girls – Father, Son, Holy Ghost
No other record brought me back repeatedly, swearing at its core simplicity, simple pop melodies and universal message– the wanting of love in any form. The love of a woman, mother, friends. The record’s haplessly divided by an epic centerpiece, Vomit, that wanders for the first four minutes until it’s spiritual climax. “Come in to my heart,” the band’s principle songwriter, Christopher Owens, proclaims above the gospel choir joining him in a Pink Floyd-esque crescendo. So goes the rest of the record; beautiful, devastating, pop music unafraid to pose it’s influences, with autobiographical lyrics coated in killer choruses . There’s an unbelievable amount of conviction within the performances, production, and songwriting, that elevates these eleven songs together. Father, Son, and Holy Ghost is an intense, religious-like, pop-rock listening experience that I turned to more than any other record in 2011, and will continue to.

Anna Calvi

Anna Calvi – Self Titled
An evil twin sister recording to Jeff Buckley’s “Grace.” If the devil has a voice and can play guitar, she’s it.

Paper Towels – Today We Eat, Tomorrow We Fight, Tonight We F*ck
A large, lo-fi, middle finger to boring, domestic life, technology, and the death of the traditional family unit. Recorded with archaic, analog devices near (what appears to be under) a bridge in a large city– according to the notes accompanying this recording. At times sounding like 1,000 homeless men singing in mono on “Click, Click, Click” (track 11) segways to humorous – if not scientifically correct – warnings to mankind’s most irresponsible kine, “Husbands and wives, your children are getting fatter and not for the better. Click, click, click.” The most baffling, scientific, and politically-prophetic recording I’ve heard this year. Here’s hoping the mailman is as good to you as he was to me this year when this cassette-only release arrived with a PR kit loaded in rock n roll mythology and threats to my personal existence.

Francis Goes Solo {L>R}: Darren Garvey & Daniel McMahon are caught thinking about stuff- beer, monkeys, Mister Meerasaké and melodies.

Francis Goes Solo – Self-Titled E.P.
Daniel McMahon and Darren Garvey, servants of the studio and the road to many Midwestern bands, serve up 3 cover songs by artists they’ve recorded and performed with. Songs by Cameron McGill, Cory Chisel and Miles Nielsen are turned into Bob Dylan’s wild mercury sound in the hands of Francis Goes Solo. 8 minutes 38 seconds caught within one night of recording. Here’s hoping they drag these simple, bombastic, trash-can-glam-folk-rock-pop-punk tribute performances out for 35-37 minutes next. Garvey & McMahon’s Francis Goes Solo debut E.P. is what the true spirit of rock n roll should sound like- lighting in a bottle.

Smoking Popes – This is Only a Test
Josh Caterer composes a teenage rock symphony to youth and longing, and it’s not annoying! In the hands of other pop-punk bands (think anything Blink 182 or a lead singer that sounds like a crying goat- most of the emo rock genre) this would be a terrible, simple, idea- and unlistenable. The Popes prove they’re back full-force, whether anyone else is still listening to them doesn’t matter. The Midwest-pop-punk formula they introduced to the rest of the rock world in the 90s, that many bands emulated poorly, never tires in the hands of The Smoking Popes. “This Is Only a Test” is the most surprising rock listen of the year. Younger, wanna-be-post-emo-punk-whatever they call themselves, bands should take notes here; it starts with writing great songs, then, sing your hearts out. Something Josh Caterer & Co. still do better than most, including their own 90s, commercially successful, peers.

More 2011 Listens

• David Bazan - Strange Negotiations
  

  David Bazan – Strange Negotiations

• The Roots – Undun
• Cameron McGill What Army – Is A Beast
• Tom Waits – Bad As Me
• Bright Eyes – The Peoples Key
• Cass McCombs – Wit’s End / Humor Risk
• Trapper Schoepp The Shades – Run, Engine, Run
• Lydia Loveless – Indestructible Machine
• Fleet Foxes – Helplessness Blues
• Miles Nielsen – Presents The Rusted Hearts
• Wilco – The Whole Love
• Boys Like Jason – I Hope It Never Stops Raining
• Gillian Welch – The Harrow The Harvest
• A.A. Bondy – Believers
• Noel Gallaghers High Flying Birds – Self-Titled

Trapper Schoepp & The Shades – Run, Engine, Run

• The Decemberists – The King of Death
• Yuck – Self Titled
• Jay-Z Kanye West – Watch The Throne
• Stephen Malkmus The Jicks – Mirror Traffic

Records from other years I listened to a whole bunch

• The Moondoggies – Tidelands
• Chuck Prophet – ¡Let Freedom Ring!
• Bryan Adams – Reckless
• Harry Nilsson – Nilsson Sings Newman / and Knnillssonn
• Rolling Stones – Tattoo You
• Glenn Gould – The Goldberg Variations
• Kathleen Edwards – Asking For Flowers
• Margot The Nuclear So Sos – Buzzard
• Beach Boys – Smile Sessions
• Trevor Menear – Some Kind Of Sunshine
• George Harrison – All Things Must Pass

Live Performances

Bon Iver, The Long Center, Austin, TX, September 13th, 2011

Kathleen Edwards &  Bon Iver
The Long Center, Austin TX, 9-13-2011
Edwards’ haunting version of The Flaming Lips’ “Feeling Yourself Disintegrate” to close her opening set silenced the theater as it was still filling in. It was the most memorable single, live performance of the year in a year of many.

Kathleen Edwards, The Long Center, Austin, TX, September 13th, 2011

What’s a list without my worst rock n’ roll related items of the year?
This is the only area of the post many will unfortunately read and offer commentary on– like bread on a stick, feed the pigeons and wait.

AW  |  Andy Whorehall

Sock Monkey Sound

Francis Goes Solo is Daniel James McMahon and Darren Garvey. It was never planned that way but it accidentally happened one night in Rockford, IL– August 29th at Underground Squirrel Studio between 12am and 6am, to be exact. McMahon and Garvey had finished up day 2 of tracking for the forthcoming Micky Rosenquist & The Black Squirrels album project when ‘Francis‘ showed up.  Most of the day’s performers had gone home, with another day of work ahead.  McMahon and Garvey decided to keep working on another 12 pack of beer, which led to a 3 song E.P. they had magically recorded by dawn. Showing up at 10:30am to continue day 3 of production, they shared with me what they had done a few hours earlier.

Choosing 3 great songs by Midwestern songwriters that McMahon and Garvey have supported as recording & touring members over the past few years, Francis Goes Solo was born– with limitations, the rock n’ roll kind.  Every song was recorded in the key of E at 165 bpm, with 1 take, guitars, vocals, percussion, bass.  Overdubs allowed by each were minimum throughout– Darren’s tambourine, Dan’s harmonies.  That’s about it.  Francis Goes Solo covers, in order: “Not On My Side” by Cameron McGill & What Army, originally released on the beautiful 2009 release, “Warm Songs for Cold Shoulders”;  ”Tennessee” by Cory Chisel & The Wandering Sons, off of 2009′s “Death Won’t Send a Letter”; and “Dear Kentucky (You’re Killing Me)” by Miles Nielsen from 2011′s “Presents The Rusted Hearts.”

Francis Goes Solo {L>R}: Darren Garvey & Daniel McMahon are caught thinking about stuff- beer, monkeys, Mister Meerasaké and melodies.

McMahon leads the vocals on all except for “Not On My Side,” providing harmonies to Garvey’s lead.  All three originals by each songwriter are turned inside out; what are fragile, soft, contemplative pop-folk performances by the composers become trash-glam indie rock anthems, amps turned to 10, with feedback and harmonies bristling together with monster drum-fills and cymbal crashes.  Never lost in the sonic rash are each song’s lyrics and perfect pop melodies.  An honor to the songs’ craftsmen, while also serving up more reasons why McMahon and Garvey are in high demand by many bands to provide their services on the road, and in the studio.

Bob Dylan once proclaimed that he sought ‘that wild mercury sound,’ or lighting in a bottle, during the recordings of “Blonde on Blonde”,  and I’ve searched for this mercurial sound my entire life from recordings I stumble upon- and here it is, in all of it’s E chord glory. Daniel McMahon and Darren Garvey found it here, channeled through their peers’ songs, as Francis Goes Solo. This is as close to the sound of being punched in the face repeatedly, and loving it.

Turn this fucker up loud, fist the air or play the air drums, and sing along– then, bow to Francis Goes Solo like you just don’t care.

AW  | Andy Whorehall

Listen to the originals, here:

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Jeff Goldsmith is a singer-songwriter currently playing and recording in Naperville, Illinois.  We’ll get to that part in a moment.  First we need to turn back time a bit.  Long before his current residence and musical project, Goldsmith spent years and years playing in psychedelically tinged rock bands in my hometown (that’s Byron, IL for those of you playing the home edition of the Sock Monkey Sound Trivia Game); bands that I watched play at least a hundred gigs for reasons that now seem much less legitimate than they once did.  It was also because I liked loud things and guitar solos. Those reasons are completely legitimate.  What I’m trying to get at is the idea that the Man at Helm EP is filled with stylistic choices that seem very natural and familiar to me. This causes some difficulty in finding the proper distance in assessing the artwork.

Have I acquitted myself properly? I think so. Let’s move on.

Built on guitars, keyboards, and vocals (with production and percussion help from Chris Hessian), Goldsmith’s songs often seek to find the space between atmospheric parity and lushness.  Goldsmith floats haunting vocal harmonies against swarms/clouds of guitars and synthesized strings and organs.  This is all a very pretentious way of saying there are lots of overdubs woven together with the hope of creating a sonic wash of melody.  This approach works to varying degree throughout Man at Helm‘s four song arc.  “The Drive,” is a nervous bastard of a song; swirled around a repeating acoustic guitar arpeggio. It’s a slow climb that suitably employs the sort of creepy close harmonies that all of those early 00 post grunge bands forgot to take when they ripped off Alice in Chains, and is capped by an appropriately ugly guitar solo.  “Stalemate,” finds an intriguing piano melody and unfortunately does very little with it.  It feels like the introduction to a song that was never completed. If the intention was for it to come across as little more than a sketch, the song succeeds.  “Please, Please,” begins in the midst of a transition between sweet relief and highly agitated and slightly off-kilter tones, but it stumbles with lyrics that attempt doom via the same sort of free associative nouns that one might ignore in a Mars Volta song and do not succeed.  It recovers in the last half when Goldsmith ditches the labored word play for non-lingual coos (na na na na) and a simple plea that plays straight into the heart of the tune.  “The Gamble,” is a simple love song to some person lost in the past and it suits Goldsmith quite well.  More oohs and ohhhs and ahhhs.  These are good decisions that propel the song into its excellent coda.  The instruments shift into a slow, steady, and very beautiful chord progression that hits its peak as Goldsmith gives a falsetto’d cry of, “Waving goodbye.”  It leaves the song and EP on a positive note that is very well received.

You can currently listen to the Man at Helm EP on Goldsmith’s Reverb Nation page

or see him play at the Hipster House in Rockford, IL on December 16

Watch out for Goldsmith’s debut full length sometime next year.

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Chiptune recordings have been rapidly growing in popularity recently, and for good reason. Whether it’s original tracks by artists such as Anamanaguchi or remixes of just like whatever, chiptune is a perfect mix of nostalgia and fun.

While anyone can make a chiptune remix and throw it online, there is something undoubtedly special about an officially released album. That’s what SQ Chips is: a full album of chiptune remixes of tracks from Square Enix games. It’s worth noting that this is not a “pure” chiptune remix album; as there are some bits of orchestration and clips from the original games, but these segments do nothing but enhance the album as a whole. And what a wonderful album it is!

The record opens with a fantastic remix of the Chrono Trigger theme, which sets the tone for the rest of the album: upbeat, fun, and danceable. The record, despite being arranged by a dozen or so different artists, remains consistent with these principles throughout.

Other highlights include the theme song that played during the unforgettable (for reasons good and bad) spaceship scene in Final Fantasy VIII, “Eyes on Me.” Another Infinity’s remix changes Faye Wong’s endearing piano ballad into an 8-bit dance track, which works far better than I could have predicted. An additional high point is DJ OMKT & MJ’s other Chrono Trigger track “Character Melody,” which is almost as varied and memorable as the cast of the classic SNES RPG.

The sole Xenogears track, “The Wind Calls to Shevat in the Blue Sky” is a welcome addition to the record; Sexy Synthesizer’s take on the song is a lively interpretation of the sullen and ambient original. Arrangements from Brave Fencer Musashi, Nanashi no Game, Einhander and Project Slypheed are interesting choices to appear on the album, but the majority of the disc are, unsurprisingly, tunes from the Final Fantasy franchise. This is in no way a bad thing. In fact, my favorite arrangement on the record is 203soundworks’ version of “Terra’s Theme” from Final Fantasy VI. But as a huge fan of Square Enix’s massive catalog of classic soundtracks, I couldn’t help but imagine how great some chiptune remixes of songs from Dragon Quest, Chrono Cross, Kingdom Hearts, or Tactics Ogre would be. The fact that I was left wanting more after listening to this album multiple times is, in a way, a testament to the quality of the record. Who knows, maybe Square Enix will release a sequel (or sequels) to the album; they are certainly no strangers to that. The fantasy is never final…

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Wilco’s records are highly over-analyzed by fans and each critic alike.  They deserve time, patience, equal parts of entertainment as well as contemplation. They’re a fine American, Midwestern wine, beyond rare, and capable of a few forgivable releases that don’t seep in so well after some time (Yankee Hotel Foxtrot / Kicking Television / Wilco The Album). Yes, Yankee Hotel Foxtrot is not aging well, especially compared to it’s predecessors (A.M. / Being There / Mermaid Avenues 1 & 2 / Summerteeth) but that’s another article open for an argument that many die hard Wilco/Tupelo fans will side with me on; and many of the newbies will yell foul on. Warning hipsters, you will lose the argument. Moving on.

“The Whole Love” by Wilco, Chicago’s beloved little art-bar-band, finds Jeff Tweedy and company returning to playful recording territory that’s very reminiscent of the Jay Bennett-Wilco years, with a few post-Yankee hiccups.  Alluded to already above, each new Wilco record gets the microscope and pre-ejaculate critique upon it’s release by a die-hard fan base and music critics alike.  “The Whole Love” is no different, but with a little time and repeat playings, a formula becomes apparent that we, the fans (I’m no critic), have definitely heard before throughout their career and incarnations.

The Formula  |  The Whole Love (Song)  |  ’All This History Is Just a Mystery To Me’ – The Wilco Reference

1.  Epic opener, slow n’ stoned,  obtuse lyrics and music, crescendo  | “Art of Almost” |  See “Misundertood” and “Sunken Treasure from “Being There,”  “I Am Trying To Break Your Heart” from “Yankee Hotel Foxtrot,” and “At Least That’s What You Said” from “A Ghost Is Born.”

2. Snotty, jangly pop songs questionably released as singles in an effort to grab new fans but failing to do so, ironically, perfectly  |  “I Might”  |  “Box Full of Letters” from “A.M.,” “Monday,” from “Being There,” “Can’t Stand It” from “Summerteeth,” and “War on War” from “Yankee Hotel Foxtrot”

3. Buried gems, fragile acoustic ruminations tucked between subtle garage-pop rocker songs, piled on and too good to be ignored  | “Born Alone,” “Open Mind,”  ”Standing O,”  |  ”Passenger Side” and “Dash 7″ from “A.M.”, all of ‘Being There’ to put it bluntly-

Let’s stop there– there’s a formula, more than plenty John Sebastian (Loving Spoonful) nods, and I can’t give it all away as I feel newbies have to discover it on their own. It’s an obvious track listing equation, and it’s ok because I love this band even when I want to hate them, I love Jeff Tweedy’s songwriting, I love every band member that crosses Wilco’s path for better or worse. There is only one professional American band that can get away with a formula at this point in their long-running career compared to other American rock entities (Foo Fighters, Pearl Jam), and it’s Wilco.

“The Whole Love” is as close as it gets to picking up the creative pace of an incarnation of Wilco that matches the youth and excitement of pre-Yankee recordings. Particularly “Being There.”  Much of this feeling in the production of the record is due to Patrick Sansone’s contributions as a co-producer– every note has more color, John Stirrat’s bass has more depth, and Nels Cline’s freak outs on guitar are more prevalent- though, give us more Nels, please.  All of this helps cover up Tweedy’s ability to be lyrically transparent when he wants to be, and obtuse combined with utter nonsense, in one sitting. Only Jeff Tweedy can get away with great, self-loathing, confessions like, “I know I won’t be the last cold captain tied to a mast” on the title song, “The Whole Love,” along with, “Sadness is my luxury…. Loneliness postponed” on “Born Alone;”  to be offset by poetic gibberish like, “It’s in the .. everybody…Let it taste let it go…I don’t know… bad shaving and low low slow mo” on “I Might.”  For as many golden lyrical confessions that Tweedy makes, there’s equal amounts of enjoyable poetic/phonetic shit to sift through. Very Malkmus of him. Very, very, Malkmus for  the record’s better.

This is the finest outing to date by this incarnation of Wilco’s lineup but it has it’s lulls;  ”Black Moon” and “Rising Red Lung.” They hold back this record from achieving a knockout status with repeat listens.  Even more frustrating is hearing a B-Side/Outtake (“Message From Mid-Bar”) that is superior to the songs included in the final track list; but now I’m being a die hard snob..

All is forgiven over “The Whole Love”s lulls by the record’s end because the outro, “One Sunday Morning (Song For Jane Smiley’s Boyfriend),” covers up for it’s subtle letdowns. It’s so transcendent a recording that it covers up many loose ends in the Wilco canon since Bennett’s forced departure and untimely death in 2009.  Containing a simple melody that could travel for hours, it’s Jeff Tweedy’s most defining moment as a songwriter, officially, emotionally, moving him artistically past the Fararr/Bennett/and Yankee era benchmarks. As it focuses on the ruminations of life, death, fathers, sons, it also serves artistic respect to his latest, and longest standing, incarnation of Wilco.  It could go on for hours, it’s that good a song.  After many repeat listens, it could also serve as a coming to peace with the past and moving on for it’s narrator; be it you, me, Jeff Tweedy, anyone. ‘One Sunday Morning’ is a reconciliation of sorts with the past and the present, and then it’s over, like the memory of a loved one, the melody lingers, looping, and never to be forgotten soon.

I can’t wait for the next Wilco record; will it be the traditional country record I’ve been waiting my whole life for from Mr. Tweedy?  Is he ready for what he has done best since the days of Belleville and Tupelo? No? Will it be the garage rocker, no overdubs? Will it be another sneaky Loving Spoonful dose of Randy Newman influenced classical pop?  Will it all be covered in dare to be different modern noise, to hide the uncomfortable melodies we all listen for and find comfort in anyway?  Who cares, each Wilco record deserves your utmost attention, for they are an American treasure.

As always, I can’t wait to here where they go next.
Love,

AW  |  Andy Whorehall

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Beneath the Space Age motifs and prog rock jams, frontman Tom Delonge’s lyrics in Angels & Airwaves have always been about human experiences: good and bad, macro and micro. However, the dichotomy between 6+ minute tracks filled with static and radio chatter and the earnestness in Delonge’s writing and delivery have led to records that felt slightly inconsistent. Despite some excellent tracks, the first three albums by the band have been difficult to fully recommend. This has changed with Love: Part Two.

The record still starts off sounding like a trailer for a new Halo game but is quickly reigned in with the pounding album opener “Saturday Love.” Thankfully, Love: Part Two manages to keep that level of desperation, sincerity, and energy throughout the entirety of the album. “My Heroine (It’s Not Over)” is a lovely mid-tempo song of longing that is both inviting and relate-able, while the troubled-relationship anthem “Dry Your Eyes” captures the same infectious pop-punk feel as the band’s 2007 minor hit “Everything’s Magic.”

With tighter, more focused production and less of the ambiance and drone of previous releases, Love: Part Two allows Delonge’s unabashedly positive songwriting to shine. This is not only Angels & Airwaves most accessible record to date, but also their most consistent, and finally, one that is easy to fully recommend.

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Nathan Williams needs to stop hanging out with his girlfriend.

Not because he’s “neglecting his bros,” or some other trival reason, but because his relationship with Pitchfork darling Bethany Consentino is starting to turn his band into Best Coast with testicles.

Life Sux, the new EP from Williams’ band Wavves, fails to generate the excitement of the group’s earlier work. While the record is still a great listen, it feels as though Williams is moving in a direction not his own, taking cues instead from tastemakers and his better half.

Life Sux is a study in every other jangly surf-pop record that has come out recently. The fun, attitude-saturated blast that was 2010′s King of the Beach was polished in all the right ways, but Life Sux makes Williams look like he’s trying to ride his beau’s coattails right into a major label contract. “Bug,” the opening track on the record, sounds like it could have easily been written by Consentino. But that’s not to say that Wavves lost all of it’s goofball goodness along the way. “I Want to Be Dave Grohl” is the tongue-in-cheek anthem for any slacker with big-time rock star dreams. Ironically, it’s that sentiment that probably propelled Williams to approach the material on Life Sux in the way he did: with ambition to headline fests.

The Life Sux EP is ultimately a forgettable addition to the Wavves catalog. The record is steeped in sounds not quite his own, and it is evident that creative control wasn’t as in the hands it should have been in. Williams could do himself a favor by getting out of the hipster magazine offices and back to the beach.

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Geeks trying to look cool. Abuse of lens flare effect has been cited.

This week saw the release of Chicago-based I Fight Dragons‘ new album Kaboom!

This is going to be one of those albums that will fly underneath everyone’s radar, but everyone should be listening to.

I Fight Dragons uses 8-bit sound bites subtly and effectively. They are not the focus of the music, but definitely add that little bit of interest that keeps you listening. Although they are working with a genre of music that can quickly become campy, I Fight Dragons managed to take their nerdy uniqueness and morph it into something that will appeal to the masses.

Upbeat and energetic from the start, there’s nothing that I hate about this album. Musically and lyrically, the songs all work well together. Intentional or not, the album seems to center around the themes of saving the world and being yourself. This plays in perfectly with the video-game nerd persona of the band and sELF’s Matt Mahaffey provides solid album production throughout.

I’m probably on my 10th listen of the album this week, and it’s hard to pick out a favorite song. The first single from the album, The Geeks Will Inherit the Earth, is an obvious choice, mostly because it almost shares a title with my favorite book of the year: Alexandra Robbins’ The Geeks Shall Inherit the Earth. In fact, the entire album ties in very well with her book, which deals with the pressures of being different in high school and how that equips kids to be successful adults.

Check out this album, and be sure to catch I Fight Dragons on their current tour. I Fight Dragons will be playing at the Metro in Chicago on December 17, 2011.

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The first two tracks are similar in the beachy, singsong feel. The first song, “We Got It Wrong,” has layers upon layers of synthesized sound that create an atmospheric sense to the track, rather than a distinct feel. The vocals are a little bit more unrefined than on most electronic songs, which actually create depth and bring the airy tones down to a more realistic level.

Following on the same vibe is “The Old House Is Gone.” Starting out with the same atmospheric vibe as the first, when a strong bass line is added to the mix, it propels the track forward. About halfway through the song though, a high-pitched staccato synth enters overtop of the rest of the syncopated undertones, just pushing the song over the line.

Where the EP makes a turn for the better is with the remaining four tracks. The single of the album, “All Eyes On You” is definitely the highlight. With more of a concentration on the vocals, the song propels into an upbeat yet laidback vibe with a stronger drum beat than the past two songs. There is still lots of instrumentation, including a sax solo, but whenever a new instrument is introduced the rest of the sound flows into the background, making the overall sound much more succinct.

“Before the Drive” follows along the same path with the romantic flowing vocals that accompany the harmonic, catchy piano beats. The darker “Paper Heart” follows, with heavy long heavy bass tones over top of the peppy drumbeat. Complete with singsong ‘la la las’ the song finishes with light airy tones.

Finishing off the EP is “Closer Than This” with clearer vocals than the rest of the album, and more synthesized chords, the instrumentation continues with a 80s-feel simple drumbeat.

When St. Lucia uses simple aspects instrumentally layered upon other sounds, the result is a catchy, upbeat with a trance-like feel. When he begins adding more complex, syncopated rhythms on the drums with more harmonic tones and barely-there vocals, the feel is lost, shown with the first two tracks of the album.

Sometimes simplicity is best, and when St. Lucia uses it the result speaks for itself.

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At last, the answer to the age-old question that has plagued mankind for centuries: what would Vampire Weekend sound like if they had been as influenced by Talking Heads as much as they had been by Peter Gabriel?

Well, not many people may have been looking for that particular answer, but just listening to “Blastoff,” the opening track off of Reptar’s Oblangle Fizz Y’all, certainly makes one feel like Ezra Koenig left Harvard, grabbed a few synthesizers and a sheet of acid and made a weird solo record.

Oblangle Fizz Y’all, despite falling victim to the trappings of other electronic indie bands, still manages to be a cool record on the first couple of listens with some bright, fun music and grooved-out rhythms.

The tired phrase goes “there’s something for everyone.” This 5-song EP doesn’t necessarily have that, but the wide range of influences on this thing certainly should pique the interest of many different groups. From fans of the first few Red Hot Chili Peppers album, to those curious what Amy Winehouse would have sounded like had she gone through a reggae phase, the little nods-of-the-hat on Oblangle Fizz Y’all are almost too fun not to point out. Sure, it doesn’t really amount to a surprising or “original” sound, but Reptar are still fun, bouncy and soulful for the whole ride though.

Though the novelty wears off kind of quickly, take Oblangle Fizz Y’all for a quick spin when you get the time. It’s a nice way to break up the day and catch a breather.

Out now on Vagrant Records

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Martin Scorsese‘s four hour reflection on the most private Beatle of them all, George Harrison, is short on revelation but high on respect towards the man apart from the Fab Four.  Scorsese’s documentary, “Living in the Material World,” is heavy on George’s youth and history with the Beatles, along with finding faith and spirituality, and living & acting it out without pretension.  Given ‘platinum’ access to the family’s archives and interviews with band mates, family members and peers, Scorsese uncovers photos and homemade videos portraying Harrison in every light, dark and light.  It’s the dark side of George he respectfully leaves out most of the time, letting it remain softly private, and hinted at by interviewees.

Martin Scorsese

The restraint Scorsese intentionally practices with Harrison’s “Dark Horse” period is noticeable, as is most of his solo career after 1970′s masterpiece, “All Things Must Pass.”   Eric Clapton, super-session drummer and unofficial ‘Wilbury’ Jim Keltner, along with Klaus Voorman and Harrison’s first wife, Patti Boyd, provide us the few narratives allowed into that period of his life. Phil Spector, pre-murder conviction, is caught in fun spirits recollecting how “All Things Must Pass” came to life.  If the rest of the popular culture was caught up in post-Beatle breakup circa 1970, Harrison was already moving on, stock piling songs for a few years that never made the Beatles catalogue.

The “Dark Horse” period of Harrison’s career, 1974-1980, remains a mystery, though we know a few of their causes (Clapton and Boyd’s affair, laryngitis, women, drugs), even after Scorsese’s touch on it.  We know he suffered emotionally & physically based on the commentary despite efforts to remain open hearted, humorous and accepting of events, accumulating with John Lennon’s death. From there it’s a blur- we learn the stabbing he took in his own home on New Year’s Eve, 1999, was worse that the press made it out to be; and even after having survived the stabbing to simultaneously suffering & succumbing to cancer, it’s again with a Beatle, Ringo, do we shed a tear over the last words recollected with George, lifelong friend and band mate. It always hits harder when Ringo speaks, and Paul sheds a tear, and vice versa.

Many moments in Harrison’s life feels cut off, intentionally, by Scorsese.  From one great artist to another, Scorsese to Harrison, one can only feel Scorsese softened up with editing out a large chunk of Harrison’s life; but only he, the master film maker, could avoid a major chunk of time in Harrison’s career (most of 1973 to 2001) and get away with it.  Any director could have made something great out of George’s life on film– but only one would truly know how to handle it with respect, Martin Scorsese, he  a true lover of music as documented in his own films over the last 4 decades.  Everything about George Harrison’s life after 1974 that Scorsese casually refuses to share, is in the song, “Beware of Darkness”, off of 1970′s “All Things Must Pass.”    Harrison’s life, and everything Scorsese maybe wanted to say within this film, could easily be summed up within those 4 minutes. Listen, and watch, closely.

AW

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Lindsey takes a listen to the Alexx Calise side project Sound of Cancer and their debut “No Vampires in Gilroy”

After my reactions to Alexx Calise last year, and her fans’ reactions to my review of her solo album, I was more than thrilled to get a second chance: a review of her new release with her other project, Sound of Cancer (Reverbnation Link)  “No Vampires in Gilroy”.

Well…. I don’t hate it.

It sounds like a more pop driven record than I would have expected after listening to the rough cuts last year. Alexx has a very good voice, and does very interesting things with it on songs such as Darkarnival by really stretching her vocal chords limits.

As I said with her solo release, the production value is very high on the album overall and there are sonic flourishes throughout. While some might think this adds to the value of the songs, I don’t quite agree. The crazy effects occasionally detract from what’s at the core of the songs; obscuring her songwriting skills and natural talent as a vocalist and guitarist. This does shine through on some songs such as Love and Need Someone where the production takes a back seat and the song is able to shine.

My favorite song, one that I actually really like and will listen to all the time, is Now That You’re Gone. It’s haunting, and beautiful, and reflective of Alexx’ stated influences. While I’m sure her musical partner Dennis Morehouse is represented as well, Calise is the center of attention throughout.

I hate saying “I would like this more if…” but that’s how I felt about this album. Surprisingly, I was actually excited about it when given the opportunity to review it..

What it comes down to is this:
Alexx is possibly one of the coolest people who I have never met and I have crazy amounts of respect for her and her response to my less-than-glowing review last year. Did this color my reaction to her new project? Probably. Music is so intensely personal for me that it’s hard for me to separate my feelings about the people who make it and my connection to the music, from the music itself.

Is this my favorite album? No. Will I listen to it a lot? No. Do I like it better than Alexx’ solo material? Hell, yes. I can’t tell you to run out and order it, but if you’re interested by our little conflict, you might want to check it out for yourself.

Make up your own mind and feel free to share in the comments below.

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Portland, Oregeon’s cosmic folk-rock weirdos Blitzen Trapper return to the American backwoods on their 6th release, “American Goldwing.”  The prog-rock/British folk flavors exercised on the previous record, ‘Destroyers of The Void’ have been substituted for other cross-Atlantic influences (Stones, T-Rex, and a heavy dose of The Faces), and it shows on the 1-2 openers, “Might Find it Cheap” and “Fletcher.”

The cool kid, bearded beauty that underscored 2008′s breakout, their 4th record, “Furr,” makes a return throughout but the experimental-electro country rock stylings of the band’s earlier records are almost gone here. Instead we’re treated to stellar warm production, subdued performences and traditional songcraft.  Eric Early’s prettier compositions tip tap between soft, Dylan-esque wanderings (“Girl in the Coat,” “Stranger in a Strange Land,” “Taking it Easy Too Long”) and a heavy dose of 70s folk-rock swagger (“Street Fighting Sun,” “Astronaut”).  The closer, “Stranger In a Strange Land”, being one of the prettier songs he’s written over the course of 6 rewarding records, sings like a love song to fellow, tired, traveling musicians.

Early’s songs seems to imply that the road he and his band mates are on has to stop at some point, and that’s the overall feeling on “American Goldwing.” Blitzen Trapper are still wandering through the forest with a backwoods wonder here, but the weirdness & excitement from their earlier records has been traded in for career focus, contemplation, cautious swagger and production proficiency. Not a bad thing, it’s worth the wandering with repeat listens.

AW

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