By Brandon Lütmér

I did a proper review for the first ten you’ll see below here and then 20 second reviews for the remaining best of. Just because something got a longer review doesn’t mean it’s better than any others.  I just had more to say about it.  These are reviews of the BEST albums that I heard from 2010, NOT a top ten list becuse it’s too hard to narrow these down to ten.

Full Reviews
Joanna Newsom – Have One On Me
Beautiful is a pretty good description of this record.  The songs kind of just float along with a delicacy that no other record this year has captured.  Once again, as in every one of her releases it’s her sense of melody that really keeps you coming back.  The songs are lush and big but don’t ever become too weighty.  If you’re not familiar with Joanna Newsom then this might be a good starting point.  Her voice is  a little less frail and harsh as on The Milk Eyed Mender and the songs aren’t epically long like Y’s. If i had to complain i would say it’s a little lengthy… three LP’s can be a little much unless you’re Philip Glass or Sam Cooke.

It’s A King Thing – Buffalo buffalo Buffalo… {FREE!}
I discovered this band when i was trying to figure out why my friend Andrew named his show house It’s A King Thing.  Turns out they are an amazing pop band from Philadelphia.  Now, there are some bands who can get away with having cheesy lyrics; bands like The Smoking Popes and Weezer seem to have a knack for saying things that I would normally consider lame but sound endearing and clever when sung by these guys.  This is a gift I do not have, but It’s A King Thing definitely have this gift and use it well. The melodies are so catchy that I kept listening to every song on repeat.  How can a band write a whole album of nothing but hooks?

Hanalei – One Big Night
I’ve been listening to Hanalei since I was in High School.  I remember when it was just Brian Moss and a laptop.  I also remember when they were a full country-ish indie rock band and now, for their third full length release, Hanalei is back to being just One person.  not even a postal-service-y laptop to back him up or anything.  That one of my favorite aspects of One Big night:  it sounds like it was recorded with a four track in his bedroom.  This lo-fi quality really brings out the subtle beauty and grace his songs carry. Straight faced, honest lyrics with not much more than an acoustic and the occasional drum machine makes this album perfect for lazy days or sleepless nights.

Everyone Everywhere – Everyone Everywhere
I first heard these guys when we played A.R.M.s Fest with them in Akron.  I was immediately impressed with the song structure – they have a classic early 2000′s emo sound i.e. The Promise Ring, mid era Get Up Kids and Jimmy Eat World.  This is something you don’t see too often in the emo revival scene, most of that scene is super noodly guitars and epic sing-a-longs so it’s a breath of fresh air to hear a good poppy emo band that writes catchy songs.

Belle & Sebastian – Write About Love
My roommate Brian gave me this record for my birthday. Belle & Sebastian have never released an album that wasn’t good and this one doesn’t disappoint either.  Another perfect pop record by the aging Stuart Murdoch and company.  As with their last few release it lacks a little of the youthful zest and wit that their first few records had, but that’s to be expected.  I’d rather their songwriting change over time than hear them say the same shit over and over again. It makes it more believable too – there’s no way they’re going through the same shit now as when they were in their 20′s.  Kudo’s to Belle & Sebastian for staying relevant for so long!

Bonnie “Prince” Billy & The Cairo Gang – The Wonder Show
Anything Will Oldham puts out is awesome.  If you’re not familiar with him or his many monikers than you should grow up and download “I See A Darkness.”  This album with The Cairo Gang is a little more Lo-fi and minimalist than his country-twinged releases of late – and that’s definately a good thing.  I appreciate him switching things up a bit. ‘The Wonder Show’ is a slow-moving, beautiful record that deserves a lot of plays when you’re alone in your bedroom.

Superchunk – Majesty Shredding
For a comeback record this was really good.  It’s rockin, catchy, and fun as all hell. It’s loaded with ketchup, mustard and all the condiments that make a tasty sandwich great instead of just good. It’s a good place to start for the younger generation who might be unfamiliar with the band.  Don’t get me wrong, the old tride and true Superchunk fans will love it too, but where it has stayed on track in the hook department it seems to have failed a little in the lyrical.  I’m not saying the lyrics are bad… just not as good as any other Superchunk album.  I mean you can’t blame him really, what’s he going to sing about being successful and loving his life as he approaches becoming middle aged?  Hey, it’s better than the Smoking Popes comeback record.

The Tallest Man On Earth – The Wild Hunt
This record took me by surprise.  Before this year I had never heard Kristian Matsson before and upon my first few listens I honestly didn’t care for it.  The same thing happened to me three or four years ago when I first heard Joanna Newsom.  In both cases i didn’t care for their voices at first but their sense of melody and songwriting kept me coming back until I couldn’t stop listening.  At this point I consider them to be two of the best songwriters/performers around and to have beautiful and distinct voices.  His voice is the main thing that sets him apart from every other Bob Dylan loving songwriter with an acoustic guitar and a flair for surrealistic lyrics. Just start The Wild Hunt from the beginning and take it in. The great lyrics and expert hooks start immediately and dont stop until the record’s over. Absolutely fantastic.

Annabel – Here We Are Tomorrow
I know these dudes from Akron, OH personally so I’ll try and not be too biased on their ep released last month.  This was probably the best 7″ I heard all year and rules so hard… that’s the truth. Annabel is a poppy indie rock band from the Midwest and this ep is a step up from their already catchy full length that came out last year.  Killer melodies and pop sensibility with equally great instrumentation.

The Black Keys – Brothers
I have never really been a fan of The Black Keys.  I never hated them or anything, but I just didn’t see what the big deal was about.  I’m still not sold on their older records, but Brothers is a superb album.  It seems to blend the perfect amount of honest indie rock with 60′s Motown style and flair.  This record is so awesome that I might even check out their previous records… maybe not; but I do think Brothers will stand out this year for being not only a fantastic album from beginning to end, but a rousing commercial success as well.  Something you don’t see too often these days.

___________________________________________________________

20 Second Reviews

Titus Andronicus – The Monitor
Just as good as their last record “The airing of grievances” but standing a little more firmly on it’s own two feet.  ”The Monitor” is full of sprawling loud raucous indie rock songs that make you want to throw your fist in the air and sing along.

The Please & Thank Yous – Mind Your P’s And Q’s
TPATY are an amazing pop/punk/emo band from Chicago that obviously love The Ergs. This album is a smart, clever, and well-constructed punk record that deserves far more attention than it got.  This may sound lofty, but it’s probably my favorite punk album to come out of Chicago in years.  There’s not much I don’t like about this record. Word on the street is that it’s being sent for it’s second pressing… so go buy it

Merchant Ships – For Cameron
Merchant Ships was a spectacular traditional emo/screamo band from south bend Indiana. they broke up this year after recording For Cameron so this never got a proper release.  It’s a shame because this is youth angst and honesty backed by noodly guitars with more sing-alongs than you can shake a stick at.

The Ground Is Lava – Freeze Tag
TGIL is and super fun emo band from Ohio with lyrics as quick and witty as their guitar lines. listen to this if you have a heart and enjoy having a good time. Everybody should see these guys live, but make sure you get this album first and memorize every song on it.

Snowing – I Could Do Whatever I Wanted If I Wanted
Snowing is a wild, smart, and talented band from Philadelphia who play some good classic emo.  It reminds me of Woodson by The Get Up Kids but with more balls. This is their debut full length and a step up in songwriting from their 7″.  I’ve heard some negative opinions of this record from people who liked the 7″ and I don’t understand why.  oh well.

The Reptilian – Full Health
Full Health is The Reptilians 3rd proper release and by far their best. Traditional Screamo from Kalamazoo, MI with enough honesty to pull in fans of any similar genre.  The songs On Full Health are short and sweet and leave the listener wanting more.  this is great for me because if a screamo song is too long and epic I get bored. See them live. it’s toally awesome.

The Love Of Everything – Best In Tensions
The Love Of Everything is the moniker of long-time kinsella affiliate Bobby Burg.  This record gives you more of the same as all his previous records.  Smart, bizarre, and loopy pop songs sung out of tune(and that’s not a band thing).

The Hold Steady – Heaven Is Whenever
The Hold Steady is a great band.  This record is great too.  Not nearly as good as their first three albums but better than #4, Stay Positive. This album finds them without keyboard play Franz Nicolay- and it shows. It’s more straight forward guitar driven rock-n-roll.  ’Heaven is Whenever’ doesn’t have as many stand-out tracks as any other Hold Steady album but stands on its own as a whole.

Coping – Lawndale
Coping is a traditional emo band from Chicago.  More emotional than fun, but more fun than sad.  Lawndale is full of great sing-a-longs and youthful vigor. This tape only release is too short and needs to be listened to on repeat over and over again.

Sun Kil Moon – Admiral Fell Promises
I will always love anything Mark Kozelek does.  His minimalism music and mopey voice just get me. this album is good, but not as good as 2008′s April. AFP is more spacey and full of a meandering acoustic guitar that distracts me from the songwriting. Still a solid album though, worth a listen if you’re down for some down-tempo.

Tigers Jaw – Two Worlds
I didn’t realize this band was as big as they were. Tigers Jaw is a great pop/indie/punk band that sounds like they would be on Vagrant records when I was in High School. Two Worlds is a good record but I don’t think it’s any better than their Self titled album.

Dr. Dog – Shame Shame
Great album from the Philadelphia indie giants. Although it’s not significantly different than their breakthrough 2008 album Fate.

Spoon – Transference
Spoon is a great rock band.  They’ve had a long career (in Indie Rock terms) and keep putting out great albums.  This one is a little more out-there and experimental compared to Ga Ga Ga Ga Ga and Gimme Fiction, but that’s not a bad thing at all.

Mountains For Clouds -Some People Buy Scenery Like This
Mountains for clouds is a sometimes instrumental twinkly emo band from Michigan.  This is their debut ep and won’t disappoint anyone who loved Low Level Owl.  Remember when you were nineteen years old and you went through that stage where you really liked Explosions in the sky?  It feels kind of like that but better and you wont get bored as fast.

The National – High Violet
Tha National is awesome. High Violet is as good a all their other albums. If you’re not familiar than that’s too bad.

Rufus Wainwright – All Days Are Nights
All Days Are Nights is an interesting departure from the usual big bombastic orchestral pop that I’m used to with Rufus McGoofus.  I have been a fan of his for years.  This record is more straight piano and voice, which in turn makes it much more easy to focus on the songwriting.  Apparently his mother died right before he started recording this record.  I suppose that makes sense considering this album is one of the most heartbreaking of the year.

The Walkmen – Lisbon
The last two months have cemeted The Walkmen’s place as one of my favorite bands ever.  After having not listened to this band in at least three years I downloaded the rest of their albums and realized i had been missing out. They’re all great and Lisbon is the cream of the crop.  Good reverb-y indie rock that would make Interpol very horny, evil (like they wish they could be) and jealous.

BL

________________________________________________

{About the Author: Brandon Lütmer is the star personality & lead actor of Sock Monkey Sound podcast.  He’s also a member of the midwest band, Joie DeVivre. This is his first official written entry for the Monkey bunch but 2011 brings many many new adventures for our ex-Survivor TV show contestant- which may keep us waiting for his next one.  Either way we will- with fervor we will wait for Lütmer! – SMS Ed.}

Sock Monkey Sound

{Contributing writer Lindsey Bakker provides a months later, thoughts pondered summary to 2010′s 3-Day Festival in Chicago, IL highlighting an affordable way to enjoy the festival- but to be prepared for any festival this size and reasons why. }

By Lindsey Bakker

I may not be the best person to review Lollapalooza. I’m not its biggest fan, and by the end of the weekend I usually hate it and can’t say enough about how exhausting, hot and crowded it is. But I always seem to forget this once a year has passed and it’s time to sign up again. I know I’ll get shit for this because this year, after I posted how exhausted I was people replied that I shouldn’t complain, I got to go to Lolla.

I heard about the volunteer program through a friend, and decided that was the way to go if I wanted to experience this spectacle. I still pay, but my cost is only $10, which is basically an application fee. I work a 3-4 hour shift each day, but get to attend the show for the rest of the time.

I would never pay for Lolla. It’s really damn expensive. A 3-day pass will cost you around $210, and single-day passes are $90. On top of that, you’re going to be there for 10-12 hours so you’re going to have to eat at least one meal. And then there’s the beer. I remember beer costing about $5-$7 (I couldn’t really drink because I was volunteering) which isn’t terrible. But again, you’re there for so long that you’re probably going to drink a lot. I saw people with beer in their hand as soon as doors opened. All this adds up, and we’re not even counting any music or merchandise you buy. To me, what is offered is never worth that much money.

Lollapalooza, Chicago, IL 2010

There’s a lot that I complain about with Lolla. It’s too hot. It’s too crowded. I don’t like half the people that are there. It’s exhausting as well. Even though I was determined to see as many acts as I could, the only day I really did this was Friday. By Saturday I was running out of steam and on Sunday I gave up completely and stayed in one place most of the day.

I never complain about work though. I have a pretty sweet job. I help people with disabilities access the event. Most of the time, I “guard” wheelchair platforms. I get to see the shows at the stage where I am stationed. I meet awesome people on my platforms and I love everyone I work with. Basically, if I could work the whole time I am Lolla I would be happy, because I have more fun when I am working than when I am not.

The other part I would never complain about is the food. Seriously. There are some excellent selections, and I think that everything is reasonably priced. As a volunteer I usually get a $5 coupon to spend on food. This year, we got our coupon on Friday but not for the rest of the days. Every single volunteer was bitching about this. My favorite this year was a lobster corn dog by Graham Eliot. It really sounds disgusting but it’s so delicious. Almost anything offered at either food area is worth trying. The lines suck, but you’ll be rewarded for your patience.

Friday

As soon as doors opened you could start spotting Lady Gaga fans. The “Little Monsters” (Seriously. That’s what the members of her fanclub call themselves. That should be the first indication that you should never ever listen to Gaga) were all dressed up like walking freakshows. I wish I had my camera with to take pictures.

I was working first shift, placed at the out-of-the-way Sony Bloggie stage. It was slow, and not many people were showing up for the opening acts. Most people that stopped by were looking for B.o.B, who was performing at the opposite ends of the ground. There was no one coming to our platform, and we (me and the other volunteer) were getting eaten alive by mosquitoes. It was not a good way to start the weekend.

Foxy Shazam

Luckily, there were some awesome medics who sent us to go get bug spray from the medic tent. And they gave us someone to talk to before the music started. Foxy Shazam was first up, and they were impressive. A Queen-esque acid trip of a rock and roll band, their half hour set was just not long enough. Eric Sean Nally (lead vocals) has called his band “the Michael Jordan of Rock’N’Roll” but at the show he nailed the description during their set: “If Foxy Shazam were an animal at the zoo, we’d b the one most likely to bite your head off without even thinking of it.” They were a surprise, and a fantastic opening band. The chaotic, manic music was matched nicely by the stage antics of every member of the band. In-between song banter also complimented the songs. Neally is extremely quotable, and half my notes are just the crazy things he said between songs. The set ended in chaos, with all members switching instruments. The keyboard player was standing on his set, pounding on it like a monkey, and the singer had a cymbal on his head. I’m not sure recordings of this band will ever deliver the pleasure of seeing them live.

Atlanta-based band The Constellations were up next on my stage. According to the program, they did very well at South by Southwest, and were named on of Spin’s 50 must-hear bands. They were good as well. They didn’t blow my mind like Foxy Shazam, but it was something I’d go see again. The Constellations are a 7-piece band, so there is a lot happening on stage at one time.

Lady Gaga, Lollapalooza 2010

You can’t talk about Friday at Lollapalooza 2010 without mentioning Lady Gaga. It’s been the first or second (behind “Did you see Green Day?”) thing people ask me when I tell them I went to Lolla. Because I knew I’d be writing this up, I knew I would have to go see it. I figured I could still hate that trashy music but respect a good stage show. Unfortunately, Lady Gaga did not even deliver a good spectacle. I stayed at the stage for maybe 15-20 minutes, and caught pieces of the performance on the way to and back from the stage. During the time we were there, she played only one song (Boys, Boys, Boys). The “stage show” consisted mainly of men in their underwear cavorting around the stage. The rest of the time we were there, Lady spouted nonsensical bullshit about how nobody liked her last time she played Lolla, but look at her now, closing a main stage. I could tell it was bad, even for her, when the look-alikes started flooding back from the stage.

The atmosphere was completely different back at The Strokes stage. They didn’t have much of a stage presence, but their musicianship was solid. During the set, frontman Julian Casablancas announced that this was the first time they had played together in 4 years. This is not altogether untrue. They did play a “secret” show under the name “Villians” in early 2010. The band played several songs from a forthcoming new album. Rumor is that the album will be released in the Spring of 2011 but thus far is has been plagued with delays. The news songs sounded good, but not all that different from the old. Pair songs that were easy to listen to with unintentionally comical between-song banter (“Fuck man, fireworks. Cool.), and it was a good way to end the first night.

Saturday

My friend Bill and I had a long discussion about Saturday. He was planning on going, because it was an excellent lineup for our tastes in music. Gogol Bordello, Social Distortion and Green Day were playing the same stage, in addition to whoever else was playing that day. In the end, he decided that even that lineup was not worth $90. I can’t say that I disagree with him.

Nothing, besides Green Day, was a disappointment for the day. But nothing was fabulous, fantastic, or mind-blowingly good either. I go back to my refrain for the weekend. If I’m going to pay this much money for a show it better be good.

I can’t tell you what I did for the first half of the day. I wandered around the Green Market, where various eco-friendly vendors try to get you to buy stuff. There is a lot of the typical hippie dresses (which I think sell well to the yuppies that think they should have the right ‘look’ for Lolla). There is also some unique options. It’s worth a look, even if you don’t buy anything. Last year I found a purse made out of seatbelts. This year’s purchases included an enameled necklace and a $5 ring. It’d be easy to drop a lot of money, because some of the crafts that they have are extremely cool, although it is hard to find products that can be considered unique.

I also made friends with a guy working in the t-shirt tent. An offhand comment about dogs led to exchanging pictures of said dogs and so on. I actually went back to him a few times during the weekend to exchange a shirt size and buy more shirts. I didn’t make any friends in the crowd at Lolla, but I liked this guy.

I remember stopping by Perry’s Stage. I had been tipped off by my friend Maija that two very famous belly dancers, Elizabeth Strong and Zoe Jakes, would be performing there around mid-day. They just quite lived up the hype. The dancing was fabulous but the music left something to be desired. I feel like their performance was one of those hidden gems in Lollapalooza. It was something that I didn’t expect to enjoy as much as I did, and I was glad I took the time to see.

I had a mid-day shift, and they told us that if we checked in 15 minutes early we would be able to request our stage. It was critical for me to see Social D and Gogol so I was half an hour early and waited in line to make sure I got the right stage. It was a relief when I did. South stage is usually my favorite to go to anyway. It just seems like you get the best people there.

Gogol Bordello, Lollapalooza 2010

Gogol Bordello was amazing. If one band at Lolla had the capability to move thousands of people and win fans this was it. They’re another huge band with members from across the world. The gypsy-punk style is just what I like, and I love their energy and chaotic rhythms. If I hadn’t had to work I would have wanted to be in the middle of the crowd dancing and moshing along. I had been worried about the set because of the festival setting and the strange crowd. I shouldn’t have been. They’re just great, even in a large outdoor setting.

Up next was Social Distortion. The one thing I can say is that you know what you’re getting. They haven’t had new material in I don’t know how long. Even the between-song banter does not change between shows. If you’ve listened to the “Live at the Roxy” cd, you know exactly what Mike Ness is going to say before “Prison Bound.” Rather than making it seem like he isn’t trying, this is slightly comforting to me. I know what’s coming next, and rather than being boring it helps me enjoy the show. There is nothing exciting about Social Distortion on the stage. They play good music well. There are no fancy fireworks, no costume changes but that is as it should be. They are good musicians, and they don’t need any of that other shit to impress people. Other bands should remember this as well.

Skip to the end. Green Day was the grand finale of Saturday. The announcement that they were playing was one of the reasons that I really wanted to go to Lolla this year. I couldn’t have been more disappointed in a performance. Ever. I know people are going to disagree with me. I mean, it’s Green Day. I am not unconditionally loyal, however. If you make a piece of shit album (21st Century Breakdown anyone?) or give a shitty performance I’m going to call you on it. And Green Day’s performance was not good. This got hidden by the fireworks and flashy light show, so not many people noticed.

I’ll go back to what I said about Social Distortion. They didn’t have fireworks, or a fancy stage show, but their music was good and that’s all they needed. Green Day has, in recent years, shifted their focus from solid musicianship to showy displays of their popularity. Remember when they were a 3-piece band? No longer. They now have extra guitar players, and a keyboard player. It’s almost as though they are trying to make their stage show equal to their Broadway musical. It still sickens me that Green Day has a Broadway musical. The first 45 minutes of their set was taken by playing only music from their last two albums. This was half of their allotted time. HALF! I was so hoping to hear the songs that I loved that I threatened to leave after nearly every new song that they played. When they finally played only the most popular songs from previous albums they dragged every song out into oblivion. We were keeping a running total of the times Billy Joe said “Chicago” but lost count around twenty. They rounded out their performance will “King for a Day” where they all wear silly hats (they ALWAYS wear silly hats for this song) which morphed into a cover of “Shout” (they ALWAYS turn this song into a cover of “Shout”) plus several other song snippets. It got too long, too drawn out and just plain boring. There was a “face-melting” finale with fireworks. Despite Billy Joe’s protests that they weren’t going to let the city tell them when to stop playing (attempting to prove how punk rock he still was, I guess), they finished just after their 10 p.m. deadline.

Looking back on it more than a month later, I can see why people liked it. For people who have seen, and loved, Green Day in the past this was a very poor showing of their abilities. It’s almost as though having two hit rock operas (one of which I am attempting to listen to while writing) and a Broadway show have gone to their head. They were better when they were a little garage punk band. Hell, they were better on the American Idiot tour just a few years previous. The crowd ate it up. I, for one, was not impressed.

Sunday

By Sunday I was just fucking done with Lollapalooza. It seemed like wherever I went I could get away from the relentless thump, thump, thump from Perry’s Stage. At least last year they had Danger Mouse, which was something to see. But DJ sets from morning to night, like a giant, never-ending rave is so not my scene. Not only that, but whenever I was in a line it seemed like the people behind me had never heard of personal space. Even at 11 a.m. I was hot, cranky, and ready to go home.

I stood in line for what seemed like an hour to get another free tote bag from the Toyota booth. Like Warped Tour there is some unchecked commercialism, but it’s not all that frustrating because you can get some awesome free goodies. This year, Toyota was hyping their hybrid. People were riding a bicycle for 5 minutes for a free snow cone (worth it in the heat). What made it more interesting was that the snow cones were made with organic syrup. They were giving out free “cooling bandanas” (bandanas dipped in ice water) and screen printed canvas tote bags. The line for the bags was massive, but worth it. They screen printed the bag in front of you with the Lolla logo and date. I don’t regret waiting in line for an hour for this. I just wished the people behind me would stop making out and bumping into me.

Because I was so fed up with people, I decided that I was going to spend my day at Kidzapalooza. The kids stage is like an undiscovered wonderland at Lollapalooza. There are more kid-related booths and tents with more free goodies around the edge of the area, but these are for the younger crowd. Plus, there are seats and plenty of grass to settle down on. I ended up finding a nice, shady spot on the grass and just sitting for a few hours.

I caught the tail end of Peter DiStephano & Tor. DiStephano is the guitarist for Porno for Pyros. He used a back of band of students from the School of Rock (yes, it actually exists) to play a few cover bands. Nothing special, but still good. I also watched thenewno2. Apparently they were a hit last year on one of the larger stages. When they were asked back this year, they requested to play the kids stage.

The crowd started showing up for Perry Farrell’s annual Kidzapalooza appearance and The Verve Pipe’s set. As the organizer of the event, Perry has his hands on almost every stage of the concert. Besides this appearance he had a DJ set with his wife at Perry’s Stage on Saturday. This was more of an appearance than a set because he only played 2 songs. However, this was a highlight of the entire weekend. I mean it, if you go to Lolla do not miss Perry’s kids performance. Peter Distephano joined him on the stage and they played Porno’s “Pets.” Perry then talked about Lou Reed being a personal hero of his growing up, and played “Sweet Jane.” That was it. It was worth it.

You have to keep in mind that Perry was talking to kids. Not teenagers, most of the kids at the stage were under 10 and attending with their parents. Perry spoke to them at their level, but never talked down to them. He encouraged them to listen to music, all kinds of music. He told them that they are some of the greatest models and heroes they can have. He preached respect for others and rock’n’roll. If he wasn’t so scary looking, he’d make an awesome teacher. It was amazing, inspiring, and totally made my day.

Verve Pipe were honest, if not anything else. They announced immediately, and politely, that they were going to play only songs off their recently-released children’s album. At this announcement, 90% of the crowd left. I can see why, because I saw (and almost did) the same thing at Green Day. They were hoping to relive high school maybe. They missed out on a very solid kid’s set. The songs were funny, simple, and engaging. Again, this was something worth sticking around for, that not many people got to see. It was music that I would play in a classroom. I have both The Verve Pipe’s Villians, and Briand Vander Ark’s (lead vocal) solo album, so I was already a fan. They didn’t disappoint, even if I didn’t know any of the songs.

Soundgarden, Lollapalooza 2010

I had late shift that night, and it was the first night I actually got to work with my favorite people. I was back at the south stage, so I had the same security. I also knew some of the volunteers I was placed with. It makes for a fun night. Soundgarden was what I had wanted my headliners to be for the whole weekend. The show was simple, no flashy fireworks or costume changes. The band just got up there and played. And they played well. I knew quite a few of the songs, but it has been over 10 years since I listened to any Soundgarden at all. Nothing special happened, Chris Cornell didn’t have any acrobatics, there weren’t any special inside jokes with the crowd. It was a solid set, but it was something that I would not have taken the time to see otherwise. It was what I want out of my Lollapalooza.

Lollapalooza 2010 Summary

What it comes down to for me is that there is nothing that Lollapalooza offers me that I can’t get anywhere else with better quality. For the price of the ticket alone, I could go to 10 shows that are better quality shows. At those shows, I won’t be surrounded by thousands of people that are there just for the scene and couldn’t give a shit about the music. I’ll be with people that care about the bands they’re seeing. And most of them won’t be off their asses drunk because they’ve been drinking all day.

Lollapalooza presents a unique opportunity. Yes, it’s nice to spend a (huge) chunk of your paycheck on a 3 day music festival. Yes, it’s something to experience once in your life. But what are you missing when you spend all that money on this concert and miss out on something else because you can’t afford it?

In my reviews, I will talk over and over about unity and the crowd and band acting like a family. This is why I love music. This is why I go to shows. A concert is a total miss for me if I don’t feel this at a show and I will not have a good time. This unity is one very important thing that Lollapalooza lacks. It’s a design flaw of the whole setup. It takes a talented band to play a show like this. It’s difficult to create a personal connection with the audience, and I’m thinking that the bands that tried fell short in my mind (Green Day and Gaga). Soundgarten and Devo nailed their performances, but I never once forgot I was one in a mass of people. Despite arguments to the contrary, I also see very little relationship between fans as well. I always find someone to talk to at a show, but I can’t imagine this at Lolla. Yes, part of the problem is that I have very little in common with these people. But everyone talks to me. Everyone. I’m always the one with the crazy person next to me on the bus talking to me for the whole hour ride. And I don’t meet anyone at Lolla? The only people that I meet are security, medics, and fellow volunteers. They’re good people, but I only meet them because I’m working.

Lolla is not for everyone. I personally don’t feel like it’s worth the money and the time people pour into it every year. I was severely disappointed with the performances from some of my favorite bands (Green Day) even though others gave stellar showings (Devo). I still think that there is better quality out there, for less money, if people are willing to go out of their way to find it.

Lindsey |  SMS

Sock Monkey Sound

By SMS Editorial & Contributing Writers:
Chip Copeland (cC)  |  Alex Danger Stewart (aDs)   |  Dave DeCastris (dD)  |  Andrew Whorehall (aW)

We apologize for being a bit late with this, it’s been in the works for 2 months. It’s our rookie attempt to cover the first half of 2010. Below is a brief list of what Sock Monkey Sound has been listening to and recommends at the 2010 halfway point. With so little time and money, we’re sure we’ve missed a bunch so leave your comments at the bottom of this very long, hopefully informative, blog post.

Cheers.
SMS > cC  |  aDs  |  dD  |  aW
08.07.2010

_______________________________________________

cC suggests:

NATIONAL RELEASES

Admiral Radley "I Heart California"

Admiral Radley - I Heart California 1/2 Grandaddy + 1/2 Earlimart = Pure Awesomeness!

Broken Social Scene – Forgiveness Rock Record Always liked Broken Social scene in the past but this record is tighter and more efficient in delivering the goods and the promise of this band. This is the kind of cohesiveness I wish Sonic Youth was still able to muster these days.

Stars – The Five Ghosts: Waaaayyy better than their last record, In Our Bedroom After the War, almost hitting the same knd of highs that were evident on Set Yourself on Fire.

Family Band – Miller Path I’ve really been wrapping myself up in this moody and exquisite album that is spooky and drenched in atmosphere in much the same way as The Nationals latest. Imagine a darker and more haunting version of Mazzy Star and you’re on the right track.

Field Music – Measure Proggy and yet still remaining very song oriented. Reminiscent at times of The Sea and Cake, an evenly enjoyable listen.

Honorable mentions:
Teenage Fanclub - Shadows

REGIONAL / INDIE / LOCAL RELEASES
Because of Sock Monkey Sound I’ve discovered more local indie artists than ever before. So most of what I’ve been listening to is lesser known bands from around here or elsewhere.

The Braves – The Leaves are Black / Quiet Hushed Animals: I make no apologies that I love this band, I know these guys and have been equally amazed at how good they all are at their craft as evidenced by their solo projects and new bands that they have gone onto form. The fucking shame about this record is that unless you know someone in Rockford, IL that knows one of the guys in the band YOU”LL NEVER HEAR THIS RECORD.

I fault the band for not being more proactive in making these songs available via Bandcamp.com or on a website. They don’t have to charge anything if they don’t want to but I think there is an audience that is willing to fork over $5-$8 bucks for an 18 song download.

Until then, folks can buy their last official release Love and Mercy on iTunes for $8.91 or Emusic and after you listen to that email thebravestheband@hotmail.com and demand that they make ALL OF their music available for download online. 30 years from now The Braves will be remembered as one of those great unsung regional acts that never found an audience in their day but influenced a slew of younger acts from Rockford.

Ex Norwegian – Sketch This Florida based band continues to craft tight yet creative power pop that reminds me of Badfinger, Big Star, and that other power pop band from Rockford that everybody talks about excessively. Can’t wait to see them at the first Sock Monkey Sound showcase show September 1st at Kryptonite Bar.

Geronimo! – Fuzzy Dreams Man, is it still 1993 or what. I wish I still owned flannel so I could sport it at the next Geronimo! show. These guys are tight but the intros at the beginning of these songs work better in a live setting than on record. A solid effort by some nice dudes.

The Felix Culpa – Sever Your Roots It’s not often that a band with no money, no label, and a 3 year gap in between albums is able to record a record as intricate as Sever Your Roots. While not a perfect record it is certainly impressive that a regional at is able reach a level of this quality, much like The Braves did on Quiet Hushed Animals. I’m interested in seeing them release something again- hopefully in a timelier manner.

The Projection People – Self Titled Once again here’s another band from the region, Madison , Wisconsin to be precise, that is making very precise and expressive music without major label support. Great arrangements and musicianship abounds on this record and if you get a chance be sure to see them live. Fans of Minus the Bear are sure to enjoy this group. See also: Jane by The Cemetery Improvement Society which features some of the members of TPP.

REWIND
Sun Kil Moon – Ghosts of the Great Highway The first line of Carry Me Ohio says it all:
sorry that
i could never love you back
i could never care enough
in these last days

LETDOWN LISTEN
Prince – 20Ten Once a great artist that has fallen prey to the trap that comes with the seclusion of being a massive star: losing touch with what’s out in the real world. The internet”s dead? F*ck you Prince. F*ck you in your stupid little ass-less pants you short little prima-donna. After you complain about not getting paid and advance for putting your stuff on iTunes how about you consider all the artists that are really struggling to make a name for themselves while making music that still matters. At least you get royalties off all the songs that continue to get played on the radio. Which won’t happen for most other musicians because major corporations like Clear Channel have a monopoly over terrestrial radio; a system that you strive so hard to fight against yet you try to perpetuate the old system of dying record labels. No amount of “genius” or “talent” can change the fact that you’re probably just an A$$hole.

_______________________________________________

aDs suggests:

The National "High Violet"

NATIONAL RELEASES
The National-High Violet:  I’ve said it a couple of times but I’ll justifiably say it again.  This album is tearing me apart.  It’s like a soundtrack to social anxiety.  Over thrumming guitars Matt Berninger sings, “Venom radio and venom television.  I’m afraid of everyone, I’m afraid of everyone. They’re the young blue bodies/with the old red bodies.”  Walking through the city on my way to class, I nod along as the whole world collapses around my headphones.  “I’m afraid of everyone,” he continues, “I’m afraid of everyone.  I don’t have the drugs to sort it out.  Sort it out.”  You and I both, dude.  You and I both.  This isn’t an album for feeling alone in a crowded room.  This is an album for feeling alone on a jam packed sidewalk, keeping an eye on the sky; waiting for a hunk of building to crumble off and come crashing down on your skull. It’s sonic self medication.  It rips open old scars and sticks a finger in the wound, just to see you squirm a bit before stitching it back up again.  Yeah, this album sticks with you.

INTERNATIONAL RELEASES
Male Bonding-Nothing Hurts Male Bonding is a band from Bristol. That’s in England, innit? I’m not quite sure what exactly this band promises but it delivers on that promise.  Simply put, this band is loud, fast, and dirty.  The tones are skuzzy and the songs are short.  This band and I share a clear love of 1990 Sub Pop.  I sing along, when I can, and shake my hair when I can’t.

REGIONAL
Geronimo-Fuzzy Dreams: There’s no two ways about it.  Geronimo will make you hurt.  They will squish your brain and punch you in the diaphragm.  Halfway through the opening song, “Thunderbattles,” one thing becomes clear: this is a band that is not afraid to write songs with riffs.  Sometimes this band likes to play fast, and sometimes they like to be atmospheric.  Though they are not always entirely sure footed, they constantly move forward with a jittery energy and another pounding of the snare.  The songs on this album make shit move.  That is, until the last song.  “Judgment Day” comes as a kiss-off disguised as a hug.  It acts as a campfire sing-along and a palette cleanser.  To say it sounds like Dust era Screaming Trees is the greatest praise I can give.

REWIND
Jim O’Rourke- Eureka I’ve always been somewhat of a fan of Mr. O’Rourke.  The albums that he worked on with Wilco and Sonic Youth number among my favorite for each band and his reputation as a Chicago composer and experimental musician is most stellar.  I spun the hell out of his 1997 album “Bad Timing,” last year.  Why then, did it take me so long to pick up more of his albums?  I don’t rightly know but 1999’s “Eureka,” has been pulling me back again and again.   As a work, it stands apart from many of O’Rourke’s albums in that it finds him molding his usual compositional elements into the form of Bacharach-esque pop songs (including covers of songs by Bacharach and Ivor Cutler).  Even within such forms, O’Rourke’s signature style shines through.  Each song beginning with an intricate finger style guitar passage, a minimal percussive rattle, or a slight buzz of synthesizer, and building from there.  There are never random moves.  Each is deliberate and gradual.  Like the cinematography in a Rossellini film, you find yourself so focused on the current image that you barely notice the change until two minutes later when it has molded itself into an entirely different song.  Then you smile.

LETDOWN LISTEN
Sleigh Bells-Treats Everything I read in the ramp up for this album described it as noise pop.  “Perfect,” I thought, imagining way too fuzzy guitars and fun, crooked harmonies to match, “I love noise and pop.”   Pitchfork said it, “…felt like rides at an amusement park, and I’d get a feeling in my stomach when the first notes kicked in: Here we go.” They used words like, “jackhammer riffs,” “beats from hip-hop and electro,” and, “supremely catchy sing-song melodies.”  Yes!  I thought I had found my summer party album.   No.  This duo sounds like all of the things that are wrong with M.I.A.’s new album (which is to say most of it).  When Indie groups use the word pop it’s supposed to mean old pop.  Not that Lil Wayne guitar album that everyone has agreed to forget.  The aesthetic of simulated stereo destruction works sometimes.  Sometimes Not when it’s used for the entirety of every song!  Clearly there is some disconnect between what was described and what exists.  One can hardly blame the band for that.  What I can blame them for is making an album that fails the only requirement of party jams.  It’s not danceable (unless the only dance move in your arsenal is the stutter step).  It doesn’t make me want to get down, or fuck, or chill, or drink.  It makes me want to hide.  This album isn’t fun.  That’s unforgivable.

______________________

dD suggests:

Spoon "Transference"

NATIONAL RELEASES
Spoon-Transference: Minimal, dark, droning, mechanically rhythmic,pop songs that build on each other, exploding into little moments. Perfect imperfections.  A fully realized production that honors their lo-fi past & recent ventures with equal amounts of focus and abandonment.  This record stands at an artistic cross roads for them. On first listen, as the cover photo suggests, “I’m bored, what are we gonna do next?”  A brilliant orange lamp siting next to the bored individual on the cover serves as a metaphor for focus and inspiration, just look at what’s around you in a different light.  “Transference” pushes their artistic ceiling slightly higher.  Their artistic foundation, Daniel & Eno, sound stronger than ever while digging deeper, continuing to search for new sounds, patterns and rhythms together unlike most veteran indie bands and musical partnerships.

ALSO:
The National – High Violet
The Mynabirds –  What We Lose in the Fire We Gain in the Flood

INTERNATIONAL
The Radio Dept.- Clinging to a Scheme Sweet, sweet, sweet sugary pop songs from Sweden that recall the finer moments of the Pet Shop Boys with a darker edge.

REGIONAL RELEASES
Joie De Vivre – The North End Young, intelligent, college kids playing off of punk emotion, setting the pace and exploding;  midwestern mood rock a decade later.  Spring love, Summer arguments, Fall heartbreak, Winter recovery,  The midwest for many of our youth growing up here. That is “The North End.”  Joie is completely out of step with today’s youth rock, they’re too smart for any scene anywhere in America right now– and all for the better.  Sit through one listen and you’ll know right away that seeing them live will be no different than putting on their record.  Like Neil and Crazy Horse, this is what ya get live too- no pretending.  “The North End” secretly implies they have no aspirations to entertain you with a light show or fancy new outfits from Hot Topic,  just empty cans of beer.   Honest brooding, rock n’ roll high on emotion and slow, steady delivery.  “The North End” owes as much respect to other regional indie acts that inspired them in their teens, The Braves, as it does to other regional & national acts that has defined the midwest underground, Mike Kinsella inspired projects (Joan of Arc/American Football/Owen).   ‘North End’ serves as a soundtrack for trying to live through your early 20s in Northern Illinois through a recession, limited opportunities, and heartbreak.  It’s a solid declaration from a young band that is only going to get louder, funnier, darker, softer and wiser with each new letdown & recording to follow.  Here’s hoping they keep it together long enough before becoming sick of each other.

Lizard Skynard – Self-Titled Lizard Skynard, despite having a perfect frontman (Lizardman) for the kids are a monstrous rock band.  Imagine Henry Rollins/ Part Deftones meets Kevin Shields and the boys from Kyuss in a train station to make space metal.  The Skynard boys (Chicago/Austin/Vancouver) feed off of lead guitarist, Jason “Mossy” Vaughn’s (Machesney Park/Rockford), wall of guitar nob turning and pedal shifting theatrics.  Vaughn’s playing is mesmerizing, turning speed metal riffs into reverb, delays, morphing into small, well-intended melodies– no different than a classical Dmitri Shostakovich film production, chaos amidst the darkness drifting into melody.  With or without Lizardman reciting monologues on top of the band, it’s a complete sound of life on earth coming to a loud, water washed horrific & beautiful end.  Produced by Greg Norman @ Electrical Audio in Chicago over the course of 1 week this past winter, this self-titled debut by a band that started as a ‘what-if’ idea in the back of a Jägermeister bus (driven around the country for 4 years to festivals and arenas by Mossy & his wife, Dana) is anything but a ‘what-if’ idea.  Every member plays as if their lives, and that of  Planet Earth’s, depends on these 30 minutes put to record for a listener’s lifetime.

REWIND LISTENS
Neil Young – American Stars N’ Bars Released in 1978, it’s often discarded as a hodge podge collection of Uncle Neil’s throwaway gems that bounce between his country rock/folk stylings and manic garage rock epic.  Often cited for featuring the magnificent, “Like a Hurricane,” a song probably more responsible for Wilco’s post Jay Bennet guitar freakouts.  Especially on their Neil inspired, “Spiders (Kidsmoke).”  Before you even get to  ‘Hurricane’ there’s country flavored ear candy in “This Old Country Waltz,” “Hey Babe,” “Hold Back The Tears,” and “Star of Bethlehem.”  After spending most of my life living in “Zuma,”  my personal Uncle Neil desert island pick, “American Stars N’ Bars” has consumed my car CD player with a few more mentioned above for the early half of 2010.

Big Star- Keep Your Eye on The Sky (Box Set) There’s a line from a famous Replacements song on “Pleased to Meet Me” named in honor for the late “Alex Chilton” (who passed away earlier this year) that goes;  “I never travel far without a little Big Star.”  I don’t think I’ve gone one year in existence since my first exposure in college to Big Star’s 1974 classic song, “September Gurls,” by a fellow classmate.  It changed the way I spell and now type, ‘gurls.’ IT inspired many songs in shoeboxes stored away trying to write any song worth having a “Gurl” in it.  It has appeared on every other cassette, cd mix I’ve made for so many people over the years.  The tragedy in sharing that one song to anyone unaware of Big Star’s brief recorded 1970s magic is that every Big Star song is worth sharing.  Every single f*cking song.  This box set, like their 3 formal studio recordings is always within an arms length for playing.

LETDOWN LISTENS
Teenage Fanclub – Shadows I expect too much out of my favorite artists I’ve grown up with.  The Fanclub’s latest is just….  a complacent listen.  They sound older, beaten… maybe that’s natural.  I’m not ready to accept this record yet.  I will return to it one day.

Broken Bells- Self-Titled I love Brian Burton’s production, his playing, everything he does as ‘Danger Mouse.’  I’ve become fond of James Mercer’s writing over the years for The Shins but not always his choice in song production or arrangements after the home made debut.  The best song he’s written is “Good For Good” on “Chutes Too Narrow.”  He’s never come close to that song’s simplicity since, lyrically or musically.   It’s a shame to these ears to want more out of the guy.  The template is there, obviously, for something more within himself.  Hearing about this project in advance had me excited thinking, “Mercer, you’ve befriended Brian Burton, you sneaky bastard.”  This is just a boring sit-through listen by 2 respectable young artists seeking mutual ground and settling for safe, electro-pop.  I can’t help but think ‘Danger Mouse’ had to take a step down to Mercer’s musical shortcomings to make this work.  Which, again, another reason I think Brian Burton is an amazing artist.  I look forward to another release by this combo but this one is the sound of 2 great talents trying to figure each other out still.  Yawn.

____________________________________

aW suggests:

LCD Soundsystem "This is Happening"

NATIONAL RELEASES
LCD Soundsystem – This is Happening If I were a woman and I had to give birth to a child because someone planted an evil, gifted seed inside me, I’d want James Murphy to provide the juice.  What a brilliant artist, performer, engineer, producer.  This record tops off a 10-year run of 3 very important modern day recordings that focus on punk, disco, classic rock, pop, glam, indie, folk, funk and electronic arrangements set to Murphy’s urban, personal, lyrical observations.  Not a great vocalist at all, but this is a great artist at his peak.  His playful instincts and ability to take his own influences to meld into wonderful, weird American records that calm and explode with ideas is never short of amazing.  See the synth freak out on the Bowie-Heroes inspired “All I Want” for an example that makes every musician, or anyone that can feel, think with goosebumps, ‘sweet Lord, punch me in the face, that’s awesome.”

ALSO:
Peter Wolf-  Midnight Souvenirs
Damien Jurado- Saint Bartlett

INTERNATIONAL RELEASES

Gorillaz - Plastic Beach Blur frontman, Damon Albarn can do no wrong.  Who else could put out a fake cartoon band doing a political record about our planet’s future demise featuring Lou Reed and Snoop D-O-Double G?  Brilliant record, brilliant pop, brilliant social commentary.  If a record could ever win a Pulitzer based on intelligence, craft, spiritual and political messages- this has the best chance.  One of those rare records you can dance to, f*ck to, eat to, work to– plus sit and think about it after it’s ended.  Repeat.

REGIONAL RELEASES
The Pimps - Fuck this shit, we’re outta here Veteran local punks, a joyous love letter of sorts to our despicable city, country, music industry and capitalism.  The Pimps tap into the same great punk, rock n’ roll, hillbilly glam spirit other legendary bands from the Midwest tapped into for shorter amounts of time.  Difference is, The Pimps haven’t changed for anyone 9 records in.  Indifference, contemplation, F words and aging rarely sounds this joyous.  Read More about the record here.

Judah The Lyrical Rev- “Rockford Files” Midwestern hip hop artist I want to here more from based on just one little song passed to me on the internets that I can’t stop listening to this year.  I believe it was written awhile ago but it should be a city anthem, a national cry for federal help.  The power in the song’s lyrics, Judah’s smooth delivery is equal parts proud, educative, angry, sad and desperate.  Like many people, like me, living in Rockford, IL

REWIND LISTENS

The Flaming Groovies- Shake Some Action One of the 70s great critically respected, but commercially unsuccessful, American rock bands.  After spending years emulating a hybrid of The Stones and Velvet Underground on great releases like “Teenage Head” and “Flamingo,”  the Groovies signed with major label, Sire, to release a late 70s power pop rock canon of songs tight on harmonies and classic pop arrangements.  Think Buddy Holly fronting the 1963 Beatles and converging in the late 70s for a record together.

Sparklehorse- Vivadixiesubmarinetransmissionplot I remember the day I bought this at Val Halla’s in Oak Park, IL.  The kid, who shall remain nameless for now, running the counter suggested it.  He also passed me tapes of Golden Smog and Wilco practice sessions in Chicago that previous summer.  He advised me to buy this record based on a secret love for Cracker / David Lowery at that time.  Lowery produced this Sparkle thing I hadn’t heard of and I Wasn’t too happy with major label releases around this time, dipping deeper into the Chicago releases.  However, the kid with strange music connections always passing me tapes and DAT sessions I, nor anyone should have had, sold me.  Those first few Mark Linkous (who is Sparklehorse) compositions destroyed me driving in my green buick, playing it from a portable cd player rigged to a tape deck adapter driving to an awful job in Oak Brook from Oak Park the next morning.  Brittle, angry garage/glam rock balanced out by some of the most fragile cosmic folk songs I’d ever heard at that time.  What would be Side B on any vinyl copy, the amazing run of songs 7-12 plow my soul.  Hammering the Cramps/ The Most Beautiful Widow in Town / Heart of Darkness into Someday I Will Treat You Good ending with Sad & Beautiful World into Gasoline Horseys… Jesus Christ, cmon.  I get goosebumps just thinking about these songs.  Mark Linkous, I doubt you knew you’d be missed by so many strangers sharing the same feelings as you.

LETDOWN LISTENS

WZOK / 97.5 Rockford About 90% of what they play offends my ears and then my brain freaks out and quivers, I get dizzy.

WXRX/ 104.9 Rockford About 91% of what they play causes diarrea at home or epileptic reactions while driving.

Could local radio get any worse than those 2 pay to play garbage dumps?  Yes.  They’re everywhere and they are a sickness.  An awful aural disease infecting millions of Americans with poor music tastes.  It’d be one thing if the music played were just bad, but the commercials and the DJS are as horrendous to listen bable on about pop culture nothings.  Rockford radio is so bad they make the kids from MTV’s Jersey Shore sound brilliant.

Sock Monkey Sound

Girls can tell there’s a bit of killing the moonlight goin on in Brooklyn, Portland and of course, Austin. Whether these gals are gonna be around for the listening party is not up to them. Or, Feel free to feel like you’ve heard this before but you’re gonna hear it again, I hope you feel something, Sweetheart, anything. What? No, it’s not déjå vu– it’s called transference.

Released, 01.19.2010 | Merge Records

Spoon, the brainchild of band percussionist / master-mind engineer & producer, Jim Eno, and songwriter / producer, Britt Daniel, have hit an indie-pop duo stride they can call their own sound. It didn’t happen overnight. It’s taken about 16 years to craft what they’ve got to give. As with any great musical formula, songs are it. If you got great songs, you got everything to fall on regardless of the recording device, a boombox or a studio. Spoon has used both effectively along the way for the sake of a great song on daring rock records rooted in simplicity, great melodies, steady snare cracks and man, the list goes on.

Eno and Daniel have a real creative partnership void of personal power struggles and circle formations unlike other a’Merican bands who have let us down along their way, for an artistic better or worse. It’s obvious by their collective output they work well together by now. Daniel’s songs and Eno’s production have been and are continuing to leave a large footprint on indie pop music, rock n’ roll. production, engineering, everything a great artistic partnership can be. They are “it.” Maybe too cool for rock n’ roll and not cool enough for the art snobs. Either way, whatever they’re drinking, pass it this way. Wait, thats’s it; they’re not drinking the water, they’re the ones filling the cup with somethin else familiar and new. You get a little bit o’ The Kinks, the Zombies, Darryl Hall (and Oates), pick any late 70s or early 80s songwriter, really. All attitude, smarts and a punk strut to pound it on home. Spoon seems very aware of their past now, their own and that of their influences on “Transference.”

It could be said they’ve traveled a linear path in their recordings the past decade and a half plus to get to “Transference.” Intentionally, maybe, or as designed. Spoon has crafted the perfect combination of art and commerce into a beautiful, creative career. Their last record title simply says so, “Ga ga ga ga ga.” Tongue-in-the-mouth- not the cheek, pop-art-adult-make-baby, brilliance– and that’s just the title. If the first few listens of 2010′s “Transference” spark’s a feeling of familiarity, maybe a let down- it’s supposed to. “Got Nuffin”, the 2009 advance single from the record, gives it away. Daniel openly admits, “Got nothing to lose but bitterness and patterns…” Adding to it, “darkness and shadows.” This record is the sound of a great a’Merican partnership searching, traveling, recording whatever they got and where ever while standing at the creative cross roads caught thinking out loud and proudly. Every artist could learn a thing or two from these two on ideas, simplicity, delivery, knockout or no?

The intro of “Before Destruction” perfectly opens up the newest release- a steady hi-hat meets a steady kick drum, a double tracked split organ, the lonely naked acoustic guitar– lofi, a demo too good to throw away- it’s there, track one, for a reason. This is Spoon, there is a formula they abide to before a bit of hi-jinx gloss and production tricks kicks in for good measures.

What is the Spoon Formula® again, explain? Steady percussion, lo-fi delivery, catchy as all hell melodies and intelligent engineering interspersed with cool-as-a-cat lyrics delivered phonetically perfect on subject matters familiar to anyone with a heart, brain or both. The imperfections (and triumphs) of lovin’, losin’, travelin’ and people we all know, have met, or should be prepared to meet and be disgusted or amused with. This record’s formula is different though, it’s sneaky in its percussive delivery. The record as a whole on the first few listens feels and sounds provoked, empty, angry, intentional, distracted, a feeling you’ve been here or felt that- hence, some form of transference. A masterful attempt to detour themselves from the past few records without losing it all and calling bluffs a bluff with one shot. The title alone gives it away if anyone’s ever felt a bit of transference occurring in their own lives, their own craft, their own relationships with people and the world around ourselves.

After the 88th listen (according to the iTune’s Library ‘Play Count’ on 03.09.2010) and at least another 3 dozen plus listens in my car driving around trying to get this record outta my head, “Transference” is a monster of a little indie rock record. It defies pop rules on duplicity while traveling a parallel path designed from their past recordings and succeeding at something sneaky, exciting, creepy and still catchy, funky and fresh. The mix of the record itself deserves it’s own statement – an angry, anxious and exciting sound that rarely relaxes on past merits yet manages to take perfectly timed breaks for a bit of phonetic optimism, clarity and delivery. Mr. Deceptive and Mr. Brilliant, which one is which? Jim Eno and Brit Daniel should hi-5 each other on this one because Satan, the Gods of Rock, God’s Angels, The Los Angeles Angels, whoever-whatever (yawn) should all be havin a meal together at our expense and laughter while this plays in the background.

Where were we? “Some ex-girlfriend, call her Heather / Whispers to me, ‘Is love forever?’” Daniel simply replies, “Have I even felt it ever? / What’s the object?” A bit jaded, a bit snarky, a bit honest, track two, “Is Love Forever?” Yes, even with objects and a’Merican bands that have let us down in the past decade, Spoon has proven in the long run with this record they are Larry Holmes to Wilco’s Gerry Cooney. You didn’t know this was a boxing match? We’re gettin’ there, soon.

A whole lotta rhythm and smooth melancholy kicks in with “The Mystery Zone.” Raga tonations fused with Daniel’s vocal attitude and raw delivery, “Your cover was blown, you were there but you weren’t. In the mystery zone.” We’ve all known these types of people. “Doors never close, it’s the fresh air fiend,” Daniel sings. Yeah, those doors never close on this record. They’re exploding with new ideas and formations for attack.

“Who Makes Your Money” is the sexiest indie pop song you’re gonna hear this year. Justin Timberlake and Timbaland should be dreaming of a way to blow the cool calm off this song. Movin on to a pop knockout combo.

Daniel’s frosty disgust shows up perfectly placed by track five. A word bomb vomit of sorts, “Written in Reverse.” A skilled, burned vocal delivery partnered with nasty, angular guitar lines skronked on and exploding between repeated piano keys and drums played like a child and his friends. A perfect rock song droppin into the steady beat intro of “I Saw The Light.” The finest 5:31 sat through 88 times at home and another three dozen plus in the car. It’s the sound of positivity manipulated to appear as a crowd negatively cheering on the bloody defeat of an opponent. A towering arena anthem in a perfect world, the sound of love manipulated to sound loud, proud in it’s delivery just to fool you and others into enjoying this sound more than you want to. Raise that fist– most of you won’t.

Around the 1:14 mark I raise a hand in front of me, fingers folded and palm closed, pulsating it like a metronome. I hold it there triumphantly like a music nerd should. “I Saw the Light” is a jolt of happiness you know will end, like a man or woman burned too many times before by lying scumbags and heart-strung offenders– yet for a brief moment, happiness, love ensues. The song is cruel in it’s delivery based on one important life-like fact, it will end at some point and you don’t want it to. It builds like a manic boxer who knows victory is there for the taking, the moment owned- ‘one more punch, just one more, wait, one more, don’t knock em out yet, keep punching, feels too good, crowd is clappin, yellin, smiles are risin high.’ The band piles on the rhythm and lyrical declarations of clarity right up to the 2:17 mark. Like a good boxer, a good person without the last word needed to be said, the sons of b*tches back out and force Mr. Daniel to take a breath. Gather in the corner, team meeting, a change of plans just to keep the emotion going, who cares about the knockout?

This is about craft and delivery now- f*ck the crowd.

New beats, a new song and dance, man. An awesome bassline hops in at the 3:25 mark to couple up with the piano and “oh hi, there you are guitar”– it just builds and moves and swerves and grooves and f*ck it man- goin for the smooooooth knockout, hard edit, gotta eat, gotta nap, done. No words, all actions. “I Saw the Light” is a triumph. 5:32 of the best 5:32 I’m going to have over and over for the rest of my life. Thank you, boys.

The rest of the record deserves the same amount of attention as the 5:32 just reviewed but chances are you didn’t read most of this article because you’re a majority, an a’Merican, a cow, a herd like follower raised to raise others just like you. A contributing member or offender of the global population control problem, life, death, war, religion– anything created to organize in masses you know, is disgusting. Yawn. Back to you, reading this far and Spoon; Are you are first in line for a shot to see Danica Patrick in a tight suit or simply just to watch her crash into a wall? Do you speed towards a red light as well as speed read toward a quicker answer? Do you like a larger meal for less and quality labor for the cost of nuffin? The amount of text in this monologue alone should have warned you which side you fall on ahead of time.

If you have sped-read to this point, warning, “Transference” deserves a listener’s patience in full not by buying iTunes singles instead of fully produced balls-out records like this one. Having said that, here’s the paradox I’m offering; “”Transference” is amazing so go buy “I Saw the Light” over at iTunes right now if you don’t believe me.” Let’s cut to an end here, there’s another 5 songs to talk about and it’s worth your loving or loathing ways. “Transference” is some sexy a*s shit and anyone who disagrees is a liar or just too broke to buy their own copy. The latter is understandable and forgivable in times like these.

Ah, sh*t moms, I can’t end it on that note. Is Spoon’s “Transference” a shot gun blast to a hi-fi future loaded on a lo-fi past? Yeah, it feels like it, it sounds like it, the canvas is beautiful. It’s a masterfully written/recorded/edited studio rock record by an impressionistic American band still perfecting old ways and pushing new strokes of the brush with each release. As far as the metaphoric, listening party Mr. Eno and Daniel are hosting with each new record I mentioned at the beginning of this long ride, this listener can’t wait to hear where they’re heading towards next– or where they’re already at.

AW | andywhorehall.com | 03.09.2010

Sock Monkey Sound

Jesus Correa

This week we welcome artist extraordinaire Jesus Correa to the monkey cave. We discuss his 2009 Rockford mayoral race experience, history in the music scene and art community, and Dave’s love of pixelated women. Call our Hotline at 815-315-9552.

Featuring music by:
Spoon
Jesus Correa
Vic Ruggiero
Blaming Tim
Otter Petter

Sock Monkey Sound