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
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
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!?
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.
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
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
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
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
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
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.
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