Friday, February 26, 2010

Greatest. Indie-est. Band. Ever.

This story about Pavement is set to be published in the March edition of GQ. Besides the fact that it's written by none other than Chuck Klosterman, the article is one of the best that I've read in a while. Enjoy.


















"I suppose you don't like sports, do you?" This is what Stephen Malkmus—the enigmatic architect of Pavement—asks me as he sits in a Thai-sandwich restaurant, waiting for his bacon. He is casually pawing at a local Portland alternative newspaper that features Trail Blazer Greg Oden on the cover; it's the day before Thanksgiving, so Oden's patella is still unexploded. Malkmus seems slightly (but unspecifically) annoyed—his wife's parents are in town for the holidays, he's just spent the last ninety minutes at a school party for his 6-year-old daughter, and now he has to waste two hours with some bozo who probably doesn't know why Greg Oden is interesting. He keeps his head down as he speaks. At this moment, Stephen Malkmus looks so much like Stephen Malkmus that it seems like sarcasm. In fact, he looks like someone playing Stephen Malkmus in an ill-conceived Cameron Crowe movie: He's unshaven, he's wearing Pony high-tops that no longer exist on the open market, and his baseball cap promotes the Silver Jews. His T-shirt features the logo of the Joggers, a Portland band whose greatest claim to fame is being mentioned in a GQ story about Stephen Malkmus eating at a Thai-sandwich shop. The restaurant is loud, so I initially mishear his question. He asks it again.

"I said, I suppose you don't like sports." I tell him that I do like sports. I tell him that—honestly—I'm probably more qualified to talk with him about sports than I am to talk with him about Pavement. Immediately, everything changes. He's no longer irritated, except when I suggest that Greg Olden might be no better than Erick Dampier. For the next forty-five minutes, we discuss our respective fantasy teams, pretty much nonstop. I cannot exaggerate the degree to which Malkmus enjoys fantasy sports; he almost seems to like them more than music. His fantasy football team was devastated by the loss of Ronnie Brown to injury, but he's stayed in the playoff hunt by picking up Vikings wide receiver Sidney Rice. ("You could just immediately tell he was going to be Favre's guy.") The most productive player on his NBA team is under-publicized Pacers forward Danny Granger, but he's more satisfied about stealing the Nets' Chris Douglas-Roberts off the waiver wire. Malkmus does not watch the NHL, yet he still participates in a fantasy hockey league. He's that kind of guy. I don't even try to talk with him about rotisserie baseball.

After almost an hour has passed, I realize we need to start talking about music, partially because that's the motive for this story but mostly because Pavement is a band worth talking about. We leave the restaurant and jump in his Audi; he rolls a cigarette with a Dutch brand of tobacco called Samson. I notice that Malkmus does not wear a seat belt, nor does he tell me to wear mine. I am immediately more comfortable.

(Read the rest of the article here).

Thursday, February 25, 2010

Listen to the New Frightened Rabbit Album

Scottish Indie-Rock band Frightened Rabbit are schedule to released their third album The Winter of Mixed Drinks on March 9th. But why wait to hear it? Check out the band's MySpace to hear the album in its entirety.

And if that's not enough, check out their new video from their sing "Nothing Like You."


Frightened Rabbit on MUZU

The Winter of Mixed Drinks out 3/9/10

Wednesday, February 24, 2010

Repeat Offenders #8: 2/24/10

The premise for "Repeat Offenders" is simple--take 7 songs that I have played continuously over the course of the past week, and share them with you. Classics, new tracks, hits, rarities--anything goes, as long as I couldn't get it out of my head! Now to the songs, in no particular order.














The Soft Pack - "C'Mon"
This catchy and straightforward rock cut has me listening attentive

Neutral Milk Hotel - "Holland, 1945"
NMH re-entered my rotation after Broken Bells covered another one of their songs

Hot Chip - "Thieves in the Night"
Opening track off of their latest album One Life Stand shows once again why these Brits are the electronic masters of hook-driven music
 
Neil Young - "Unknown Legend"
Although I'm a longtime Neil Young fan, I only recently came across this track via the movie Rachel Getting Married (covered by Tunde Adebimpe)

Arcade Fire - "Lenin"
Their contribution to Dark Was The Night gets better and better with each passing listen

George Harrison - "All Things Must Pass"
Title track to one of the most underrated albums of all time

Morning Benders - "Waiting For a War"
With their new album out soon, this track off their debut recalls the indie-folk of The Shins and Blind Pilot

Tuesday, February 23, 2010

The Hold Steady announce upcoming album "Heaven is Whenever"

The Hold Steady will be releasing their fifth studio album Heaven is Whenever on May 4th. The record will be their first since keyboardist Franz Nicolay left the band, marking a new era for the band.

Lead singer Craig Finn stated in regards to the new album: "I think Heaven is Whenever has a bit more open space. I see it as being less anthemic and more complex. Each time we make a record, I think it gets more musical. We have had the opportunity to grow as musicians and performers."















Heaven Is Whenever Tracklist:
01 The Sweet Part of the City
02 Soft in the Center
03 The Weekenders
04 The Smidge
05 Rock Problems
06 We Can Get Together
07 Hurricane J
08 Barely Breathing
09 Our Whole Lives
10 A Slight Discomfort

Given their track record of excellent albums to date, I expect no reason for things to change. This is one of the past decade's finest groups, and that should continue to be the case despite the recent lineup changes.

While we all anxiously await Heaven is Whenever, I'll attempt to ease that anticipation with a Hold Steady playlist, containing some of my favorite tracks from the band's catalog to date.

Monday, February 22, 2010

Mix Mondays: Volume 24

Welcome to the War on Pop's Mix Mondays--a weekly 8 song playlist for your own enjoyment! Enjoy the mix below or at http://8tracks.com/waronpop/war-on-pop-mix-mondays-24-february-22-2009. Each week's playlist will also be available on the top right column.



Volume 24: 2/22/2010

1. Surfer Blood - Floating Vibes
2. The War on Drugs - Taking the Farm
3. Kurt Vile - Freeway
4. Times New Viking - Teen Drama
5. Smith Westerns - Dreams
6. Vivian Girls - Where Do You Run To?
7. Girls - Darling
8. Best Coast - When I'm With You


Friday, February 19, 2010

New Music Report: Broken Social Scene, Ted Leo, Sharon Jones and the Dap-Kings, and More

Check out some brand new tracks released by some fantastic groups! Most of these tracks were recently released as singles.














Broken Social Scene - "World Sick"
(download from the band's homepage)

Ted Leo - "The Mighty Sparrow"
(streaming via Stereogum)

Sharon Jones and the Dap-Kings - "I Learned the Hard Way"
(streaming via Pitchfork)

Japandroids - "Art Czars"
(streaming via Stereogum)

The Morning Benders - "Excuses"
(streaming via the band's website)

Thursday, February 18, 2010

Decatur CD: Less Pretention; More Substance

From the moment one pulls up to Atlanta’s Decatur CD, it is hard to miss that there is something different about this store. From the light blue façade painted around the building, to the numerous large album cover prints adorning the building’s side, Decatur CD not only catches the eye, but intriguingly invites one into their premise. What is found inside, however, is much more than an appealing aesthetic on the establishment’s outside, but a substance that surpasses all of its other Atlanta competitors.













The material inside the store, to place it in the simplest terms, is diverse. The collection of compact discs inside is representative of not just current trends, but of a diverse range of music. Whether your interests lie in Rock, Blues, Jazz, World, Dance, Hip-Hop, or elsewhere; Decatur CD has a surprisingly equal and diverse selection of ‘good music’—and yes I am mean that in the most cliché way possible. What the fan wants, the fan gets at this beloved institution. If by chance Decatur CD does not have something; don’t fret, as most of the time the staff can get you what you are looking for by the next day, no questions asked. I have even witnessed them go so far as to search for an album for up to a month in order to find what I am looking for. I remember this experience clearly because I had discovered this great collaborative project called The Word—a gospel project between Robert Randolph, John Medeski, and the North Mississippi All-Stars. This eponymous instrumental release was discontinued from print right after it was released in 2001. Warren and his Decatur CD staff made this acquisition of a ‘must have’ album as easy as possible, staying in contact regularly about their status in acquiring the album. While The Word was a fantastic listen, the service at this establishment was the truly fantastic aspect of this experience.

The coolest part about Decatur CD, however, is their ability to bring in acts performing within the Atlanta circuit for extremely intimate shows. Personally, I have witnessed the greatness of acts as varied as the Punch Brothers, who have demonstrated their dexterous bluegrass, to the punk rock of the resurgent Meat Puppets. Recently, the store announced a Dutchess and the Duke show next month. This store offers the best of what Atlanta has to offer on a musical level, and I am genuinely excited about the stores’ future.

-Published in Performer Magazine February 2010

Wednesday, February 17, 2010

Repeat Offenders #7: 2/17/10

The premise for "Repeat Offenders" is simple--take 7 songs that I have played continuously over the course of the past week, and share them with you. Classics, new tracks, hits, rarities--anything goes, as long as I couldn't get it out of my head! Now to the songs, in no particular order.














T. Rex - "Mambo Sun"
Glam Rock was on repeat throughout the week

David Bowie - "Watch That Man"
Glam Rock was on repeat throughout the week, part 2

The Dirtbombs - "Ever Lovin' Man"
TV on the Radio turned punk rock, and succeeds

Pains of Being Pure at Heart - "Stay Alive"
One of my favorite bands from last year--anthemic shoegaze

Elliott Smith - 2:45 AM
What 2:45 AM can and should sound like--dark, eerie, and full of melancholic beauty

Ryan Adam & The Cardinals - "Dear John"
Stunningly serene duet with Norah Jones blows me away

Pink Floyd - "Wish You Were Here"
Pink Floyd's ode to troubled ex-member Syd Barrett has and will always be one of my all-time favorites

Tuesday, February 16, 2010

2010 Sasquatch Festival lineup announced

Sasquatch Music Festival's 2010 initial lineup was announced earlier today. The 9th annual festival will be held this May 29th-31st over Memorial Day weekend. Quite frankly, I'm more impressed with this set of bands from top to bottom than what Bonnaroo unveiled last week.

My Morning Jacket, Massive Attack, Pavement, Ween, Vampire Weekend, MGMT, Band of Horses, The National, LCD Soundsystem, Tegan & Sara, Broken Social Scene, Passion Pit, deadmau5, She & Him, Public Enemy, Nada Surf, The New Pornographers, The Hold Steady, The xx, Dirty Projectors, OK Go, Drive-By Truckers, Kid Cudi, The Long Winters, Minus the Bear, The Mountain Goats, Quasi, Camera Obscura, Fruit Bats, Brother Ali, Midlake, Dr. Dog, Caribou, Simian Mobile Disco, City & Colour, No Age, The Temper Trap, Vetiver, Miike Snow, Portugal. The Man, Telekinesis, Mayer Hawthorne, WHY?, Girls, Edward Sharpe & The Magnetic Zeros, Wale, The Lonely Forest, Japandroids, Boys Noize, YACHT, Freelance Whales, Laura Marling, Patrick Watson, Past Lives, Cymbals Eat Guitars, The Low Anthem, The Very Best, Phantogram, Neon Indian, Nurses, The Tallest Man on Earth, Fresh Espresso, Mumford & Sons, Jets Overhead, tUnE-YarDs, Shabazz Palaces, Fool's Gold, Morning Teleportation, Z-Trip, Dâm-Funk, Hudson Mohawke, The Middle East, Local Natives, Avi Buffalo, Booka Shade, A-Trak, Yes Giantess, Craig Robinson, Rob Riggle, Garfunkel & Oates, Luke Burbank


















Tickets will be available starting February 20th. For more details, go to Sasquatch's website.

The Happenstance: A Battle of Hastily Assembled Bands

What happens when you bring together 30 musicians into a room, randomly divide them into 6 bands, and expect them to compose and learn 5 songs for a show later that same night?












Welcome to The Happenstance.

Started in 2004, The Happenstance has grown as an annual social and musical experiment that pushes musicians to step outside their comfort zones and take on the formidable task of writing against the clock with musicians they just met. At 9 a.m. on the day of The Happenstance, 30 musicians from different bands meet at the evening’s venue The Earl, where organizers randomly divide them into 6 different bands—each with a frontman, guitarist, bassist, drummer, and a “grab bag” musician (any other instrument).

After the selection process occurs, the bands split up for the day, where they have until 9 p.m. to compose 4 original songs. The end result of roughly 10 hours of composition and practice somehow transform into solid live performances, with each group having moments of excellence that one would only expect to hear after days or weeks of practice. In addition, each band selects a cover drawn from a particular theme; this year’s being songs with city names in the title. Between renditions of The Clash’s “London Calling,” The Monkees’ “Last Train to Clarksville,” and KISS’s “Detroit Rock City,” each of these bands’ provided familiar ground for the crowd to enjoy and further judge the impressive versions of these songs.

More than anything, however, Happenstance is a celebration of the everyday Atlanta musicians and their local musical communities—showcasing the talents of these individuals in a new light—rediscovering the often monotonous, highly formalized creative process, and providing a medium for a single day reinvention of a musician’s foundation.

Happenstance co-founder and organizer Brian Fletcher—an Atlanta indie-rock veteran and Happenstance alum—rediscovers his fascination with the event each year, especially in how “it brings the music community closer.” Fletcher remains further taken back by the fact “an actual crowd comes out to watch these bands that they have never heard of before, and will never hear again. For them to actually show up is just amazing to me, and I’m always blown away by every year—we get a packed house, and everyone just really has a great time.”

-Published in Performer Magazine February 2010

Monday, February 15, 2010

Mix Mondays: Volume 23

Welcome to the War on Pop's Mix Mondays--a weekly 8 song playlist for your own enjoyment! Enjoy the mix below or at http://8tracks.com/waronpop/war-on-pop-mix-mondays-23-february-15-2010. Each week's playlist will also be available on the top right column.



Volume 23: 2/15/2010

1. Ted Leo and the Pharmacists - Where Have All The Rude Boys Gone?
2. The Hold Steady - Constructive Summer
3. The Thermals - A Pillar of Salt
4. Beck - Gamma Ray
5. Jay Reatard - It Ain't Gonna Save Me
6. Gentleman Jesse and His Men - The Rest of My Days
7. New Pornographers - Electric Version
8. The Pixies - Gouge Away


Thursday, February 11, 2010

Album Review: Free Energy - Stuck on Nothing


Artist: Free Energy

Album: Stuck on Nothing
Record Label: DFA Records/Astralwerks
Release Date: 3/9/2010
Rating: 8.0/10

Nostalgic guitar rock has always gotten the better of me—it’s one of only a handful of musical traits that allure me time and time again without fail. When done correctly, confident and anthemic riffs remain rock’s most powerful and endearing element. Just listen to songs like The Hold Steady’s “Banging Camp,” The Black Keys’ “10 A.M. Automatic” and The Thermals “Now We Can See.” Go ahead and try to resist these powerful licks. While these three artists are far from similar, the one commonality that ties them together is their mastery of the hook.

Upon hearing, Free Energy’s opening track “Free Energy,” off their upcoming debut album Stuck on Nothing, their power instantly struck me in a similar fashion to the bands mentioned above. Frontman Paul Spranger ambitiously declares “We’re gonna start a new life, and see how it goes,” as this freewheeling, cowbell-laden track establishes an excitingly intense and rousing tone for the remainder of the album. To simply put it—these Philadelphia-based rockers are infectious in every sense of the word. Free Energy broadcasts melodic, hook-laden rock tunes with a heavy dose of bombastic glam and classic rock in a seemingly effortless manner.

Those who notice Free Energy’s affiliation with LCD Soundsystem’s James Murphy will not be surprised by the innate catchiness of Stuck on Nothing. What emerges unexpectedly, however, is the form of this component—a sprawling classic glam rock revival. “Bad Stuff” summons Thin Lizzy’s “The Boys are Back in Town” before transitioning into a Hold Steady impersonation with an epic-bar rock instrumental breakdown. “Bang Pop” is tinged with T. Rex’s rousing guitar fills, combined with a bombastic strut reminiscent of late 90’s mainstream punk-pop song, ringing full of bloated power chords and simplistic lyrics.

The album’s unequivocal highlight shines in the form of “Dream City,” a sing-along summer groove that stands as refreshing as it is natural. Between its harmonic ‘na-na-na’s’ and complimenting saxophone conclusion, Free Energy has created something special on this cut. Despite the fact “Dream City” approaches perfection, however, it never distinctly outshines the rest of Stuck on Nothing for the sole reason that the remainder of the album impressively approaches that same level.

The one downside to Free Energy? Knowing that I only have a limited time with their music before they blow up. I’ll just have to make the most of Free Energy while I still can.

Wednesday, February 10, 2010

Bonnaroo Lineup Announced

After Bonnaroo's all day lineup announcement yesterday via Myspace, we now have our initial lineup set for this years Bonnaroo. General consensus thus far amongst fans is disappointment--as the current headliners (Jay-Z, Dave Matthews Band, Kings of Leon, and Stevie Wonder) do not stand well in comparison to the names that were rumored (Neil Young, Roger Waters, Paul Simon). The core of the lineup, however, looks pretty formidable. Take a look below.








Bonnaroo's Initial 2010 Lineup

Against Me!, Aeroplane, The Avett Brothers, B.o.B., Baaba Maal, The Black Keys Bassnectar, Baroness, Blitzen Trapper, Blues Traveler, Brandi Carlile, Calexico, Carolina Chocolate Drops, Chromeo w/ Darryl Oates, Clutch, Cross Canadian Ragweed, Damian Marley & Nas, Dan Deacon Ensemble, Dave Matthews Band, Dave Rawlings Machine, The Dead Weather, Deadmau5, Diane Birch, Disco Biscuits, The Dodos, Dr. Dog, Dropkick Murphys, Edward Sharpe & the Magnetic Zeros, The Entrance Band, The Flaming Lips (w/ Stardeath and White Dwarfs) performing Dark Side of the Moon, The Gaslight Anthem, GWAR, Here We Go Magic, Hot Rize, Jamey Johnson, Japandroids, Jay-Z, Jeff Beck, John Prine, Kid Cudi, Kings of Leon, Kris Kristofferson, Ingrid Michaelson, Isis, John Fogerty, Julia Nunes, LCD Soundsystem, Les Claypool, Local Natives, Lotus, Lucero, Manchester Orchestra, Martin Sexton, Mayer Hawthrone & the County, Medeski Martin & Wood, Melvins, Michael Franti & Spearhead, Miike Snow, Miranda Lambert, Monte Montgomery, Mumford & Sons, The National, Needtobreathre, Neon Indian, Nitty Gritty Dirt Band, Norah Jones, OK Go, Phoenix, The Postelles, Punch Brothers, Rebelution, Regina Spektor, Rise Against, She & Him, Steve Martin with the Steep Canyon Rangers, Stevie Wonder, The Temper Trap, Tenacious D, They Might Be Giants, Thievery Corporation, Tinariwen, Tori Amos, Tokyo Police Club, Trombone Shorty & Orleans Avenue, Wale, Weezer, The xx, Zac Brown Band

For more information, check out Bonnaroo's website here.

Repeat Offenders #6: 2/10/10

The premise for "Repeat Offenders" is simple--take 7 songs that I have played continuously over the course of the past week, and share them with you. Classics, new tracks, hits, rarities--anything goes, as long as I couldn't get it out of my head! Now to the songs, in no particular order.














Sharon Jones and the Dap-Kings - "How Long Do I Have to Wait For You? (Remix)"
The original version of this Daptone Records classic is fantastic in its own right, but this remix has reeled me in even more.

Bob Dylan - "Isis (Live)"
One of my all-time favorite live renditions of a song compared to its original

Frank Black - "Headache"
Black Francis reverted his stage name for throughout his post-Pixies solo work, but the style remains the same--and that's a great thing.

Pavement - "Range Life"
Announced as Pitchfork headliners last week, the year of Pavement is now in full swing!

Arthur Russell - "A Little Lost"
Underrated musician, unheralded master of pensive and melancholic songwriting

Realpeople (Beirut) - "No Dice"
Zach Condron's electronic bedroom project received some playtime during the Superbowl (GMC commercial)

El-P - "The League of Extraordinary Nobodies"
With the announced hiatus of Def Jux last week, my favorite Def Jux track has been in heavy rotation

Tuesday, February 9, 2010

Album Review: Hot Chip - One Life Stand


Artist: Hot Chip

Album: One Life Stand
Record Label: EMI
Release Date: 2/9/2010
Rating: 8.5/10

Hot Chip has always been a band with a deep-seated penchant for contrast. The most obvious example can be found in their 2005 album Coming On Strong, where the disparity between lyrics like “Give up all you suckers/We the tightest motherfuckers/And you never seen us talking shit before now” and the skinny white British singer in horn-rimmed glasses made for a pretty amusing study in sarcasm. The band’s newest album One Life Stand offers more proof of Hot Chip’s ability to find triumph in disparity, but it does so in a very different way.

Ultimately, One Life Stand prevails as a huge swirling musical embrace about love in all its various forms. With a notable shift toward a soulful house-influenced sound, the album blossoms with a slew of highly romantic dance-ballads that nimbly fuse the acoustic with the electronic. From the piano-driven, live drums and techno-manipulations of “Hand Me Down Your Love” to the majestic string arrangements and the Kanye-worthy auto-tune of “I Feel Better,” nearly every song is a paradigm of brilliantly rendered contrast. Reigning supreme is lead singer Alexis Taylor’s chimerical falsetto, which soars lithely over everything, occasionally complemented by the cavernous undertones of co-vocalist Joe Goddard. These vocal collaborations are most notable in their songs exploring varying figurations of love, such as the fraternal harmonizing of “Brothers” and the spindly little maternally-minded gem “Alley Cats”—a song about “when you're feeling something that you really love is coming to an end, and saying that's not really possible.”

The album hits its stride with the pulsating title track, which opens with a ridiculously catchy beat and some ominous-sounding electronic noise. Lyrically, it evolves from rather trivializing opening verses (“Tell me what you're playing”) into an intensely heartfelt and downright cuddly chorus (“I only wanna be your one life stand/ Tell me do you stand by your whole man?”) that showcases the best of Taylor’s vocal abilities and encapsulates the album’s overarching theme. As Taylor explained in a November 2009 interview with Pitchfork, “I'm talking about turning a one night stand into someone's whole life…and I think that's quite a nice thing to say.” And he’s right; it is quite nice, and a refreshing sentiment in today’s cynical world. Like that now-infamous YouTube video of the wedding where everybody dances up the aisle in sunglasses, “One Life Stand” manages to sound simultaneously classic and fresh while still giving you that old warm fuzzy feeling.

The most dubious turn comes in the form of “Slush,” in which This Heat drummer Charles Hayward plays and sings harmony. Taylor describes Hayward’s role as “one of the most special things about the album… because he's someone that I really look up to and love,” but the song drags and vacillates in its redundant lack of beats, becoming the kind of track that most listeners will end up skipping after a listen or two. However, its redeeming value is reveled around the 4:30 mark with a belated transition into the profound repetition of “Don’t I know there is a God?” which serves to round out the album’s trifecta of love—romantic, familial, and divine.

In light of past endeavors, the unexpected seriousness of this album paired with the often-saccharine lyrics (“I only want one want night/ Together in our arms/ This is the longest night/ We’re meeting arms to arms”) may tempt some to write it off as simply Hot Chip’s latest bout of sarcasm. And yet, amidst such earnest delivery and luminous cohesion, doing so would feel just plain wrong. Rather, One Life Stand reveals how the band has mellowed out without selling out, matured without losing what makes them unique. There’s really something for everybody here, but the overall message seems to be that love is all around, even here, even now, and Hot Chip’s ability to express this sentiment without sounding completely lame stands as a testament to both their inherent coolness and their expectation-defying talent.

-Written by Hilary Cadigan

Album Review: Yeasayer - Odd Blood


Artist: Yeasayer

Album: Odd Blood
Record Label: Secretly Canadian
Release Date: 2/9/2010
Rating: 8.5/10

Hype has been the name of the game for indie bands in recent memory, and Yeasayer has been no exception to this rule. Between bands like Vampire Weekend and MGMT, smaller acts have seen an influx in popularity received from the likes of blogging, social networking, and other newer technologies used to expose new music. Yeasayer’s rise to indie-rock notability went hand in hand with the growth of music blogging during the latter part of the past decade.

Their 2007 debut release All Hour Cymbals justified the surrounding buzz with its unique fusion which the band dubs "Middle Eastern-psych-snap-gospel." A little less than three years later, Yeasayer returns with their follow up Odd Blood (2010)—an album that finds them slowly moving away from their signature style that was marked by lush ambiance and original experimentation.

The transition from All Hour Cymbals to Odd Blood similarly recalls the evolution that fellow Brooklynites TV on the Radio made between their last two albums Return to Cookie Mountain and Dear Science. Yeasayer’s sophomore release finds the band trading in some of its audacious influences and experimentation blend for a slightly more polished, catchy and accessible sound. Like TV on the Radio’s transition, Odd Blood strikes gold by reaching a middle ground that not only appeases avid fans hoping for more of the same, but also openly welcomes those previously unfamiliar with the group’s work.

As the dark and mysterious opening track “The Children” slowly meanders in dissonant fashion, it appears out of place—particularly given that the song provides a first impression bearing little resemblance to the rest of Odd Blood. The obvious standout, “Ambling Alp,” follows immediately after “The Children,” and quells any fears about the band diving off the deep end into a pool of left-field electronic experimentation. “Ambling Alp” exudes positive vibes in every imaginable aspect, including the song’s upbeat harmonies, determined lyrical optimism, or polyrhythmic beats. “Ambling Alp” surpasses any individual track in the band’s small catalogue to date, and easily stands as an early frontrunner among indie-rock’s best tracks of 2010.

While “Ambling Alp” is clearly the defining moment on Odd Blood, the remainder of the album should not be overlooked, as it respectably demonstrates Yeasayer’s synth-heavy, hook-driven electronic pop in an impressive manner. Between the soaring vocal riffs on “Madder Red,” the Hot Chip-influenced “Love Me Girl” and the lively dance-beat of “O.N.E.,” Yeasayer continuously hone in on their songwriting skills. In fact, all nine tracks on Odd Blood (excluding “The Children”) have their exciting moments, and combine together to make the album worth repeated listens.

Upon first glance, Odd Blood appears to be a departure away from the style within All Hour Cymbals. After spending time with the album, however, Odd Blood prevails as an expansion of their sound that exhibits their understanding of their musical cohesiveness. In making this step, Yeasayer no longer attempt to force a myriad number of influences into a square hole. Rather, Odd Blood carefully places their influences in the right places. And in the case of Yeasayer, that one nuisance has made all the difference.

Monday, February 8, 2010

Girls: 2/5/10 at The Earl (Atlanta, GA)

How’s this for a new twist on the old coming-of-age narrative? Christopher Owens was raised in a 60’s-spawned pseudo-Christian sex-crime-promoting cult called the Children of God by a globetrotting mom so brainwashed that she let one of her own sons die of pneumonia because the cult didn’t believe in hospitals.

At 16, Owens escaped to Texas, where he worked for minimum wage and got into the local punk scene before a local millionaire took a liking and brought him out to San Francisco. While living there, Owens teamed up with guitarist Chet “JR” White, started a band called Girls, and released their debut record Album (2009)—an LP that caught both critics and fans by storm, earning them a spot among last year’s breakout indie darlings.

Girls

This stranger-than-fiction saga is no gimmick, but seeing Owens perform live—this little grungy guy in his red sweater and skinny jeans, long matted hair gleaming greasily in the colored lights—you immediately get the impression that there’s something going on beneath his slipshod veneer. While his comparatively clean-cut bandmates smile and seem to enjoy the jangly, often buoyant melodies they’re generating, Owens grasps the mic tightly, eyes closed and face screwed up like somebody who just got his finger slammed in the car door. Or like somebody who’s dealt with a lot of pain in his 30 years of life.

The sold-out show illustrated how quickly Girls have gained popularity in the past few months. The Earl does not usually sell out. People are excited about Girls, and at a small venue usually reserved for lesser-known up-and-comers, the audience felt particularly eager to engage with the artists. Following two opening bands that Owens dubbed his “myspace dream team”—prepubescent garage-rockers Smith Westerns and exuberant hipster-glam indie-poppers Magic Kids—Girls kicked off their set with a nice true-to-form delivery of jaunty post-break-up apology single “Laura.”

Owens’ maintained a rather visceral reserve throughout his performance. Each song was followed by a meekly humble “thank you,” as he crooned his way through the characteristically convivial dysphoria of Album. The eager audience sang along with a notably stirring rendition of “Hellhole Ratrace” and attempted to start a mosh pit in the throes of giddy pre-encore closer “Lust for Life.”

Girls deftly bulked up their small but potent catalogue with new track “Heartbreaker” (“a song about how people suck”), and B-sides “Life in San Francisco” (“when all your friends are self-centered eccentric weirdo junkies”) and “Substance” (“this song is about drugs, which, if anyone has any, please give them to us”).

Overall, the show did not set off any fireworks, but it was moving and enjoyable, and well played for a band that is more prone to individual emotions than theatrics. Girls proved that they’ve earned their credibility, not through gimmicks or showmanship or even Owens’ ubiquitous back-story, but through a rare ability to meld opposites, to create an authentically rendered contrast between the bright and the broken, the harmonious and the dissonant, the good times and the suck-fests. And who can’t relate to that?

-Written by Hilary Cadigan, Photos by Max Blau

The Smith Westerns: 2/5/10 at The Earl (Atlanta, GA)

Atlanta’s The Earl recently hosted a sold-out Friday-night show featuring several nostalgic garage-pop revivalists, including the critically acclaimed Girls and Magic Kids. While Girls were the headlining act everyone came to see (and were impressive in their own right), opening act The Smith Westerns turned heads with not only their respectable performance, but also their age.

CRW_5067Smith Westerns

Despite the fact that The Smith Westerns were the only underage individuals in the 21+ venue, they made up for their lack in age with an impressive blend of glam guitars, 60’s pop harmonies, and overall catchiness. The teenage quartet displayed their stripped-down aesthetic throughout their performance as they played track after track from their impressive eponymous debut.

Lead singer Cullen Omari, prominently displaying his Girls’ t-shirt, exuded a youthful exuberance throughout The Smith Westerns’ set, as his ceaseless smile was only unapparent when his face was shrouded by his long black hair. Between the faster-paced, punk leaning cuts “Dreams” and “Gimme Some Time,” the Marc Bolan-style guitar work on “Girl in Love,” or the warm tone of “Imagine, Pt. 3” Omari led the band through an efficient set that brought their album alive. Max Kakacek’s guitar work especially added life to their live show, as he decorated the band’s typical hazy lo-fi aesthetic with his invigorating guitar riffs.

The Smith Westerns closed with “Be My Girl,” their most popular song to date, and with good reason. “Be My Girl” finds itself at the center of everything that The Smith Westerns do right, and shines as its innocent lust draws listeners in, as Omari cries “You keep running’ through my dreams / Just be my girl / Out there in this world”. The Earl was nearly at capacity by the time The Smith Westerns played this song, and more than likely found themselves a whole new set of followers, judging the crowd’s response.

Written by Max Blau, Photos by Hilary Cadigan

Mix Mondays: Volume 22

Welcome to the War on Pop's Mix Mondays--a weekly 8 song playlist for your own enjoyment! Enjoy the mix below or at http://8tracks.com/waronpop/war-on-pop-mix-mondays-22-february-8-2010. Each week's playlist will also be available on the top right column.



Volume 22: 2/8/2010

1. Cut Copy - Out There on the Ice
2. Hot Chip - One Life Stand
3. Hercules and Love Affair - Hercules Theme
4. Passion Pit - The Reeling
5. Miike Snow - Animal
6. Neon Indian - Should Have Taken Acid With You
7. Delorean - Seasun
8. Dan Deacon - Build Voice


Friday, February 5, 2010

Pitchfork Music Festival announces initial lineup!

Aside from their much-discussed music criticism, Pitchfork annually plays host to Chicago's Pitchfork Music Festival. The first round of lineup announcements were announced today. as Pavement, Modest Mouse, and others will bring their indie-rock glory to the fields of Union Park from July 16-18. Tickets go on sale today at 1PM EST. Looks like a great start to this year's festival!









The 2010 Pitchfork Festival Lineup so far:

Friday
Modest Mouse

Saturday
LCD Soundsystem
Raekwon

Sunday
Pavement
St. Vincent
Lightning Bolt
Cass McCombs
Here We Go Magic
Sleigh Bells

Check out the P4k's website for more details here.

Wednesday, February 3, 2010

The Strokes working on fourth studio album

According to The Strokes' website, their long-awaited follow up to First Impressions from Earth.

“As you may have inferred from the ‘recording’ sign on the home page, the Strokes are busy recording the long awaited follow-up to [2006's] First Impressions of Earth. This marks their fourth studio LP, working with Grammy Award winning producer Joe Chiccarelli, and Grammy Award winning engineer Gus Oberg at NYC’s Avatar Studios.”

Repeat Offenders #5: 2/3/10

The premise for "Repeat Offenders" is simple--take 7 songs that I have played continuously over the course of the past week, and share them with you. Classics, new tracks, hits, rarities--anything goes, as long as I couldn't get it out of my head! Now to the songs, in no particular order.














The Avalanches - "Since I Left You"
Hip-hop heavily samples soul, and strikes gold

Iggy Pop - "The Passenger"
Rock at its rawest, and finest

The Hold Steady - "You Can Make Him Like You"
Riff-heavy bar-rock that is as catchy as it is anthemic

Smith Westerns - "Boys Are Fine"
These Chicago rockers got the whole lo-fi, garage rock thing down to a tee

The Pixies - "Hey"
One of my all-time favorites back into the rotation

J Tillman - "James Blues"
Fleet Foxes drummer by day, Americana crooner by night

Neko Case - "I'm an Animal"
While I'm a long-time listener of The New Pornographers, I have not gotten around to Neko's solo endeavors--This track puts an end to that

Tuesday, February 2, 2010

Def Jux closing down?

Rumors are swirling around today regarding the end of Def Jux--a label that has been a major cornerstone of indie hip-hop over the past ten years. Here's a report from A.V. Club earlier today.

"More ominous rumors that are likely true: Shabooty.com reports that cool indie hip-hop label Definitive Jux is closing. Although it's not confirmed—leader El-P won't say until an official statement is ready—Shabooty analyzes the writing that has been on the wall, including statements from former Def Jux artists.

The label has been home to a who's who of indie-rap notables—such as Mr. Lif, Murs, Dizzee Rascal, The Perceptionists, and, of course, El-P himself—but the label has been quiet lately, as fellow indie label Rhymesayers has grown more prominent." (News via A.V. Club)


UPDATE: Def Jux founder El-P released post on the state of the label:

Dear Inter-web, fans, friends and JUX family,

People keep asking me what's up with JUX. There's been some talk, there have been some rumors. Some half true, some way off. Reports of our demise have been mildly exaggerated. Here's what it really all boils down to: (read on)

This year, a decade after starting DEF JUX and after overseeing the releases of some incredible albums including the forthcoming release of my dear late and great friend Camu Tao's brilliant "KING OF HEARTS" LP, I'm stepping away from my duties as artistic director for the label to concentrate on what I love most: being a producer and an artist full time. This is something I've been contemplating for a few years now, and can't think of a better time or, with the eventual release of Camu's record, a more poetic way to transition into a new direction.

This means change for JUX. Of course we'll still have our website, we will still sell our catalog, merch and more as well as bring you news and updates on all our projects and artists. We will be releasing "KING OF HEARTS", a DEF JUX remix compilation, a 10 year anniversary retrospective and some other goodies. But then as a traditional record label DEF JUX will effectively be put on hiatus. We are not closing, but we are changing. The process is already underway, and the last several months (for those wondering what the hell we've been up to) have been spent dealing with the technical aspects of wrapping up the label in it's current form and re-imagining our collective and individual futures.


Read the rest of El-P's update here












In honor of the beloved hip-hop label, I decided to throw together a playlist of some of Def Jux's best artist throughout it's run.

Monday, February 1, 2010

Broken Social Scene announces plans for new album

Canadian collective Broken Social Scene has announced details about the band's upcoming fourth album (fifth if you care to count 2004's collection of B-sides, Beehives), including a May 4 release date. The album has yet to be titled, but will feature such guests as Leslie Feist, Amy Millan and Evan Cranley of Stars, Emily Haines and Jimmy Shaw of Metric, Jason Collett, Ohan Benchetrit of Do Make Say Think, The Sea and Cake's Sam Prekop, Pavement's Spiral Stairs, and several others. The album was co-produced by the band and Tortoise's John McEntire in Chicago.


















For more information, check out Under the Radar's Post.

Mix Mondays: Volume 21

Welcome to the War on Pop's Mix Mondays--a weekly 8 song playlist for your own enjoyment! Enjoy the mix below or at http://8tracks.com/waronpop/war-on-pop-mix-mondays-21-february-1-2010. Each week's playlist will also be available on the top right column.



Volume 21: 2/1/2010

1. Broken Social Scene - Stars and Sons
2. The XX - VCR
3. Yeah Yeah Yeahs - Soft Shock
4. Real Estate - Beach Comber
5. Atlas Sound - River Card
6. St. Vincent - Laughing with a Mouth of Blood
7. Radiohead - House of Cards
8. Deerhunter - Never Stops


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