My Favorite Albums Ever: Part III

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4.) The Beatles (The White Album)-The Beatles

From a literal point of view, The White Album isn't really a Beatles album at all. It's more like two solo albums, one for John and one for Paul, and two EPs for George and Ringo. Only on two songs ("Birthday" and "Cry Baby Cry") does the band share vocals. Nevertheless, it is 30 songs. 30 frigin' songs! And that's what ultimately makes The White Album so great. It gives all four Beatles the freedom to make the music they want to make with very few limits.

And, boy, did they take advantage; The White Album is easily the Beatles' most eclectic release. Of course, the diversity on this album is enormous, allowing listeners to hear every great brand of the Beatles' music. Lennon's "Julia" and McCartney's "Martha My Dear" are simple and incredibly beautiful love songs. "Birthday," "Helter Skelter," and the Beach Boys-influenced "Back In The U.S.S.R." are rollicking rockers, bringing to mind the Beatles' earlier works. And "The Continuing Story of Bungalow Bill," Harrison's "Long, Long, Long" and "Wild Honey Pie" are subtle and almost avant-garde, demonstrating the Beatles' evolution from mop-topped rock and roll stars to innovative and progressive pop artists. The White Album may be a mess, with little organization and group dynamic, but it's a pretty damn beautiful mess.

3.) Thriller-Michael Jackson

You know that old phrase "music is the universal language of mankind?" No where does that better apply than Michael Jackson's Thriller. Not even with the Beatles. How else to explain that, even without a hit song in almost 15 years and a hit album in almost 20, and sexual abuse charges and bizarre behavior damaging his public image during that time, MJ was treated as a hero when he died last summer? In the end, it all comes down to Thriller.

During a time when Linkin Park, Black Eyed Peas, and other garbage dominated my playlists, I purchased Thriller at my local Barnes and Noble solely based on its legend. One listen through, and I was hooked like a fish on a rod. "Wanna Be Startin' Somethin'" and "P.Y.T." are dance-pop at its most irresistible. The ballads "Human Nature" and "The Lady In My Life" are tender and poignant. And "Beat It" and "Billie Jean" are, well, perfect. Michael Jackson literally sounds on top the world on Thriller; there's no rhythm he can't handle and no note he can't hit.

2.) Vitalogy-Pearl Jam

For the longest time, Pearl Jam has been my favorite band, and it even feels a bit sacrilegious not putting them at #1. And also for the longest time, I considered PJ's Vs. to be my favorite album. And then there's, of course, Ten, the magical album that that introduced me, like so many others, to the band in the first place.

As of today, at least, I consider Vitalogy to be the groups greatest effort. It's the perfect balance between the epic and emotional intensity of Ten and Vs. and the more subtle beauty of their later work, like No Code and Yield. Vitalogy is also Pearl Jam's most uncompromising album to date, a quality that may be off-putting at first but ultimately rewarding in the end. After only a few listens, fierce punk-rockers like "Whipping," "Not For You" and "Spin The Black Circle" sound exhilarating. But for every song that requires patience ("Tremor Christ" and "Satan's Bed," additionally), Eddie Vedder and Co. toss in tender and gorgeous gems like "Nothingman," "Immortality," and especially "Better Man" that demonstrate Vedder at his songwriting best.

1.) OK Computer-Radiohead

Like I've done for every other album on this list, I listened to Radiohead's OK Computer a full way through in preparation for this post. Still, I couldn't find the capacity to conjure up words for an album, and band, I became infatuated with two winters ago. Then I listened to it again. And again. And again. Four times through OK Computer, and I still had nothing. But I sure enjoyed every second of it.

Maybe that's the real beauty of a record like OK Computer. I can listen to it in its entire length, multiple times through, and not even think about it. As I find it, OK Computer is as mentally and psychologically dominating as anything I've ever heard. This isn't an album you can multi-task to.

The palpable paranoia in Thom Yorke's voice on "Climbing Up The Walls" and "Karma Police;" Jonny Greenwood's sweet, delicate guitar tones on "Subterranean Homesick Alien" and "No Surprises;" the band's thrilling transitions between musical sections on "Paranoid Android." It may sound like an old cliche by now, but OK Computer enraptures you. Call me old-fashioned, but in our culture of iPhones, Twitter and 24-hour news cycles, I find nothing more tranquil than lying in my bed, listening to music, staring into space, and allowing the sounds and words coming out of my headphones to take over. And for those occasions, I know the one album I can always go to.




My Favorite Albums Ever: Part II

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7.) Sound of Silver-LCD Soundsystem

If David Bowie and David Byrne traveled back to the year 1979 and gave birth to a child, they would have James Murphy. Murphy, LCD's central man, has an extraordinary, god-given ability to fuse dance music, rock, new wave and punk into epic compositions of sound and rhythm. Nowhere is that better demonstrated than on 2007's Sound of Silver, LCD's best album to date and one of modern electronic music's true masterpieces.

What ultimately defines this album is the way Murphy layers his music, creating a sense of progressive build-up during songs and allowing them to remain fresh and exhilarating after multiple listens. The development of "All My Friends" from a simple, uneven piano chord to a massive wall of sound is simply thrilling. And "Someone Great," possibly my favorite song of the new millennium, beautifully balances Murphy's personal lyrics of love and loss with an extraordinary blend of distorted sound and pulsing beats. Speaking of Bowie.....

6.) Station to Station-David Bowie

Picking my favorite David Bowie album is always tough, and for good reason. There are just so many reincarnations of the man that pretty much defines the phrase "musical chameleon." You have your glam Bowie (Ziggy Stardust, Aladdin Sane), your poppy folk Bowie (Hunky Dory), your Philly soul Bowie (Young Americans), and your new wave, Berlin Trilogy Bowie (Low, "Heroes," Lodger).

But if you asked me today, I would pick Station to Station. It's Bowie's single album as the Thin White Duke, the drug-fueled crooner who fused funk and soul with new wave influences that would surface further on his future work. What makes Station to Station so remarkable to me is actually its general ambiguity; you never get a genuine feel for who the man behind the music really is. On upbeat tracks like "Golden Years" and "Stay," Bowie sounds almost robotic or artificial, creating a sharp contrast between the vocals and music. Then, on a track like "Wild Is The Wind," we hear Bowie in his most human state, singing lines like "Give me more than one caress, satisfy this hungriness" with a deeply tragic and mortal tone in his voice. Station to Station may not be Bowie's most celebrated work, but it may be his most representative, epitomizing one of rock's most mysterious figures.

5.) Purple Rain-Prince

Prince seems to get a bad rap from the under-30 crowd today. Today, he produces mediocre albums, on which he tries and fails to emulate Jimi Hendrix. Today, he refuses to allow his videos onto YouTube and criticizes, of all things, the Internet. Today, his apparent fondness for Jehovah's witness has stripped all the fun and authenticity out of his music. But back in the day, Prince was, arguably, the most brilliant musician alive.

And Purple Rain is his magnum opus, a collection of music that sounds both timeless and representative of '80s pop music. Purple Rain revolves around its center point, "When Doves Cry," a song both brilliantly innovative (a dance song with no bass line) and widely popular (top-selling single of 1984). But what makes Purple Rain so special to me is the specific moments that remain as beautiful and powerful as, well, pretty much anything you'll hear anywhere. Prince's haunting screams of "I want you!" in the last minute of "The Beautiful Ones;" the extended guitar solo during the second half of "Purple Rain;" when Prince screams "Niiiikkkkkiiiiiii!!" at the 2:23 point on "Darling Nikki." Front to back, Purple Rain is as emotionally powerful and captivating as any pop album ever produced. As Charlie Murphy once said, "That cat could ball, man."




My Favorite Albums Ever: Part I

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10.) Exile on Main Street-The Rolling Stones

Alongside #4 on this list, this is one of the two greatest double albums ever released. Loose and ambitious at the same time, Exile demonstrates a band on the top of its game, effortlessly delving into New Orleans blues ("Rip This Joint"), psychedelic soul ("I Just Want To See His Face"), country ("Torn & Frayed") and even gospel ("Shine A Light"). Beginning to end, this is the Stones' magnum opus, a work that sounds stunning on the first listen and still manages to grow on you on every conditional spin.

9.) Elephant-The White Stripes

No album blew me away on the first listen quite like Elephant. Maybe because it's just so damnheavy. Of course, there's "Seven Nation Army," the rock anthem of the new millennium. But there's so much more to Elephant: the blues-rock epic "Ball and Biscuit" is as explosive as anything you'll hear from a rock band today, as is the Burt Bacharach cover "I Just Don't Know What to Do With Myself" and the paranoid "Little Acorns." And when you think it might be hard rock overkill, Jack White gets all tender on your ass (see: "You've Got Her In Your Pocket"). If White Blood Cells and was their breakthrough, this is their confirmation: Elephant establishes the White Stripes as one of the most electrifying acts in rock music today.

8.) Houses of the Holy-Led Zeppelin

The highlights stick out immediately: the amazing boogie rock of "Dancing Days," the band's unique take on reggae on "D'yer Mak'er," and "The Ocean," one of Jimmy Page's greatest moments as a guitarist. But what perhaps makes Houses of the Holy so remarkable is what each band member brings to the table, supporting my belief that Led Zeppelin is the single most talented collection of rock musicians to ever play together. John Paul Jones' haunting arrangements on "No Quarter," Page's work on "The Ocean," John Bonham's insanely complicated drumming on "The Crunge," and Robert Plant's vocals on "D'yer Mak'er" are prime examples.Fans and critics often call Led Zeppelin IV/ZOSO the band's greatest work, but I beg to differ. Houses of the Holy is not only Led Zeppelin's most eclectic album, but also, I find, their most rewarding.



M.I.A.-Maya

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To say the least, M.I.A. has never been the most conventional pop star.

Not that there's anything wrong with that.

But on Maya, the Sri Lankan's third album, M.I.A. crosses that delicate line between innovative art and shallow noise. To put it frankly, it's a mess. Half-baked songs and a lack of real direction dominate an album whose thematic premise had much promise.

To understand Maya in a nutshell, look no further than its album cover. On it, we see M.I.A. hiding behind a wall of YouTube video players, staring back at us. Maya is essentially an overload of electronic static, heavy beats and other loud noises, and notably lacks the pop hooks and influence of international music that made her first two albums so unique and exciting.

I can't reiterate enough that the album is an overload of noises: some songs are simply annoying, on the first and twentieth listens. What sticks out on "Teqkilla," for example, is not its party-branded lyrics or M.I.A.'s signature monotone rapping, but the synths that blare out of your headphones and drown out the song. Same goes for "Meds and Feds," M.I.A.'s failed attempt to sample and recreate the music of Sleigh Bells, one of the year's hottest acts. Several other songs, including "Space," "It Takes A Muscle," and "Born Free," simply feel unfinished and unsatisfying.

Nevertheless, Maya does have its moments. "XXXO" is easily the album's catchiest moment, and the only song that has the slightest chance of becoming a hit. It's fun, danceable, and perhaps even one or two minutes too short. And rather than drowning out everything in its sight, the synths on "XXXO" complement rather than dominate the song.

Then there's "Internet Connection," where M.I.A. builds a dance song around, what else, her struggles with computer software. It's hilarious, dumb, and most of all, fun. It's also a rarity for an album that, if anything, tries way too hard to be fun.

4.5/10

Best Tracks: "XXXO," "Internet Connection," "Tell Me Why"

-David Biel

Big Boi-Sir Lucious Left Foot: The Son of Chico Dusty

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"Just to let you know that everything is straight/
I say stank you very much 'cause we appreciate the hate"
"Fo Yo Sorrows"-Big Boi

Calling out doubters? Check. A self-reference? Check. The generic use of the word "hate"? Check.

For most other rappers, the two lines above would be considered a cliche verse; a sign that he can't help but look at his past struggles as a motivation tool for his success, and then bask in that success for all its worth. But for Big Boi, one-half of hip-hop duo OutKast, he's got some real justification for those words.

Throughout most of his career, Big Boi has essentially lived and performed in the shadow of his OutKast partner, Andre 3000. For a good part of the late '90s and early '00s, Andre was considered to be our generation's Prince, an artist who could effortlessly fuse hip-hop with pop, funk, soul, rock and electronic music and, most importantly, OutKast's real visionary.

And the common opinion on Big Boi? Just an everyday gangsta rapper who was lucky enough to be along for the ride on OutKast's success train.

Now comes Sir Lucious Left Foot: The Son of Chico Dusty, Big Boi's first solo album. Sixteen songs long and lasting almost an hour, Sir Lucious Left Foot is clearly a full culmination of Big Boi's work since OutKast last (and final?) album, 2006's Idlewild.

Well, it's doesn't quite measure up to OutKast's best, but it comes pretty damn close: Sir Lucious Left Foot is remarkably varied, authentic and in-your-face and, most importantly, insanely fun.

Did I mention that it's insanely fun? Starting from the album intro "Feel Me," Sir Lucious Left Foot is rooted in funk music, an influence that always set OutKast apart from its contemporaries. Sometimes its inspiration is obvious: the heavy talk-box-based beats on "Shutterbugg," a certified future club banger, or the layered percussion rhythm on "Tangerine," a song that reminds me a bit of Funkadelic's "Cosmic Slop." Other times, the funk influences are subtler, including the distorted bass lines on the fantastic "Fo Yo Sorrows."

Otherwise, Big Boi delves into numerous genres all across the album. The opera-sampling "General Patton," one of the most massive sounding hip-hop songs in recent memory, the light soul of "Hustle Blood," and the Janelle Monae-assisted, '80s synth-pop on "Be Still" are standout examples.

Still, Big Boi consistently fuses these influences with his signature swift flow and complex, often hilarious wordplay. The fact that everything the man does sounds so effortless makes the album even the more endearing. If all goes like it should, Sir Lucious Left Foot will bring Big Boi the respect from fans and critics he's probably deserved all along.

9/10

Best Tracks: "Fo Yo Sorrows," "Shutterbugg," "Shine Blockas"

-David Biel

Favorite New Songs of the Moment

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"Steppin' Up"-M.I.A.

Remember the days when M.I.A. used gunshots and cash registers in her songs? That was sooooo 2007. It's 2010, and you know what that means: power tools! Now a bonafide global superstar, thanks to the Seth Rogen and James Franco-approved "Paper Planes," M.I.A. certainly doesn't seem to be polishing her sound for radio play. This doesn't ring more true than on "Steppin' Up," M.I.A.'s pulsing new single off her upcoming release, Maya. The contrast between M.I.A.'s monotonous, robotic voice and distorted beats is striking, and characteristic of one pop's most authentic and unpredictable artists.

"Heaven's On Fire"-The Radio Dept.

A big thanks to Mr. Elbaz for introducing me to this gorgeous tune. Admittedly, I know very little of The Radio Dept. beyond this song. But if "Heaven's On Fire," which sounds like Jeff Tweedy fronting the Cure, is any indication, these Swedes have a lot to show us. It's bouncy, fun, and lovey-dovey ("When I look at you/heaven's on fire"), amounting into a very legitimate summer love song.

"Fo Yo Sorrows"-Big Boi ft. Too Short & George Clinton

First of all, a big shout out to George Clinton, Dr. Funkenstein himself, who never gets enough credit for his influence on modern rap and R&B music. Second of all, god bless Antwan Patton (aka Big Boi) for retrieving the baton from an incarcerated Lil Wayne and keeping hip-hop a little bit weird. "Fo Yo Sorrows" is classic Big Boi, filled with humorous wordplay ("Like Sean Kingston, suicidal for a title/My recitals are vital and maybe needed for survival) to complement his rapid flow. It's also funky as hell. Not bad for OutKast's weaker creative half.

-David Biel

Best of 2010: Avi Buffalo Reigns Supreme

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Here are some of my favorites from the past six months. I tried to formulate the list in order of preference, but it's hard to do so simply because I love them all so much!

1. Avi Buffalo - Avi Buffalo
2. The Black Keys - Brothers
3. Yeasayer - Odd Blood
4. Dr. Dog - Shame, Shame
5. Beach House - Teen Dream
6. Spoon - Transference
7. Vampire Weekend - Contra
8. Here We Go Magic - Pigeons
9. LCD Soundsystem - This is Happening
10. Sleigh Bells - Treats


Bonnaroo 2010 - Chronicling My Dream Adventure

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Stone Temple Pilots - Stone Temple Pilots

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On "Between the Lines," STP's first single off their new record, frontman Scott Weiland sings, "I like it when you talk about love/ You always were my favorite drug/ Even when we used to take drugs." From the look of it, Weiland is a changed man. Long gone is the perverted early 90's dude who snarled "Here I Come, I Come, I Come...." with that devilish, grungy moan of his. And long gone is the late 90's junkie who was not only arrested for domestic violence but was also convicted of both cocaine and heroin possession. There's no question Weiland was a prototypical rock n' roll badass. But what's he got for us now?

For the band's first release since 2001, Weiland is still chugging on, bringing some good ol' sex, drugs, and rock n' roll back into the picture. But seemingly without the drugs and without the sex. So, if i did I math correctly, that leaves just rock n' roll.

Stone Temple Pilots is pretty much that equation: it's a fun, nostalgic ride on the back of the band's steady, well-oiled pickup truck. And while it might be the same ride down that same road time and time again, it's still a gratifying ride indeed.


At its best, the record gives enough space to everyone so that each member can shine. Guitarist Dean DeLeo comes up with some of his best work. His style certainly hasn't changed much; there's still the chunky rhythm guitar, the twangy fills after every line, and the technical and colorful solos that bring about pure bliss. But this time around, he sounds more confident than ever. Take "Hickory Dichotomy," for example. DeLeo isn't trying anything new. He just strums a few staccato chords and fills in with a few twangy riffs before Weiland unleashes his fury in the chorus. But his bluesy parts work perfectly, setting the foundation for Weiland to be playful and powerful.

But back to our frontman. Weiland, like DeLeo, is using the same tools as always. He's still a chameleon of sorts with his vocals; on one track he'll sound as grungy as ever and on the next he'll set aside the crunch and settle for a smoother, more fluid sounding voice. But there's still tracks like "Cinnamon" which find Weiland sounding simply whiny and annoying. Although he's essentially hit-or-miss throughout the record, Weiland seems to be hitting much more than he's missing.

Besides the spacey synth on "First Kiss on Mars" and the shimmering effects on "Take a Load Off," STP are relying on the same vocal, guitar, bass, and drum format for all 12 tracks. Even though the scope of mainstream rock music has changed plenty since 2001, the band is sticking to their same formula. If you were ever an STP fan, you'll have no trouble enjoying the new record, as it's just the soundtrack to another ride down memory lane.

7/10

- Jonathan Elbaz

Janelle Monáe-The ArchAndroid

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She's got the voice of Judy Garland, the eclectic tastes of Prince, and the imagination of George Lucas. Diddy has called her "the kind of artist that changes the game" and "a true visionary." OutKast's Big Boi has labeled her "one of the most inspiring performers ever."

Her name is Janelle Monae, and she has made this year's most imaginative and expansive album with The ArchAndroid.

Maybe its the extended absence of OutKast, the 21st century's most forward-looking rap group. Maybe its the dwindling creativity in mainstream hip-hop. But Monae's fusion of the gloss of pop, the pulsing rhythms of hip-hop, the spirit of funk, and multiple other genres sounds as refreshing as anything out today.

The ArchAndroid is a concept album, built around the story of Cindi Mayweather, her life in the fictional futuristic city of Metropolis, and her journey to the past to rescue a community of androids (your move, Lady Gaga). Monae separates the album into two suites, each beginning with a orchestral overture. Like Andre 3000's The Love Below and Prince's Sign 'O' The Times, Monae experiments with numerous different genres of music on The ArchAndroid.

Keep in mind that this girl is only 24 years old, and that this is her debut studio album. Not only is her work tremendously ambitious, it is spectacular.

On the dance track "Locked Inside," Monae sings with an enormous confidence and effortless flow, sounding an awful lot like Off The Wall-era Michael Jackson in the process. Monae continues the upbeat opening suite with "Tightrope," a fantastically funky track featuring a hilarious cameo from Big Boi, who manages to rhyme "NASDAQ" with "ass-crack." "Mushrooms & Roses," featuring Monae's brilliant take on psychedelic rock, complete with heavily-distorted vocals and gorgeous violin loops, ends the first suite on a very high note.

Monae begins the second suite with "Neon Valley Street." Maybe I'm just a little awestruck by her graceful vocals and the flowing violin arrangement, but "Neon Valley Street" might be the most purely beautiful R&B song in recent memory. The cheerfulness of "Wondaland" and the jazzy composition of "Say You'll Go" are other highlights, but nothing in the second suite (and the first suite, for that matter) quite reaches the majestic nirvana that is "Neon Valley Street."

With her natural talent in singing, Janelle Monae could easily be the next Beyonce or Alicia Keys, and have a successful music career with a huge fan base and a very respectable resume of hit songs. But she takes a different, more challenging route by bending genres, experimenting with rhythms and vocals and building around an album concept much more similar to Genesis than Rihanna.

It's certainly a ballsy move, especially for her debut. But if The ArchAndroid shows us anything, Monae has the once-in-a-generation combination of talent and ambition to become a music icon.

10/10

-David Biel

New Arcade Fire Single

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Two new Arcade Fire tracks, "The Suburbs" and "Month of May" are now available for streaming, courtesy to 107.7 The End. You can listen to them here.

It might just be the poor MP3 quality, but both tracks sound a little under-nourished production wise. Hear it for yourself.

UPDATE: According to the band's website, the new record, The Suburbs, will drop August 2nd in Europe and August 3rd in the US. Who's excited!?

Neil Young at DAR Constitution Hall w/ Bert Jansch

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If there's one thing about Neil Young that's remained true throughout his 50 years in the music business, it's this:

The man truly does not give a fuck.

So when Young stopped by D.C.'s DAR Constitution Hall on May 24 on his "Twisted Road" solo tour, this general disregard for public opinion and reception led to several magnificent moments, some perplexing ones, and one very interesting concert.

Young began with an acoustic set of three of his most celebrated tracks: "My My, Hey Hey (Out of the Blue)," a song referenced in Kurt Cobain's suicide note, "Tell Me Why," and "Helpless." All three songs were performed beautifully, and despite Young's inability to hit all the high notes, demonstrated why the man's always been considered one of rock's greatest voices and songwriters.

Then, Young put away the acoustic guitar, the instrument he used to make his most famous work, for good. Switching to an electric guitar, Young played several new tracks. For every enjoyable new song (the somber "Peaceful Valley") came a so-so one (the bizarre keyboard tune "Leia"). The majority of new songs were very distortion-heavy, and weren't exactly warmly received by an audience comprised mostly of burnt-out, middle-aged hippies and suburban moms and dads expecting Young's folk classics.

Nevertheless, Young managed to intertwine the new songs with more classics, often reinterpreting them with different instruments. In what was perhaps the highlight of the night, Young played a haunting organ-version of "After The Gold Rush," and then segued into an absolutely beautiful version of "I Believe In You" on piano. And on a shortened, heavy version of "Down By The River," a song ideally backed by a band, Young demonstrated his constantly-underrated guitar talents.

Still, several peculiar moments seemed to oftentimes distract from the music. In between more than a few songs, Young seemed to wander over the stage from one instrument to another, looking as if he didn't know what song to play next. And there was the disappointing "encore," where Young played only one song (the relatively unknown and rather mediocre "Walk With Me") before leaving the stage for good.

Like his contemporary Bob Dylan, Young seems to be playing for himself as much or more than for the audience during his live shows. He could have easily toured on his greatest hits alone, playing "Heart of Gold" and "Old Man" to eager audiences, but instead chose a different direction. And while this choice may have often disappointed more than a few concertgoers (myself included), no one can question the man's artistic integrity.

After all, it's Neil Young's show, and he'll do whatever he wants to do.

Hear Ratatat's New Album Now

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Head over to NPR Music right now to hear NYC duo Ratatat's new album, entitled LP4. The record is streaming in its entirety until June 8, so get going.

Band of Horses - Infinite Arms

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Infinite Arms is the Seattle quintet's first release since their 2007 breakthrough Cease to Begin. Blending the lush and charming vocals of country music with the grandiose qualities of arena rock, Band of Horses succeed in further solidifying their stadium-ready sound that can appeal to almost everyone. The timbre and pitch of Ben Bridwell's vocals remain strikingly similar to those of My Morning Jacket's Jim James. But where MMJ choose to get down and dirty with twangy guitars, Band of Horses opt for slow-burning, epic arrangements that let all the instruments carefully build upon each other.

The mid-tempo anthems and saccharine harmonies get a little tiring after 12 tracks. But if you're already a fan of Band of Horses or you enjoy lavish, vocal-based music, Infinite Arms will prove to be another gratifying entry in the group's growing catalog. With a slot opening for Pearl Jam this spring, the band has the opportunity to perform their arena-ready material in actual stadiums and amphitheaters. It should be a great fit.

7/10

- Jonathan Elbaz

LCD Soundsystem-This Is Happening

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In the span of five short years, James Murphy has established himself and his band, LCD Soundsystem, as the frontiersmen of the alternative-dance/dance-punk/whatever you want to call it genre. With 2005's self-titled debut, and its hipster-bashing single "Losing My Edge" and the irresistible "Daft Punk Is Playing At My House," Murphy made a name for himself as a David Bowie-meets-David Byrne musical trendsetter. Still, some songs (notably, "Tribulations") felt somewhat incomplete and unfinished, and it seemed like there was much potential that could be dug up.

Then came the 2007 masterpiece Sound of Silver. Simple words cannot fully express my enduring affection for this album. The hypnotic "Someone Great" might be electronic music's greatest achievement in the 21st century. Murphy's ability to build up "All My Friends" from one rhythmically uneven piano to a flowing, multi-layered sound orgy is nothing short of genius.

Now comes This Is Happening, LCD's third and, if horrible rumors are true, final album. Being the David Bowie fanatic that I am, I can't help but compare this album to Bowie's "Heroes." Both works exhibit electronic and rock music fused together in progressive and gratifying ways. Both albums demonstrate a music innovator at the top of his game, refusing to compromise with his sounds. And yet, as exceptional as both albums are, they don't quite reach the heights of their respective predecessors (in the case of "Heroes," Bowie's 1977 masterwork Low.)

On the nine-minute opener "Dance Yrself Clean," Murphy begins with a soft rhythm of percussion and muted vocals. Even first-time listeners will realize that something big and exciting is about to arise at any moment. Sure enough, at the 3:09 mark, "Dance Yrself Clean" explodes into a stunning mix of heavy synths and Murphy's high-pitched vocals, all the meanwhile keeping the original rhythm intact. Many bands and artists use the soft-to-loud transition in their songs (Foo Fighters-syndrome), but few make it as exciting as Murphy and his band.

After the dumb and fun single "Drunk Girls" and pure electro house of "One Touch," we reach the album's apex. "All I Want," a song clearly influenced by Bowie's classic song "Heroes" and structurally similar to "All My Friends," is the album's single highest point. Like Bowie's work on "Heroes," Murphy exhibits his remarkable ability to transform an avant-garde blend of sliding guitar loops, repeated piano riffs, assorted "bleeps" and vocals into an astonishing anthem of romantic pleas. Then comes "I Can Change," the album's likely second single. Backed by a simple rhythm of synths and drum machines, Murphy takes the opportunity to display his undervalued vocal talents, especially in regards to his ability to create gorgeous vocal harmonies.

What truly separates Sound of Silver from This Is Happening, nevertheless, is the latter's slight drop-off at the album's end. While the Talking Heads-esque "Pow Pow" and the bluesy "Somebody's Calling Me" are certainly enjoyable, they can't quite match the sheer excitement of, say, "All I Want" or "Dance Yrself Clean." On the other hand, the music on "You Wanted A Hit," a critical take on the music industry, doesn't live up to the song's bold premise.

If you're only starting to dig into LCD's catalogue, I still strongly suggest starting with Sound of Silver. Even so, This Is Happening lives up to and exceeds its enormous hype. All in all, This Is Happening is an excellent third effort from one of music's most consistently innovative acts.

8.5/10

-David Biel


LCD Soundsystem - Dance Yrself Clean by desborachos

Bonnaroo 2010 - Chronicling My Dream Adventure

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The website has just released the 2010 schedule and locations. You can view it here.

Thursday and Friday are fully packed with the artists I want to see. Saturday and Sunday, on the other hand, are more low-key. Here are some of my highlights:

Thursday:

4:15 - Fanfarlo
6:00 - Here We Go Magic
7:30 - Miike Snow
8:30 - Neon Indian
11:30 - The xx

Friday:

2:30 - Edward Sharpe and the Magnetic Zeros
4:00 - Dr. Dog
5:45 - The National
9:30 - Kings of Leon
12:00 AM - The Black Keys
2:30 AM - LCD Soundsystem

Saturday:

6:00 - The Dead Weather
8:30 - Stevie Wonder
11:30 - Jay-Z

Sunday:

7:15 - Phoenix


The festival is less than three weeks away!

- Jonathan Elbaz

The Black Keys - Brothers

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Just four years back, the Black Keys released their fourth studio album, Magic Potion. A simple yet muscular blues-rock record, it featured nothing but a guitar, a drumset, and the grungy howl of Dan Auerbach's voice. Spanning eleven tracks, the duo showed off its ability to manipulate just a few menacing riffs and a few old blues progressions into an overarching style that sounded surprisingly fresh.

But then two years later, craziness ensued when the Keys enlisted R&B wizkid Danger Mouse to produce their next record. In 2008, the band unveiled Attack & Release, a musical rebirth that exhibited a new, soulful side to the band. There was a flute on "Same Old Thing." There were organs on multiple tracks. And with the help of DM, the Keys discovered the magic of psychedelia.

The title, Attack & Release, could not have fit the album any better. Magic Potion was all about grabbing a listener by the head and beating him to the ground with a guitar. A&R on the other hand, balanced its dirty guitar tricks (the attack) with a haze of studio effects and ornamentation (the release). While the album certainly seized and took hold of each listener, they Keys opted for mercy and restraint when they would have chosen brutality in the past.

Jump ahead two more years. After the moderately successful rap/rock side project, Blakroc, a solo album from Auerbach, and an LP from Patrick Carney's new band, Drummer , the duo has reconvened for their sixth album, entitled Brothers. Though Danger Mouse only produced the lead single, "Tighten Up," his influence and vision has seemingly transfixed the duo. Almost every track on Brothers journeys down that smooth, soulful road Danger Mouse introduced them to.


The opening track, "Everlasting Light," features Auerbach's falsetto humming along to a muted, chugging guitar part. Who knew the guy responsible for all the dirty crooning in the band's past had such technical control of his voice? Auerbach is hopeful, singing of "Shining just for you/ Loneliness is over/ Dark days are through." This optimism doesn't last long when the second track, "Next Girl," arrives. Auerbach's romance has seemingly turned sour, and now he gets to voice his regrets. "Oh my next girl/ Will be nothing like my ex-girl/ I made mistakes back then/ I'll never do it again."

With "Next Girl," the Black Keys return to the heartbreak and disappointment common in blues music. These themes permeate through almost every track on the record, making Brothers an album for failed relationships, lost loves, and the pains of true romance.

Another highlight is "Sinister Kid," a rhythmic shuffle that shows off Carney's ability to groove. The drumming on the album is simple as a whole, but Carney still does a great job solidifying the foundation that Auerbach works upon. I wouldn't go so far as to say that the Black Keys have fully abandoned the musical form of blues, but I will say that Brothers is a soul record almost, if not more than it is a blues record.

After listening to Brothers, it is alarming to see the scope of influence Danger Mouse had on the band. He didn't just tinker with their sound, but he was the catalyst that fostered creativity and pushed the band members to the limits of the their own talent. Both Auerbach and Carney are great musicians; it just took Danger Mouse to give them the extra push. And that push is evident through the new ways Auerbach uses his voice, the new arrangements the band utilizes, and the new emotions that transpire within the music.

When I saw the Black Keys perform in the summer of 2008, they performed almost solely old material largely because they didn't have the capacity to reproduce all of the studio instruments and decorations present on A&R. I'm interested to see how the band handles the new album in a live setting this summer when I see them at Bonnaroo. They'll either have to introduce new elements to their show or rely on their stage presence and energy to win fans over.

9/10

- Jonathan Elbaz

New Muse Clip :/

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Lead single from next Twilight soundtrack + Corny love ballad = Jonathan pessimistic about future Muse. Might they be drifting away from me? I recently realized I haven't listened to a Muse track in over a month. That's a big drop from last year, when if asked, I would call Muse my favorite band.

And this new track certainly isn't helping the cause.

The Black Keys - "Tighten Up"

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The Black Keys have never sounded so funky. They've never sounded so powerful. They've never sounded so fun. "Tighten Up," the lead single off the band's upcoming record, Brothers, finds the duo inching so close to perfection. With Danger Mouse involved yet again, they reach for the same sound as 2008's Attack & Release. Balancing grooves with driving guitar rock, the band combines all the elements that makes their music appealing. Immediately accessible, "Tighten Up" satisfies the old fan base with its dirty guitar tricks and the new fan base with its endless grooves and sleeker production. If this track is any sign of what's to come, the Black Keys are ready to make their move on to the national spotlight. And they'll have plenty of fun doing it.


9/10

Weezer and Ben Folds 4/30

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Every spring, the University of Maryland lures a big name artist to perform on campus. Tomorrow night, about 20,000 strong will herd themselves into the monstrous football arena, Byrd Stadium, to watch Weezer perform alongside Ben Folds. While this year's event certainly appeals to me more than last year's (Ludacris), I find myself utterly indifferent about the concert.

I can't help but ask why the university would try to recruit Weezer of all bands to perform. Not only are they coming off one of their least acclaimed (by fans and critics alike) records, but they really haven't been relevant to college-aged kids for years. It's 2010. I mean, cmon. I can confidently tell you that when asking a typical college kid the artists he or she would most want to see perform, Weezer would not be high on the list.

And if I'm already seeing Weezer tomorrow night, I guess I'll just skip their set at Bonnaroo and take a nap in my tent. Sleep is always a great option.

Bonnaroo 2010 - Chronicling My Dream Adventure

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With about two and a half months left until the festival, I'm starting to listen to many of the lesser-known artists on the lineup. The goal is to get a good feel for all the bands, just so I'm not hearing the songs live for the first time. I've been slowly progressing through the bottom of the lineup, downloading albums from the artists that I've heard little of. Starting with this post, my plan is to feature a Bonnaroo artist every week up until the festival.

First up is London-based Fanfarlo. The quintet's debut, Reservoir, which was released last September, is a delightful introduction to the rich and orchestral sound Fanfarlo achieves so well. Each track features a plethora of instruments burning slowly toward a cathartic climax of soaring vocals and gorgeous instrumentation.

Many describe Fanfarlo as simply a British version of the Arcade Fire. While it's slightly unfair to label a band as a rip-off so early into its career, the label is not fully unwarranted. In some respects, Reservoir sounds like the album between Funeral and Neon Bible that Arcade Fire didn't make. It has the same grandiose and epic qualities that permeate through Arcade Fire tracks; both bands seem to be solving the world's problems one song at a time.

But on tracks like "Ghosts" and "Luna," it's hard to deny the potential of this band to achieve some great things in the near future. I'm very much looking forward to their set at Bonnaroo.


My Favorite Songs of the Moment

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Can't stop listening to these.

In no particular order...

Foreign Born at DC9 w/ Free Energy, Clovers

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Up until last night, every rock show I've been to has featured a relatively successful band performing in a mid to large-size venue. Whether it's been the Kings of Leon (Patriot Center), Muse (Merriweather Post Pavilion), Arctic Monkeys (9:30 Club), My Morning Jacket (DAR Constitution Hall), or Pearl Jam (Verizon Center), the concerts were less intimate than I would have hoped.

But I was up close and personal last night at the DC9, a small club located a block away from Howard University in downtown D.C. The show came with all the pros and cons characteristic of a small gig, so I hopefully got the full experience of a concert of its kind.

First, the proximity to the musicians was outstanding. My girlfriend, Kerry, and I were less than three feet from the stage, so we were able to hear all of the on-stage banter between the musicians. Around us were less than 150 fans altogether; the sober ones would chat with the musicians between songs while the more tipsy ones would generally raise their bottles of cheap beer and holler in a drunken stammer, "Let me play drums!" or even the cliched, "FREEEEEBIRD!!" The musicians would just just smile and carry on.

But with the benefits to a small show came the fallbacks, and there were plenty: Free Energy showed up an hour late, the concert began 50 minutes later than advertised, and there were more technical problems than in a high-school talent show. The guitarist for Free Energy couldn't get his distortion pedal to work, the drummer's stool broke halfway into Clovers' set, and there was endless tinkering with the volume controls.

While all of this would certainly be frustrating to an audience member waiting for the show to start, it was funny to see that the musicians onstage had the same basic issues I had when jamming with friends in high school. There was so much equipment near the back of the stage that the drummer for Clovers had to find a path wide enough to maneuver back to the drumset. He would try one avenue, fail, then mosey over to the other side. Eventually he had to push his way through the cymbals and amplifiers, knocking over beer bottles and wires in the process.



Clovers had a short 30-minute set. Nothing out of this world. Above is a video of the band performing "Crystal Math," one of the tracks also heard last night. Their slow-burning groove was an adequate segue to Free Energy, the high-fueled quintet whose recent singles have been prominently featured on publications like Pitchfork. With a little hook and a little headbang to each song, Free Energy crafted a set of tunes that were just enough pop and just enough punk. After their 45-minute set, fans behind me were shouting, "One more song! One more song!"



Side Note: The band reeked of BO. The bassist walked right by me to pick up his instrument and I immediately felt like I was in Jerry Seinfeld's car after the valet driver had gotten out. I guess non-stop touring for a few months deprives musicians of some of the benefits most taken for granted in life, i.e. the occasional shower. But the guys were nice to talk to. I chatted with the rhythm guitarist outside after the show, and he seemed genuinely happy to have a growing fan base. After playing Letterman this week, Free Energy is set to perform at South by Southwest alongside bands like Neon Indian and Real Estate (whose concert I'm going to on the 27th of this month).

By this time, it was about 10:55 PM, and because of the late start and technical problems, Foreign Born had not taken to the stage. The biggest logistical problem of the night was getting home. The last Metro car ran at 12 midnight, so I knew Kerry and I would have to leave the show midway through the set. We were eventually able to see the band play just four tracks off the new record, Person to Person. The first songs performed were "Early Warnings," "That Old Sun," "Winter Games," and "Blood Oranges." The vibrant, percussive feel assured that the songs transferred well into a live setting.

What I love most about Foreign Born are the lush, fluid harmonies that permeate throughout each song; the vocals served to expand the already atmospheric, dreamy feel of the instrumental arrangements. This was heard best on "Blood Oranges," where the trance-inducing outro came to a sudden halt, leaving only the few voices to ring out the line, "Valley's Low." It was mesmerizing.



I would love to have written more about Foreign Born, but inconvenient public transportation wasn't doing me any favors. From what I heard from the first four tracks, the band sounded great, and they most likely performed the rest of their latest release and maybe even some new tracks. But it was an overall fun night that offered a new concert experience for the low price of $12. Comparing that to my last show (Muse was $55), this concert was a bargain. And I got a T-Shirt!


Real Estate on March 27th at the Rock n Roll Hotel. Can't wait!

jj - jj no. 3

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Last July, Swedish duo jj released their debut, jj no. 2. The album was dreamy and mysterious; it mainly served to flex the band's diversity of influences (ranging from Afro-pop to electronic to the music you could listen to while sitting around a campfire). On their latest release, logically entitled jj no. 3, the band captures that same worldly magic. Example: "Let Go," the first track released off the album, journeys from "Fireflies"-like synths to pulsating African percussion. It's a charming tune about winter. While the 9 tracks on the album don't pack as much of a rhythmic punch as on the debut, the LP makes up for it with outstanding vocals and lush, reverbed guitars. A must-have for any fan of the first record, jj remains charming and fun.

8.5/10

Muse Tonight!

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Muse show tonight at the Patriot Center, with openers The Silversun Pickups. Should be a great show, and I'll post my review tomorrow.

My Favorite Songs of the Moment

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Can't stop listening to these.

In no particular order....

1) O.N.E. - Yeasayer (everyone needs to hear this immediately)
2) Audience - Cold War Kids
3) Sigur 6 - Sigur Ros
4) Everything is Everything - Phoenix
5) Something to Look Forward To - Spoon
6) Darts of Pleasure - Franz Ferdinand
7) Vacationing People - Foreign Born
8) Oxford Comma - Vampire Weekend

Wow.

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Brace Yourself for MGMT's Album Cover


MGMT - Congratulations, out April 13.

I guess they were going for the "Tom and Jerry on acid" look.

Bonnaroo 2010 - Chronicling My Dream Adventure

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Update 2/13/10

TICKETS HAVE BEEN PURCHASED!

The festival had an interesting ticketing system. Essentially, the earlier you purchased the tickets, the cheaper they would be. Mine cost around $235 for 4-day passes, which at first glance seem outrageous. But the passes for the Baltimore Virgin Festival two years ago cost around $250 altogether, and that was only a two-day festival.

What frustrates me more than anything are the service fees that are tacked on to the price of the tickets: $31 total for service fees, facilities fees, money that goes to government of Manchester, and mailing fees. Maybe a few dollars is okay, but more than $30 is utterly ridiculous. And then after all that nonsense, the website asks you to donate for a greening initiative to help the environment. Do they really thing I'll give to charity after charging $30 bucks for virtually nothing?

But thats another issue. What I have to worry about now is learning how to pitch a tent. Maybe I should have been a Boy Scout.

Bonnaroo 2010 - Chronicling My Dream Adventure

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Update 2/11/10

The lineup was finally released Monday, and after looking over the hundred or so bands, I'm excited as ever. While I hoped for the Arcade Fire to show, the headlining spot for the Kings of Leon and an appearance from the Black Keys made up for it. And with this kind of festival, I'm sure I'll enjoy all the lesser-known bands that you can't even make out because the font size is so small.

Hopefully buying tickets in a week!

Bonnaroo 2010 - Chronicling My Dream Adventure

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Update 2/2/10

:( The lineup announcements have been postponed until next Tuesday, so Wikipedia has been proved wrong yet again. But Oscar noms did in fact come out this morning, and to add to my disappointment, (500) Days of Summer received no love whatsoever.

Bad day.

Bonnaroo 2010 - Chronicling My Dream Adventure

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Update 2/1/10

The lineup is released tomorrow, so EEEK! To add to my excitement, Oscar nominations come out at around 5:30 AM. My favorite movie of the past year, I hope (500) Days of Summer gets some love. An original romantic comedy, who would of thought that was possible.

Grammy Awards 2010

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"Use Somebody" has just been awarded Record of the Year, beating out the likes of Taylor Swift (who I thought had it in the bag), Beyoncé, Lady GaGa, and the Black Eyed Peas. While the song was never one of my favorites, I'm thrilled to see guitar-wielding musicians taking home an award while in a pool filled with divas, hip-hoppers, and transsexuals. The band has now snagged four awards in the past two years on the strength of "Sex on Fire" and "Use Somebody." Have a pleasant, drunken night, boys.

Bonnaroo 2010 - Chronicling My Dream Adventure

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Update 01/23/09

Great news! After checking with my summer employer, I've learned that training for work is set for the week after the festival, so I should be good to go for June 10-13. All is well in the world.

"Beat the Devil's Tattoo" - Black Rebel Motorcycle Club

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After four full-length studio albums, you can probably expect what you'll hear on a BRMC record: insert a fuzzy bass, a scratchy guitar, and some folklore about Jesus Christ and you've got it covered. The San Fran trio has stuck with that same dirty sound since they first arrived in 2001, and their new single, "Beat the Devil's Tattoo" (listen here), doesn't stray too far from the path.

More in line with their 2005 release, Howl, the stomp features Peter Hayes' bluesy wail of "Ahhs" on top of twangy guitars and crashing cymbals from new drummer, Leah Shapiro. While it could be seen as just another round through the band's generic catalog, it packs enough punch as a "We're back, did you miss us?" sing-a-long to be worthwhile.

6/10

In 2010, I'd Like To See...

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...the Kings of Leon return to their roots.

With Only By The Night, the Nashville quartet hurled themselves into the realm of mega-stardom: a Saturday Night Live appearance, a Rolling Stone cover, and sold out arenas in New York, Los Angeles, and everywhere in between. And while the band became one of the top selling artists of 2009 on the strength of their two singles, "Sex on Fire" and "Use Somebody," they had lost many of the elements that made me love them in the first place.

There was no more thumping bass, no more twangy guitar lines, and a lot less of Caleb's voice grabbing and tugging at your eardrums. All the typical elements attached to a Kings of Leon record were replaced with studio effects, primarily the nauseating amount of reverb that drowned the sound of the instruments.

With the Kings' next album tentatively due next fall, I would love to see them realize their strengths and get back to the southernness, rootsyness, and even Strokesiness of their first few records. A lot of bands could write the radio-ready tunes of Only By The Night. But take a listen to their old track, "Red Morning Light" and you'll, like me, long to hear that screeching voice emerge once again.


...U2 go away for a long while.
I've never been a fan, and their last album was a complete bore. 'Nuff said.


...an absolutely sick Bonnaroo lineup.

Coachella 2010 is shaping up to be a fantastic festival with the likes of Phoenix, LCD Soundsystem, Jay-Z, MGMT, and my personal favorite, Muse (also known as "the best live band you will ever see in your entire life"). After drooling over my keyboard at the orgasmic three day lineup, all I could think about was how it would compare to Bonnaroo's lineup.

See, this is the year my friend and I plan to do what any good rock n' roll fan should do at least once in a lifetime. If all goes as planned, we'll be driving about 600 miles just so we can live in tents for four days in the middle of nowhere.

You can say this is the year I become a man; it's the year of my musical Bar Mitzvah. So God, I pray that you bless the people of Manchester, Tennessee with a heavenly lineup anywhere comparable to that of Coachella's. Amen.


I'd also like to see:

-Great new records from Arcade Fire, The Black Keys, My Chemical Romance and The Strokes, among many others.
-Rolling Stone either actually cover music or stop referring to itself as a music magazine.
-An extensive tour from recently reunited Soundgarden (which would almost forgive Chris Cornell for his shenanigans with Timbaland).
-People reinvigorated into buying CDs and vinyls. I might be one of the few left who still regularly purchase music in tangible form, but I'm not going to stop without a fight!
-The survival of the American newspaper. This might have nothing to do with music, but it doesn't change the fact that I'd like to have a job after getting out of college.

Cheers.


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