10 Categories, 20 Albums, 1 End of Year List

1. Highest Pitched, and Scrambliest/Awesomest
Marnie Stern - This is it
Shugo Tokumaru - Exit

2. Prettiest Songs That Try To Not Be Pretty
Dan Friel - Ghost Town
Why? - Alopecia

3. Most Complementary Albums From The Same Artist
Mount Eerie - Black Wooden Ceiling Opening and
Mount Eerie - Lost Wisdom

4. Best Albums By Bands Who Have Done Better, and that's their main problem (also, two of the best shows all year)
Mogwai - The Hawk is Howling
Deerhoof - Offend Maggie

5. Best Angry Growly Music
Harvey Milk - Life... The Best Game in Town
Sunn o))) - Domkirke

6. Best Panda Bear Ripoffs And I Mean That in The Best Way (Other Than El Guincho)
Ruby Suns - Sea Lion
High Places - High Places

7. Guiltiest Pleasures That Came Out of Nowhere and Built A Nest in My Ears
Noah and The Whale - Peaceful, The World Lays Me Down
Johnny Foreigner - Waited Up Til It Was Light

8. Unexpectedest Surprises for Completely Different Reasons
Longwave - Secrets Are Sinister
Grampall Jookabox - Ropechain

9. Best Continued Exploration of Auteur Indie Lyricism Culled From Your Troubled Past
Xiu Xiu - Women as Lovers
Silver Jews - Lookout Mountain, Lookout Sea

10. Worthiest-The-Effort/Favorite Albums Of The Year
Women - Women
Department of Eagles - In Ear Park

Top 10 Songs That Got Stuck In My Head – 2008

I’m not exactly up-to-the-minute when it comes to music. I happen to stumble upon things on accident, I don’t seek them out because…well, I’m terrible at figuring out what I’m looking for! Due to this, I do not have a Top Ten Albums of 2008. Rather, I have the top ten songs that I’ve discovered in 2008 [songs that got stuck in my head, specifically].

11. Vib Ribbon – Universal Dance:
Ok, so this one isn’t exactly a song I discovered in 2008. It’s a bonus song I re-discovered, and you should check it out if you like insane cartoon stick-figure rabbits. This song is from a Japanese video game [Vib Ribbon] where a white rabbit follows a path to the beats of seven songs that sound like the fever-dreams of a DJ high on happiness and pop.

10. Stephen Malkmus & The Jicks – Cold Son:
I actually heard this song a few times while in The Blaze during the Spring ’08 semester. I quickly embarked on a quest to figure out who the heck performs it. I don’t get it, but the song got me just at the right time every time, and so it goes round and round in my head. I think it’s the, “Face-plant/Stumble ahead” part that holds me.

9. Ben Kweller - Harriet’s Got A Song:
I don’t know who Ben Kweller is, but I now have a crush on him. I don’t understand most of this song, but I have a little crush on it as well.

8. Black Kids – Hit The Heartbreaks:
My friend sent me the song, and the file says it’s from the album ‘Wizard of Ahhhs.’ I prefer it to the version that is on ‘Party Traumatic.’ It probably won’t make a difference to you, but I like the rougher sound quality of my preferred version. It’s less whiny, and sounds like you’re attending a concert in a cave. An awesome cave.

7. Meaghan Smith – A Little Love
This song is adorable. It has quirky little sounds, a fun strings section, snapping, and makes me feel really happy inside.

6. Matthew Reveles – That Girl:
The lyrics. My oh my. So sweet! You get an absolute picture of the girl he sings about. The music is good, but the lyrics are what really interest me in this song. And the harmonica solo--a good harmonica solo never hurts.

5. Lenka – Like A Song:
Although I found most of this album to be a complete snooze-fest, this mellow song managed to catch my attention. I know, mellow should = boring, but it’s haunting/pretty. I’m a sucker for haunting songs. This one gets put on repeat when I have to write a paper.

4. Her Space Holiday – Sleepy Tigers:
It’s so up-beat! You just wanna bounce up and down while smiling. The lyrics are cute and all, but when this song gets stuck in my head all I can think of is the beat. And he makes burning down a room sound romantic. I mean, it isn’t…but…ya’know.

3. The Postal Service – Nothing Better [Styrofoam Remix]:
I don’t know anything about this song. I have to look it up on youtube to hear it, but I absolutely play the hell out of it. And I sing along to it with much gusto [for which you must all forgive me].

2. Belle & Sebastian – Ease Your Feet in the Sea:
It’s. Just. So. Good. This came into rotation on one of my Pandora stations. Now I am in love. There’s some kind of xylophone action or something going on in this song. I enjoy it :]

1. Neutral Milk Hotel – Two-Headed Boy, Pt. 2:
Really, it’s the whole album. The whole thing gets stuck in my head, and I’ll admit that it’s probably only #1 because ‘In the Aeroplane Over the Sea’ is my latest obsession. This is the last song, and it makes me melt into a happy little puddle. It isn’t the prettiest or cutest song, which are usually the deciding factors for me. Nope, this song has some pretty weird lyrics, but I like them. Example: “She will feed you tomatoes/and radio wires” WHAT DOES IT MEAN? I don’t know, but I love it.

Top 10 Metal Albums of 2008

HMs: Avantasia - The Scarecrow, Eluvetie - Slania
10. Falconer - Among Beggars and Thieves
Really, any of these albums could have been number 10. They were all really good, solid releases but lacked the spice to push them into the upper echelons this year. They were all safe albums and while they were good safe albums, they lose points for not doing amazing things outside of their norm. The title track of The Scarecrow is the notable exception to this.

9. Protest the Hero - Fortress
I like this much better than Kezia though I might be in the minority. Good evolution of sound and a step away from the -core stuff that dragged them down previously. Outstanding musicianship, as usual.

8. Amon Amarth - Twilight of the Thunder God
Possibly the best album this band has put out. Definitely the best of the last few. Normally I find the whole scene these guys play in quite tired and uninspired...generic. This sounds good though.

7. Opeth - Watershed
Most people thought this album was a huge disappointment, so commercial sounding and blah blah blah. I like Pop Punk, so this didn't bother me and I felt the album was quite solid.

6. Sculptured - Embodiment: Collapsing Under the Weight of God
What an underrated record. The drumming on this album earns it a place in the top 10 albums of the year overall. The concepts were also pretty cool and the progression and experience of this album is great.

5. Genghis Tron - Board Up The House
Electronica/Grindcore has every opportunity to sound awful. The fact that this doesn't says a lot I think. The mix of experimentation and the safer grind these guys did before is perfect. Much more experimentation and the album might have been dragged down by it, but instead is just serves to accentuate it.

4. Meshuggah - Obzen
This album is good and better than some other stuff by them but I wish they'd play more with their sound.

3. Intronaut - Prehistoricisms
The epic closing track here is phenomenal. Fantastic mix of the darker stoner/doom style and the more progressive stuff. This album could define my show.

2. Burst - Lazarus Bird
Metal bands that mix in Hardcore should all sound like this. Jazz Fusion, Hardcore, Metal, all in one song...this is soooo great.

1. Cynic - Traced In Air
They hadn't released an album for 15 years, and their last album is highly regarded and considered one of the better and definitive metal albums of all time. Then they released this and topped that album. Enough said.

I want to reiterate that this is metal albums only because otherwise I'd be hard pressed justifying leaving off the new albums by Anathema, Jack's Mannequin, Medeski, Martin and Wood, Panic ath the Disco, Thrice, United Nations, and many others that slip my mind currently.

Becky's Top Albums of 2008

This is tough for me. I already submitted my Top 10 Albums of 2008 to CMJ, but I think this one will deviate a bit for two primary reasons: the first being that I made that list in a hurried state of my usual brand of absurdly spastic excitement, and the second being that I want to make the list longer than ten records. Here we go, in no particular order, I don't think.

Miniature Tigers Tell It To The Volcano
I know every word to every track on this record. I waited so patiently for this release, after whetting my palate with the Mini's Black Magic and White Magic EPs, and it's not only perfectly accessible, lyrically charming and a record I could listen to on repeat for weeks (I kid you not.), but these dudes are based in Arizona! If they are not proof that the Phoenix scene has evolved and only continues to foster better, more promising projects, and that, despite Idolator's uninformed musings, all Arizona bands don't actually sound like the Gin Blossoms. Good local music makes me love my job(s). Miniature Tigers make me love our city's potential.

Marnie Stern This Is It and I Am It and You Are It and So Is That and He Is It and She Is It and It Is It and That Is That
This is as close as we got to Riot Grrrl this year. In '07, I was totally into The Little Bicycles, but this year I didn't hear much along the lines of Kathleen Hanna's brand of yelly, angry lady punk. My only grievance with This Is It and I Am It is when Marnie gets all motivational on us, particularly the line, "The future is yours, so write this part in." The more I consider why I am so bothered by it, the more convinced I am that I prefer miserable music to uplifting. Whatevs, there are plenty of awesome lines that combat the hints of cheesiness.

The Helio Sequence Keep Your Eyes Ahead
Listening to The Helio Sequence is like coming in from a cold, rainy, windy day and wrapping yourself in a warm, but not too warm, blanket. Songs are sad, but not depressing; it's the kind of sad that makes you smile because you relate. Plus, have you seen these guys live?! There's such an electric, enompassing vibe about them, not to mention when I saw them at Rhythm Room, they did their cover of Tomorrow Never Knows, a.k.a. my favorite Beatles song, and I died.

The Breeders Mountain Battles
Kim Deal = I die. Listen to Bang On, and if that doesn't convince you, you probably hate music.

The Cool Kids The Bake Sale EP
I saw these guys twice at CMJ in 2007, first opening for New Young Pony Club at Studio B and then at Terminal 5 with MIA. I'm almost positive that they're impossible to dislike. I mean, they rap about riding bicycles and flossing. C'mon.

WHY? Alopecia
This is why: "I'll suck the mallow out, and break your hollow bones, Yoni." Lyrics that make total sense whilst trying desperately to masquerade only as jaded, dark, sexist, selfish, neurotic and childish. Pfft. How about all that and more? Yoni Wolf and company will murder your ears in a totally hatable nasaly voice spewing devilish imagery and deviance.

Of Montreal Skeletal Lamping
I, along with presumably all other Of Montreal fans, have a curious crush on Kevin Barnes (duh), and when I hear that the concept of this album was to change what people perceive as songs as far as structure goes, I wanted to make out with him more than ever. And hey. Can we talk about the innovation that is the packaging options for this record? Genius, if just for the possibility that you could have a poster, plus CD, plus vinyl, plus tote bag, plus baby unicorn, plus etc.

Oxford Collapse Bits
This rocking follow-up to Remember The Night Parties was worth the two-year wait. This Sup Pop trio of New Yorkers made a record that I kept in my car for the duration of August. I think it was the scratchy melodies and and leftover punky straining yelps.

Plus:

Fujiya & Miyagi Lightbulbs

Sigur Rós Með suð í eyrum við spilum endalaus

Cadence Weapon Afterparty Babies

More to come. Stay tuned.

AC/DC / The Answer @ US Airways Center 12/10/2008

The Answer were the only opener for AC/DC, and they were a good opener. Before I discuss the performance, I want to discuss the band. This is a band who has 1 full length CD out, yet they opened for Aerosmith and tour with AC/DC. That speaks to the attention that 1 CD has gotten. On a more personal note, I have to say that the interview I did with them was absolutely fantastic. The band is very chill and super friendly (they invited me to come out with them after the show to explore bars), and most of all very personable. Most folks who are stuck in the 70's musically are boring stoners, but these guys were not. As to the performance, it was really spot on. When they hit the stage, I remember that my first thought was "Hmm, sounds pretty damn close to Robert Plant." Whether or not that's a compliment depends on your tastes I suppose, but for the sound they are going for, it's great. The band plays a little bit heavier riffs than their 70's counterparts, but the heavy blues influence is still extremely prevalent. In some ways, they feel like a small band still even on the big stage. They're not doing much more than most bands to (which is different from what arena bands do), but they're playing solid music and the crowd gets pretty into it and dances. They're a good pairing with a band like AC/DC and it's nice to see young bands still play music like older bands every once in awhile.

AC/DC are pros, of course. They have been putting on big shows for decades, and they know how to be effective. One of the most notable moments of the show was actually the intro. Beginning with a movie that features a runaway train, the screen then splits apart as a train crashes through, with pyrotechnics galore, as the band jumps into Rock and Roll Train. Other big hits had similarly exciting spectacles. TNT had time synced bursts of flame. There was a blow up doll for Whole Lotta Rosie. Also, it must be said that for a bunch of guys around 60 years old, the energy on stage is still remarkable. Running around and climbing on staircases. Oh and of course the obligatory Angus Young striptease. Even with all of that, I hardly touch the various showmanship aspects of the show, but what about the music? Well, it's AC/DC, the music is solid. Young is a little sloppier than expected, but only in the really nuts self indulgent soloing where it seems so many blues guitarists lose their touch while technical ones thrive. Young is a blues guy through and through, most evidenced in the blues jam the band performed in the middle of Rosie. To sum it up though, a great show, without a doubt.

We're All Dancers In The Magic Chorus Line

...apparently. This is the kind of thing we get in the mail here at the station.

The Fall of Troy/The Number Twelve Looks Like You/Warship/Black Houses @ The Clubhouse 12/2/2008

Today's show I was, for whatever reason, critiquing bands as far as my show goes.

Black Houses opened the evening with an interesting blend of metal and sludgy/stoner music, but all led by a very alternative/hard rock voice. An interesting mix. The crowd was totally dead for this band sadly, but I enjoyed it enough to pick up a copy of the album for the station. I just wish the vocals weren't so pretty. It's great for mainstream rock radio, but not quite as rough as I'd like for indie metal radio. If you like Hard Rcok though, check these guys out, good sound.

Warship was next and while the crowd never really got into these guys much either, I thought they did a really nice job. The music came off much better live to me and I think I will enjoy the CD more after hearing them play live. This was a another band where, with a different vocalist, they would be all over my show. But with these guys, I really do like it either way, I just can't fit them into my sound.

Number Twelve Looks Like You was tonight's winner, by far. Definitely stole the show. They know how to play in a small venue. One of the vocalists divided his time actually being in the mosh pit singing into a megaphone, waving a flag around, crowd surfing, hanging his mike over the crowd from the ceiling, and more zany things I temporarily forget. Then there was the theme of love. To promote love in the audience, couples were invited to make out on stage for an entire song. A boy was invited up to get his first kiss from a girl. The drummer spent as much time at the front of the stage as behind the set, banging cymbals from the front and dancing with the rest of the band. Oh and about the music: not my style really, but that affected my enjoyment of the live show not at all.

Fall of Troy was meh, in a word. I'm not entirely sure why I stuck around for the whole performance. I guess I was always hoping they would play good music. Then, for the encore, they played FCPREMIX, and I guess they did play good music at that point. Some neat facts about this performance though: it was their first in 3 days as their van had broken down on tour, they started with old songs and not the new album to get the crowd (and I think themselves) pumped up. Many elements of their music appeals to me but I still can't get into it...though I rather wish I could.

Cavalera Conspiracy/Soulfly/Sacred Reich/Incite/The Asylum/Laconic @ The Marquee 11/29/2008

When I went to this show, I had no idea how closely tied it was to Phoenix. In fact, until I did a little bit of research just before writing this idea, I really had no idea what this show was all about. The show was titled "12th Annual D-Low Memorial." I had no idea who D-Low was, nor did I care much, the lineup sounded fun.

As it turns out, D-Low (Dana Wells) was the stepson of Soulfly and Cavalera Conspiracy frontman Max Cavalera. He was killed in Phoenix in a road accident, I don't know the details. What is particularly interesting though is that besides Soulfly and Cavalera Conspiracy, all of the bands that played were from Phoenix.

The Asylum were the first band I caught, and they were a smaller local band. They played a Thrashier version of an almost Metalcore rooted style, shifting between more aggressive music and songs that would almost fit into mainstream radio. As it turned out though, I thought their less aggressive songs were their best. Of course, I am really a wimpy metalhead at heart. The band was also really nice at their merch booth, very friendly.

Incite was next and these guys seemed more popular and people seemed to know the words so I assumed they were a national act until they announced that they were from here. Their music was pretty thrashy and aggressive as well, but I felt like they were not as good as the previous band. The aggressiveness never went anywhere.

Sacred Reich played a good old 80's style Thrash. The sort of Thrash that Metallica and Megadeth popularized, which can actually be heard on mainstream radio now and again. Not the totally balls-out sort of Thrash. As it turns out, this was good, I really enjoyed these guys' set, even if I was getting tired of Thrash at this point. The highlight though was their "audience participation" section, which consisted of a cover of Black Sabbath's War Pigs, a fabulous song. I was glad that the audience knew all of the words to the point that the vocalist rarely even stepped up to the mic to sing. It was a really good cover too. The saddest portion of the whole night though was when the band asked for a moment of silence in respect to D-Low (whom the entire show was being thrown in momeory of), and all of the drunks in the crowd couldn't even provide that. The vocalist was extremely upset about this fact.

Soulfly was next, surprisingly (they were listed as the headliners). They played a pretty long set, but the highlight was when they brought out a couple of drums (including a trashcan), and a bunch of random people, and just played a large drum solo. It really is amazing how much can be done with a crowd of people drumming, and how dancy and feel good such music is. Still, Soulfly's songs were pretty good too and the crowd called them back for an encore after their performance.

Cavalera Conspiracy closed the night. They began with some of their new originals, but then ventured into what I can only assume were Sepultura covers (Sepultua was the previous band both Cavalera brothers played in). In addition, for the second to last song, D-Low's little brother came out and drummed with the band for a song. That was quite cute. Unfortunately, Soulfly and Cavalera Conspiracy sound awfully similar, so the last 2 bands really ran together, even with the break in between the sets to change the stage setup. Both bands did unique things to spice up their performance though and in the end both performances were really great. Even the too-cool-for-school kids in the back were headbanging by the end.

Dir En Grey/The Human Abstract @ The Marquee 11/28/2008

The Human Abstract were solid. They are nothing overwhelmingly amazing live, but they play their songs, play them well (syncing blazingly fast harmonized leads is no easy task!), and even throw in a little more abstract stuff and embrace their experimental side. In fact, between listening to Midheaven earlier, and seeing them tonight, I am really starting to be more impressed with them than I used to be. In fact, as a side note, all of the hate on Midheaven is totally unjustified in my opinion, it's a good album, live and on record. These guys struggled all night to get the mosh going, but in a crowd of Dir En Grey fans it just wasn't happening. It was sort of hilarious to watch some guys in the crowd trying to mosh and get glared at for it...hilarious because then everyone was moshing to Dir En Grey...a much less moshable band.

Dir En Grey want to be good, I think. The problem is, the band plays one style of music, and the vocalist does whatever he wants...which is only coherent in the context of the music the band is playing possibly 50% of the time. That may be pushing it though. For instance, they'd be playing a dancy tune, and all of a sudden the vocalist switches from cleans to growls to black metal screams and then back to cleans...and you're left wondering what just happened. Then it happens in the next song. Then the next. Soon you realize the band can't seem to put together a coherent song because the vocalist is so self-absorbed. But then, in song 4, they play a really good tune, and the vocalist stops screwing around, so you think "hey, maybe they were just warming up." Of course, this is not true. In the end, only about 1 in 4 songs is cohesive and solid. The rest are disjoint and self indulgent in the bad way. To give an idea of how self absorbed the vocalist is, I would say he thinks he is Mike Patton. About halfway into the set, the band leaves and the vocalist performs a Fantomas-esque vocal only piece with echos and reverb and so forth. Except, it's not really interesting...it almost seems improvisational, but again, not in a good way. Now, this is all not to say the vocalist is not good. He seems pretty outstanding. Decent growls, solid screams, good cleans, and a handful of weird effects to boot. Oh and great projection...several times he had the mic at his hip, and remained completely audible to the audience. The band, likewise, is not bad. The problem is the mesh of the two creative forces...or really the lack of mshing that goes on. When meshing does take place, it turns out quite nicely.

Gwar/Kingdom of Sorrow/Toxic Holocaust @ The Marquee 11/25/2008

Toxic Holocaust was the opener tonight and for the first time I feel like I sort of "get" Thrash. I mean, like everyone else I listen to old Metallica, Megadeth, but I've never really been a Thrash guy overall, never appealed to me. But live, you really see what Thrash is about. It's just fast, aggressive, and high energy music. These guys didn't get the same energy going as last night, but they were certainly no slouches with large circle pits throughout the performance and generally getting the crowd hyped up. After their performace I was hanging out near the merch booth and I don't think there was a moment where the band was not talking to someone and being complimented on their performance.

Kingdom of Sorrow was next up. In some ways, they seemed to struggle by comparison to Toxic Holocaust. They are heavy in a completely different way and not really as aggressive as their predecessor, and while they kept the audience engaged (and in fact the vocalist was great about maintaining audience attention), it was rather interesting that they had to put in a lot of effort to do what the first band had done effortlessly. The music was also better than I remembered...not my style, but not the mess I had thought it would be...sounded really good.

Gwar was the headliner and, if you've never heard of Gwar's live shows, I suggest a youtube search. In a fast summation, we had: Mccain gutted, Obama decapitated, Clinton de-titted, human sacrifices, and epic robot battles. A lot of people went into the front with nice white shirts. Those people left with soaking brown shirts (brown due to the combination of red and green blood). The performace tonight was a bit unique though, in that about 45 minutes in, the band's sound was abruptly stopped, mid-song. After the band tried to play it off, it soon became apparent something had actually gone wrong. We were later informed by the staff over megaphone that the smoke had set off the fire alarm and while the building needed no evacuation, the show was delayed about 30 minutes. Ignoring that little incident though, a good performance, though it should be noted that the music being played is heavy metal...the music is really not that good, so don't go for that...go for the show.

In Flames/All That Remains/Gojira/36 Crazyfists @ The Marquee 11/24/2008

To start off, I would be totally remiss not to mention two key elements of tonight's show. Firstly, All That Remains did not play. Their vocalist was sick and unable to perform. Secondly, the band's equipment van broke down, and long story short, the show began about 9:30. But maybe bands should do that more often.

36 Crazyfists burst onto the stage, and immediately all the crowd's drunken pent up energy was hurtling in all directions at once. I have never seen an opener that the crowd got so into, even at the bigger arena-type shows. They even had a pretty successful wall of death...and they were openers. I'd never heard them before, but they played a sort of interesting metalcore style that was quite catchy, which certainly helped get everyone into dancing immediately. To be clear, this band had a bigger moshpit going than most headliners I see, and everyone was having a blast. Whether it was just pent up energy or a truly spectacular performance I couldn't say, but they defintely hyped the band up better than any opener I can recall seeing.

Gojira hit the stage next, and it seemed like the crowd had used all of their energy in that huge burst for 36 crazyfists. Everyone was mellow even while the music was much more brutal. But then they got over the rather odd transition, and starting getting into the heavy stuff, and by the end there was another solid moshpit going, and great crowd energy. I hadn't listened to these guys on CD often enough, because I was much more impressed with their live music than I recalled ever being with the CD I have.

In Flames was of course the headliner, and I'm starting to realize I should consider one of two options regarding seeing bands who have older material I like, but not so much newer material. One would be not going, but the other would be to stop going expecting the band I really enjoy. I feel like I'm finding performances underwhelming unjustly. In Flames played 1 song from Clayman, a couple from Jester Race, and played a teaser of Behind Space (I was so excited until it ended!), and for me that means about 1 in 4 songs were really good songs. Not a good ratio. But as I was listening, I realized they weren't bad songs really...just not In Flames songs. Of course, I thought I was there to see In Flames so I was disappointed, but probably unfairly. Once again I noticed the crowd died during the old songs. Such a mixed blessing that is.

Trans-Siberian Orchestra @ Jobing.com Arena 11/23/2008

When I think about the monumental task of trying to describe a Trans Siberian Orchestra show, the first thing I have to do is remind myself that it's not a show. It transcends that bland label. It is an experience. The music is an important element of that experience, but there is so much more going on that makes it only a part of the experience rather than the entirety of it.

It begins with a sort of story, based on their 2004 concept album, I believe. In fact, they may have even played it in its entirety, I'm not familiar enough. The story is complete with a narrator and even an actor for one part of the story. It's a slightly cheesy story, but what Christmas story isn't? It's also heart warming. When the show gets started, half of the rock portion of the band is not on stage, but joins in about the middle, from the ceiling. They descend on platforms suspended on small wires, and the platforms shake while the musicians are rocking out.

When the full band is on stage, they rotate through many amazingly talented vocalists, supported by a stellar lights show, lasers, pyrotechnics, and even a few fireworks in their hit Christmas Eve in Sarajevo. But after about an hour to an hour and a half, the story ends. I give the standing ovation and prepare to leave, when the band is being announced on stage, but then the guy with the mic says "Alright, go ahead and sit down folks." So I sit, and he says that with that out of the way, we are now entering the part of the show where we will rock out and have a blast.

I had thought that during their story, all the stops has already been pulled out. After all, it was phenomenal. But The second half of the show blew it away. More fireworks, pyrotechnics, and lasers of course. But a stage they hadn't even used in the first half made its appearance too. It was in the middle of the arena floor. At one point, one of the girl singers came out of the floor onto that platform to sing between it and the stage, eventually waltzing amongst the crowd up to the stage to finish the song. Later on, towards the finale, one of the guitarists and one of the violinists wandered into the crowd and got on that stage, which proceeded to jump up a good 30 feet while they sang and danced on it.

Musically, they played a good mix of stuff from all albums, including songs from Beethoven even, which was unexpected in a Christmas themed concert. They also played new songs, and the new songs might have been some of the best songs they've ever written. Rarely do you think that the first time you hear a band's new songs. There was also a spattering of fun musical allusions throughout the show, my favorites being Kashmir (Led Zeppelin) and the Peanuts theme.

Despite the length of this review, it feels incomplete. I haven't even touched on so many amazing things that were incorporated. Unfortunately, I feel it is absolutely true that the only possible way for someone to get a feel for this show is to see it live. Unfortunately, they won't be back until the next holiday season.

Fortunately, you can still see one of the most amazing live performances ever devised, you'll just have to wait.

The Boy Bathing "A Fire to Make Preparations"

The fact that The Boy Bathing compared themselves to Bright Eyes and The Decemberists filled me with enthusiasm. I played the album while driving home. Traffic was calm, so I knew I could listen critically. The first twenty seconds of “The Beaches Meet the Sea” grabbed my attention. It had a little flower power, but as soon as it turned to twenty-one seconds I was a goner. Honestly, I switched Cd’s. Eventually, I knew I had to listen to it, but it was a Monday. On Tuesday, on my way to school, I gave myself a pep-talk and put it in.

I basically listened to the entire album in five minutes. I found a few melodies that caught my attention and listened to them in entirety. All I have to say is that the lyrics are some of the best lyrics I have heard in a long time. They are poems rather than just words that fit into verses. The beauty of the lyrics is that they are the main focus in each song. They were not over powered by the mandolin, air organ, or even the accordion. David Hurwitz has the gift of words. Each song has purpose and a mission. He truly grasp a concept and paints it with words. The album is also relevant to what’s occurring in our society. From being a soldier off duty to a homeless in New York City, he finds a way to make them relate to an emotion or event in our own lives. Lyrics aside, his voice has a different sound, but it fits in with the melodies and the raw lyrics. The Boy Bathing is band that combines raw emotions in their poetry with Jeannie Scofield’s beautiful harmonies. When her voice layers Hurwitz’s, I received permanent goosebumps. Together they create silk with the contrast in their individual voices.

I recommend “A Fire to Make Preparations” if and only if, you can appreciate the art and the purpose behind each song. I especially recommend “Victory Walk”, “The Purpose of a Rake”, and “My Parent’s Religion.”

Dig Out Your Soul, Oasis is back!

As a band, Oasis has gone through the toughest stages of stardom. Oasis was formed back in 1991. Since then, the band has peaked at the top of charts in both the UK and the United States. “Dig Out your Soul” is the first album released after Oasis re-signed with Sony BMG back in June of 2008. Nostalgia is probably the best word I can use to describe the album. It basically sounds like good ol’ British rock n’ roll back when it was dirty and hard-hitting. I was particularly excited about the album because it was familiar, but surprising. Dry lyrics keep the theme continuous throughout the album. Lately, a lot of bands have been venturing into dark and undiscovered Worlds (which is fantastic, don’t get me wrong), but eventually, as variety seeker, I have been looking for a bit more simplicity. The tracks in “Dig Out Your Soul” have a common thread that unites them, but each song has its own individuality and tantalizing undertones. Oasis has never been a cookie-cutter band, and this album does not differ.

The album opens with “Bag it Up,” a song about overindulgence and promises of feeding an addiction. Continuing on with “The Shock of Lightening”, “To Be Where There is Life,” and “Soldier On” a sense of taking back control guides each song. Oasis’ trajectory has been one of immediate stardom. Prior to releasing the album “ Be Here Now,” the band was bombarded with the reality that their album was going to have major sales. The management was worried that overexposure was going to sabotage their success. As they predicted, the album soared in sales and overexposed Oasis. The band decided to continue recording in smaller scales, but “Dig Out Your Soul” is the album that will put Oasis back into circulation in the mainstream World. It is definently not holding back…and I love it!

Five FInger Death Punch/In This Moment/Bury Your Dead/Split the Enemy/Howitzer @ The Marquee 11/18/2008

Howitzer opened the show, but as often happens I got there a touch late (mostly due to the traffic to get parked...now I know how it feels to see an actually popular band at The Marquee!), so I missed them for the most part. They sounded alright from what I heard in line though.

Split the Enemy was a sort of Metalcore/Post-Hardcore hybrid band, and to be honest I could have really liked this if it weren't so generic. A lot of songs seemed like one 5 minute breakdown and I'm sorry but that's just too much. I finally sort of saw what people get out of the whole breakdown thing, but that's not all you can do when you write music.

Bury Your Dead played really bad music. Really really bad music. Not only was it generic, it was so uninspired I think I actually died a little inside seeing a band like this on stage. The problem is, they're great live. The music sucks, but the band is a lot of fun. They were the best at involving the crowd out of any band all night, up to and including a wall of death. The crowd interaction was top notch, and you could really tell when they were at their merch booth afterwards and everyone was stopping by to say hi. They make quite an impression.

In This Moment was the band I actually came to see, and they were enjoyable, but the problem with this band is they have some sort of identity crisis going on. They think they're a Metalcore band sometimes, but sometimes they think they're more of a Pop Power Metal band or, as I describe it, Paramore goes metal. Though admittedly Haley is cuter and more talented than Maria. So all of the songs where Maria sticks to clean vocals and pretty, catchy songs, they rock. For the songs where she screams and the try to be hardcore, they aren't so good. Hopefully their next album moves totally in the pop direction, I dig it.

Five Finger Death Punch made me question the sanity of the average music listener. There were many times during their show when I felt like leaving. When they went on a rant about how great it is that our troops are fighting for our freedoms and they wanted a moment of silence so whatever, cool, to each their own I guess. But the crowd chants of "USA!" made me start edging towards the door. Then the tough guy attitude and preaching from the stage that you should be hurting other people in the crowd made me again question why I was still at this show. But, offensive as these things were, in the end none of them made me leave. Why I eventually left was solely due to the lack of quality being played, which is really a shame. The instrumentalists can play fine, but this band can't write a good song to save their lives. I think in the end that fact is what prompted my early departure from the show. But in all honesty...I can't fathom why so many people love this band. When I heard a single by them a year or so ago, I thought it was alright, but the sound was unlike what I saw at this show, to my dismay.

HANDS ON FIRE // O'DEATH @ Modified Arts

Noah And The Whale: The 2008 Album of Love

Yes, the "Love" Album of the year has arrived (actually has been around now for 3 months....whoops!).

The album in discussion, of course, is the debut album from English folk-rockers Noah and the Whale, entitled "Peaceful, The World Lays Me Down". I've been meaning to share my opinions on this album for awhile, but had not easily gotten around to it; to be honest, I could barely stop listening to it to actually begin writing about it. And whenever I thought of what I would write, I thought "I couldn't possibly explain it the right way!"....But I'm going to try.

In a quick summary to end the suspense: Yes, this is one of the best new bands I've heard all year, and this is a HELL of a debut album to put out. It is folksy, dramatic, optimistic, poppy, sad, and soul-wrenching (yes, its a phrase). And all of this on top of the fact that it's hard enough these days to write a heartfelt album about love without it sounding like a bad Hallmark card with chords.
To put it very bluntly: in a way, this album has single-handedly raised my standards for folk rock for the future. (Yeah, they seem like strong words, but I told you I couldn't easily explain it the right way)

There are seriously lyrics in here that no one could possibly say they feel nothing for, as well as lyrics that can't help but make you smile every time. The vocals are nothing astonishing; singer Charlie Fink barely breaks into second octave throughout the album. But the words make Fink's voice unbearably addicting, and you find yourself listening to everything he has to say, or what words he'll rhyme with the next. The music is relatively simple, each track usually sticking to 3-4 chords. But the combination of humble acoustic guitar, intriguing fiddle, and modest amount of bass and drums make you evermore aware of the words over the music; They blend together brilliantly. There are a few times where the music is a little too slow, I'll admit, and the lyrics aren't quite up to par, but I can honestly say that there isn't one single "bad" song on this entire album (the first time I have said that in a VERY long time, I assure you...). As always, there are a few tracks that top the others. My personal favorite has to be the ominously optimistic "Give A Little Love", whose chorus lyrics should be in the ultimate list of quotes (or some Chinese Proverbial handbook, at least). Right up next to it are the tracks "5 Years Time", "Rocks & Daggers", and the title track "Peaceful, The World Lays Me Down".

So if you're into folk, slow rock, indie, pop rock, acoustic rock, or any weird combination, do yourself a favor and buy Noah and the Whale's debut album as soon as possible.

Listen through the album in its entirety, and I dare you to not listen to it again.

Minus the Bear/Annuals/27: One Concert Goer's Experience 11/13

Assignments like this are always tough. I knew Vince would be writing the review for this show, so I made it my mission to put myself into the mindset of an actual fan and music enthusiast in an effort to tell your story, which too often goes untold.

I began the night by scanning the crowd. Previous to arriving at the Marquee, I spent some time pondering on the type of crowd I might find at a Minus the Bear show but I came up with no ideas. I knew the night was going to completely blow me away with surprise.

Okay, so maybe it wasn't that shocking of an evening, but I'll run down the list of mildly interesting (or at least mentionable) people I encountered on Thursday night.

• A girl in a Pokemon shirt wearing denim short shorts
• A man in an Arizona Cardinals shirt
• A man cheering for Minus the Bear while Annuals were playing until he realized that they weren't Minus the Bear. He did however look relieved once he figured out why he didn't know any of the words
• Lastly, was the shirtless guy sagging his boardshorts. And as the night went on, at least three others appeared, and when Minus the Bear came on, man, they went nuts.

In fact, these guys deserve an entire paragraph. Not to berate anyone, but this group did not seem (to me) to be the type of hardcore Minus the Bear fans I would expect. But they knew every word, and they really wanted everyone around them to know this. Even though it's not really mosh pit music, they managed to get a small circle pit going to the right (that's stage left) of the stage. and as they sweat all over me and everyone else around them a revolving cast of friends(??) and couples came to makeout or dance briefly in the middle of everything. Any of these things on their own might not seem so strange, and as I'm writing this, it sounds like a fairly normal occurrence at any concert, but trust me, it was strange.

Fans love talking to people in bands! But the headliner is rarely out at their merch booth, so in true fan fashion, that is, without an audio recorder, I chatted up Ms. Christopher of the opening band, 27 for a few brief moments before Minus the Bear went on. When asked about the tour, she told me that this was their last night. She said that they got along great like family with Annuals and Minus the Bear and that leaving was going to be very difficult. She also told me that they are working on another album and that it may be available sometime after the snow melts in Cambridge, their home town. Check for updates from 27 here and here.

After speaking with 27 I remembered the girl selling cigarettes by the patio, and in an effort to really delve deep into the psyche of the Minus the Bear crowd I wanted to see how much they smoke. "About half as much as at Mudvayne," is the response I got.

Finally, no fan night would be complete without a blurry cell phone photo of the headliner (included above). So there you have it, in full and living color, my night as a fan.

Mission Accomplished.

Maggie is Thoroughly Offended: Deerhoof/Experimental Dental School/Kit @ The Clubhouse 11/13

Great, great show. I can safely say it lived up to expectations. 

San Francisco no-fi act Kit kicked things off in mere seconds, gravitating around a drum set on the floor near stage right. The thing was a-shambles, cracked ride cymbal and all, and after a humble introduction, "We like you, Tempe!," its cause of damage became clear. Guitar and bass screeching triumphantly into cacaphony collided with charismatic yelping, as the drummer--the glue holding this volatile outfit together--proficiently beat the shit out of his set. One could easily combat this formula with raised eyebrows and the declaration "not music, just noise," but undeniable wasthow wonderfully alive the group felt in all its screaming glory. I imagined this as being vaguely how Deerhoof sounded, circa mid-90s. 

By this point, a sizeable crowd had gathered around the half-circle surrounding Kit's set as Portlanders (Portlandites? Portlandians?) Experimental Dental School diverted their attention to the stage proper. Apparently a former four-piece who has opened for Deerhoof on previous tours, XDS in their current incarnation are a drummer and guitarist with alternating vocal duties. Sounding like a cross between Blonde Redhead's harsh guitar chimes and Beefheart-esque herky-jerk, the experimental dentists played a set full of mathy hooks. Fun stuff, and a really solid opening act overall. 

At last, Deerhoof assumed the stage, completely living up to the hype. I had heard great things about their live show for years but had always missed a shot at the live experience. The 'hoof have perfected an impeccably tight instrumental setup over which vocalist/bassist Satomi's shrill voice hovered. Each song, the majority of which came from this year's Offend Maggie ("The Tears of Music and Love," "Snoopy Waves," "Buck and Judy," etc.) faithfully matched its counterpart on-record, with added amounts of the mischief, fury, and fun that define them. Other highlights included one from Apple O' (I am terrible with that album's track titles), the singles "The Perfect Me" and "+81" from last year's Friend Opportunity, "Twin Killers," and of course, the closer "Wrong Time Capsule." 

The brief encore was a performance of Offend Maggie's "Bastketball Get Your Groove Back," in which Satomi paraded around the stage wielding a tiger mask. Quite possibly the most gleeful encore I've seen since witnessing Dinosaur Jr. unintentionally blow a stacked amp.

Minus the Bear/Annuals/27 @ The Marquee 11/13/2008

27 started slow but ended strong. It was their last night with Minus the Bear and it was obviously a bit of a sad situation for all of the bands. It ended up creating a nice dynamic though, between the shots from one band to another and Minus the Bear's bassist and drummer jumping in to jam with 27, there was plenty of fun to go around, and that's just for the opener. Most of the best songs this band played were when MTB's drummer and bassist were joining them, mostly because it really helped fill out the sound. Good band though they were, there's only so much you can do as a three piece, so the extra players added an extra level that pushed the performance to great.

Annuals were next up, and I will make the argument that they upstaged MTB at this show. Certainly, being a six piece band stocked up with male and female vocals, several guitarists and pianists makes for a fair amount of energy and fullness of sound intrinsically, but this band brought even more energy to the stage than what was intrinsically there. Especially when MTB's drummer came out and made it a 7 piece act. Some songs were great, and most were mediocre, but the performance itself stands out more than MTB's without a doubt.

Minus the Bear were of course the headliners, and I'm tempted to review the audience instead of the band here. The reason is as follows: last year, I remember when people would come up to me, trying to tell me about this amazing new band called Minus the Bear that had just put out an album called Planet of Ice. It was rumored to be one of the albums of the year. But here's the thing...it was a mediocre album. I struggle to even call it a Minus the Bear album, just because the sound changed pretty significantly...moving from fun, dancy indie rock, to overly serious college rock. But the problem with this show was that the people in attendance were the same people who thought it was an amazing album. The band seemed to be aware of this beforehand, because they played almost entirely new songs. The couple old songs (and by old, I'm not even sure there was anything from Highly Refined Pirates in the set) they played had about 70% of the audience flat on their feet. Thank god, that would have ruined the band for me...I can deal with the fact that they now appeal to soulless drunks, but if those "fans" had delved into their back catalog where there actually was some amazing music, I would have been very sad. To sum this review up: thank god I saw these guys back in 2004.

Pale Young Gentleman "Black Forest (Tra La La)"

Pale Young Gentlemen's sophomore album "Black Forest (Tra La La)" can be described a lot of ways, but trust me: "pulse-beating" isn't one of them. Not only have they strayed pretty far from their debut self-titled album, but it seems they have created a fair blend of trends going on through the indie scene right now (and put it into a lullaby soundtrack).

I'll say this once, but this is going to be it: I really enjoyed this album this first time I listened to it. It was new, creative, interesting, enjoyable. But after a few listens, it grew a little dull. There are definitely songs on here that caught my attention immediately (and still have it). Arguably, the best song on here is the opener "Coal/Ivory". It's folksy (a common theme throughout the album), and has simple guitar, simple drums, and some flavorful string riffs. The words are good, and the vocals are decent.
Again, a common theme for this record. The bands undoubtably spent far more time on the strings than on vocal training. The second track "I Wasn't Worried" is also great musically, but definitely lacking vocally/lyrically.

The music is good throughout the entire album, yes. But amazing? Sorry, but no. "Goldenface, Morninglight" is very slow, not as musically engaging as the first 2 tracks, and at times, sounds like an overdramatic movie score. "The Crook of My Good Arm" is a very good song; it is much different than the others, faster-paced, and the vocals are good (for a nice change). The album continues in this "I like it!" to "Please change to the next song, I'm falling asleep" pattern until its end with the creepy lullaby of "She's All Mine, I Think".

Yes, it sounds like I haven't made up my mind about this album. But it's made up, I assure you. I'm contradicting myself between songs because that is EXACTLY what this album is: a contradiction of musical talent from track to track. There is great potential in Pale Young Gentlemen to hone their knack for quivering strings and humble storytelling, (maybe one day to stand side-to-side with the likes of Arcade Fire), but "Black Forest (Tra La La)" isn't there yet. There are great tracks in there, yes, but it's just not entirely whole as the album it should be. I recommend the purchase if you enjoy slower, very (sometimes too) thoughtful lyrics, and creative string infusions. Definitely recommend purchasing the singles "Coal/Ivory" and "I Wasn't Worried". Seriously, they're good songs.

But if you're looking for the next big indie orchestra, wait another few albums. Because I'm sure they'll be there.
This just isn't it...

Iced Earth/Early Man/Vektor/Malnurture @ The Marquee 11/7/2008

Malnuture were the openers, and one of two local bands opening the show. They played a style quite similar to Iced Earth with some screaming and even growling over a more traditional heavy metal backdrop. Though they lacked the polish of a more seasoned band, but some seeds of good music existed there and without doubt if they keep playing they will have a nice sound. Mixing wasn't awful but one thing that drove me crazy was that the backup vocals were louder than the lead vocals...never something that should happen.

Vektor was the stronger of the local bands, and in fact the energy the crowd had when they were playing rivaled Early Man, a band actually on the tour. Vocals were definitely lacking, but I think the band was aware...they played predominately instrumental music with vocals only mixed in every now and then. All the musicians were very talented, I was debating buying a CD, but opted not to because I felt they too had not quite defined their sound. One sad note was that they announced this show was their bassist's last show...which was sad because dude held a mean groove.

Early Man sort of fell flat for a band on tour with Iced Earth. Which is not to say they were bad. They were quite enjoyable and definitely had that polished sound the local openers lacked. But much as their Thrash-y style appealed to me (especially with the clean vocals at time reminding me of Rush with their high pitch), there was something missing. Maybe it was just the first night and they weren't on their game yet.

Iced Earth, on the other hand, was definitely on their game. Though not a band particularly engrossed in stage antics, they still manage to be energetic and draw the crowd in (which was helpfully full of very loyal fans). Additionally their music plays very well live. Though my favorite songs were those with which I was already familiar, I enjoyed the rest of the set too. While many bands can be boring live if you are unfamiliar with their music, Iced Earth is not one of those bands. The music was not executed on the same sublime level as a band like Opeth, but these guys definitely know what they're doing.

Meaghan Smith, The Whispertown 2000

Meaghan Smith - The Cricket's Quartet
Jazzy, folksy, playful and fun...I adore this album start to finish. There are only four songs [I Know, A Little Love, If You Asked Me, Drifted Apart] and all are strong and memorable. The songs give you a rush of nostalgia, sending you back to a simpler time with full orchestras backing charismatic singers. The music is classic sounding, mixed with quirky little details that modernize it. I've found a new favorite artist!


The Whispertown 2000 - Swim:
A little folksy again, but...this isn't really my style. I don't like the singing, it's too whiny sounding for my taste. I'll be honest...I'm not into the whole singing like a 7-year-old thing. I like the music, it's unfortunate that their style of singing offsets it so poorly. I could appreciate tracks 3 and 6. Tracks 5 and 11 weren't completely objectionable. I found myself wishing the album would end soon, with no desire to listen to it in its entirety ever again.

Danzig/Dimmu Borgir/Moonspell/Winds of Plague/Skeletonwitch @ The Marquee 11/3/2008

Today we are going to recount one of the worst concert experiences of my life.

To begin with, I did not see the first two bands (out of five), not because I was late as usual...I was actually on time for once. No, I did not see the first two bands because I spent an hour or more in the security line, waiting to get inside. Apparently cameras were grounds for automatic ejection (not using them, just bringing them in), and taking your cellphone out in the auditorium would, again, be grounds for automatic ejection. We were scanned with a metal detector. I felt like I was at the airport.

Moonspell was the first band I caught. For whatever reason, I had thought these guys were Gothic Metal, so needless to say I was surprised by the end of the first song. At first I really disliked the vocalist, but he grew on me and by the end of their (short) set I thought it fit quite well. The big disappointment for these guys though was that almost all of the keys were tracked. If you can't play the music live, don't record it on CD that way. I understand if you lsoe a member or something, but otherwise, stick to what is playable live...tracking just isn't the same.

Dimmu Borgir was really the only band I went to see. It was disappointing. I suppose part of the disappointment was the fact that they played 1 old-ish song and only 1 other song not from their latest album (I believe). But in hindsight, maybe that is for the best seeing how they ruined Stormblast in their new take on it. Vortex is great though...but every time he sang I couldn't help hearing Arcturus in my head (RIP). Besides the set list though, I can't really complain about the show...the musicians are solid and even if they are nowhere near Black Metal anymore (not that they were ever close to begin with), the corpse paint is still fun.

But this brings me to the ruiner of the show for me. That is the audience. Maybe I'm just some elitist prick, but man I just cannot stand MTV metal fans who think they are so tough being at a "Black Metal" show. I think the internet has also ruined music just a little bit, because whereas before when a band got big later in their career, you could distinguish "real" fans of the band by talking about older obscure out of print stuff. Nowadays when a band gets on MTV the kids just download their entire discography and all of a sudden they can pass for a real fan. Disgusting. This show was filled with so many un-elite metal fans you could actually smell it, and it was very unpleasant. At least when a show like Opeth is packed, it's full of real fans. Here, I could have picked out maybe a dozen guys I would have thought were into the band just 5 years ago, and here's a hint, they were the ones over 15 who weren't there for Danzig.

Danzig was the closer, by the way. His show was alright and everything, but the music was super boring. I was tired, so I left after a few songs. Misfits, he is not. Bad move leaving, on his part...he can't seem to write good music since.

Coheed and Cambria/Cartel/The Stiletto Formal @ Gammage Auditorium 11/2/2008

Let me preface this review by stating that any ire present in this review is not directed at the organizers of this event...they did a fantastic job in my opinion. The ire would be directed primarily at the students. Also no small amount of ire is directed towards the sound guys at a professional venue like Gammage who still cannot mix live music worth a damn. I swear I am so close to no longer attending shows with all of the terrible live mixes I've been experiencing lately.

Although not part of the concert, I feel obliged to mention the fair prior to the show, primarily because there was free Hungry Howie's and Naked Juice and Powerade, which in my opinion makes the fair completely awesome and successful.

The Stiletto Formal were great. Musically, they were not what I remembered, either from an evolution in sound over the last couple years, or a bad memory on my part. I won't say it was a bad change...just a bit disappointing in that it was a lot more towards the trendy experimental indie rock than I remember it being. That being said, they rivaled Coheed and Cambria in terms of on-stage energy and drew the audience in pretty well for an opener.

Cartel were mediocre. I've had at least one of their CDs on my computer for years and never gotten into it so that was expected, but a bit of a let down after Stiletto Formal. It also didn't help that they didn't seem to find their on stage energy until about midway through their set (after a cover of Oasis' Wonderwall, interestingly). They also very shortly broke into Freebird when someone yelled it. Their new music seemed extra uninspired which was too bad...the old stuff (that I have) was much more energetic and enjoyable live.

Coheed and Cambria played only 2 songs from their latest album, a good choice in setlists on their part. In fact, barring the 2 songs from the latest release (which I felt was subpar), the set list was about as good as they could make it...every song I love was in it I think. Their decision to keep the singles till towards the end was interesting, and no small number of students ended up leaving before they even got to them...hooray for ASU student apathy. They started off the set with In Keeping Secrets of Silent Earth, one of my favorite songs by them, if not the single favorite. Excellent opener. Then after a foray throughout their catalog they closed with The Final Cut...in the best way possible. Between voice modulated guitar solos, guitar solos played with teeth, and an instrument played by waving your hand in the air, this song had everything. Then after all of that, there were short solos by the keyboardist (who is nothing special) and the bassist (who lightened my criticism of him during his tasteful solo), and finally an epic Chris Pennie solo. Throughout the show, I found myself thinking "Chris Pennie is totally wasted in this band" about every five minutes (Chris Pennie is the ex-drummer for Dillinger Escape Plan). When they started The Final Cut though, I knew I was in for something special...his groove was phenomenal from the outset. Then, after an amazing ten minute drum solo, the entire band rejoined him on stage to finish the song that you had forgotten they never got around to finishing. The one criticism I will give for the performance is that the stage setup was very minimalist, yet since i last saw them they added a keyboardist, two female backup singers, and replaced the drummer and bassist. Yet for all of that, I thought the music did not sound any better this time around, drum solo aside. It seems to me they should spend their money on interesting banners and videos and dump the lackluster vocalists and keyboardist.

Lenka

Lenka - Let's break it down song by song! Raw reaction:

1. The Show - Adorable, catchy, confusing but I feel like I SHOULD be able to relate, makes me want to go play on a carousel and a swing-set.
2. Bring me Down - Starts off sounding like a 1950s girl band/Imogen Heap - Hide And Seek…then turns into a Disney song. There are parts I like, but the music just doesn't seem to fit what she's saying.
3. Skipalong - This song makes me sleepy. It also reminds me of the Spice Girls whenever she harmonizes.
4. Don't Let Me Fall - I like this, the music is a lot simpler than the last few songs. It also doesn't have the weird juxtaposition of sounding happy and really being sad that she uses a lot.
5. Anything I'm Not - Pretty, melancholy, the words fit the melody well! And then it picks up a little...and we're back to relatively peppy sounds with somewhat existential lyrics.
6. Knock Knock - This song sounds like the opening to a children's show. A children's show about family ties and dealing with being different. A show that only very sensitive children would watch, hosted on PBS.
7. Dangerous And Sweet - I have no reaction to this song, other than the urge to skip it. It's of medium/med-slow tempo. There is maybe one key change. MAYBE. I couldn't concentrate on it. It's very repetitive.
8. Trouble Is A Friend - Have you ever played the Nintendo DS game WarioWare? The song is eerily similar to the theme song of one of the characters, Ashley. It's spooky and dark, but cutesy.
9. Live Like You're Dying - Oooh, melancholy! Depressing lyrics! Existential! Aaaand the melody starts to pick up. And she tells us there's hope. I'm beginning to sense a definite formula here. This song makes me lose interest fast.
10. Like A Song - My goodness. My oh my. Sorry, but this song has the same tempo and is written in the same key as the bewitching song in 1993 children's classic movie Hocus Pocus. Fortunately for Lenka, it's BEAUTIFUL. I adore this song.
11. We Will Not Grow Old - This is not the song I would have ended on. It sounds a lot like the other songs. It's nice that the lyrics seem pretty happy and the music is happy...but track 10 still seems like a better choice to end on. This sounds like the finale in a musical. Not necessarily what I'm looking for in an album.

It's like she only has one emotion, and that emotion is "cute." Now, I'm well aware that cute isn't exactly an emotion…but I don't think Lenka knows that. So I suggest giving tracks 1, 3 [kinda], 4, and 10 a good listen. The rest are only so-so.

CMJ: Vince's Wrap Up (now featuring photography by me)

Another blitz through everything that happened...

The metal panels were a mix of good and bad. The panelists were knowledgeable and experienced, and had good things to say, but I felt like they didn't really cover much of the topics I really wish they had. I would have loved to hear what the next big band predictions were. I would have loved to hear from metal radio guys who didn't work for stations already established when they came in. I got a lot out of them though.

Then the Heavy Hitter showcase:
Unholy was pretty generic. I stepped out and talked to other metal directors.

Catalepsy was alright as background music, I still stayed at the back of the venue talking.

See You Next Tuesday was actually sounding pretty good, but just as I started really paying a attention, a fight broke out, the band jumped in, and the set was over after about 2 songs. Hardcore kids are awesome.

Arsonists Get All the Girls were actually pretty fun for a Deathcore band.

Next was a cover band composed of folks from Relapse, Heavy Hitter, Metal Blade, and Tucson's station. It was a lot of fun, and way better than anyone expected, including the band themselves...who had never rehearsed together. Below is (left to right) Chris from Tucson (vocals), Vince from Metal Blade (drums), and Dave from Relapse (bass).


Closing was Iwrestledabearonce, and they were a lot of fun. I can appreciate grindy bands with electronica influences.

Saturday I got up and went to Central Park (see first picture), then explored Times Square, Chinatown, and various other places before hitting up the Syndicate showcase.

My Mortality were alright. Generic Hard Rock, but where in metal that sucks, in hard rock it's fun.

Warship were ok. Forgettable.

God Forbid was disappointing. Not to say they were bad, they were just talked up so much the show was a bit disappointing. Pic below.



Darkest Hour were about as good as I expected. Not my favorite band, but they do alright live. The mic was broken for like 3 songs before they decided to replace it though, which was silly (I blame the venue for that though).

Sunday I woke up ungodly early to come back to Arizona.

CMJ Update 1B... Owen's fevered rant

So I was hesitant to post anything until I have some of these digital photos developed, but seeing as how I can't get the film out and I'm fresh out of fixer, so it's back to plan B: stealing from someone else's flikr feed!

(picture to come)

Or perhaps not.

So this is Friday night, day four of the Marathon, and I'm a bit overstimulated. Vince and I are in a hostel next to Astor Plaza full of Europeans, especially Swedes. Hmmm... Perhaps I should begin at the beginning:

On Wednesday we got our passes and enjoyed an okayish panel on the future of Hi Fi audio. The generational gap was palpable - it palpated all over iPods, MP3s, and all sorts of other handy musical technologisms that define our youth culture. They did an interesting demo of a Rush song in varying degrees of fidelity/speaker quality. Again... palpable. Though it seemed like an ignorance is bliss kind of thing, to be honest. The immersive experience of music listening, or "faithfulness to the source" as the panelists described it seems less than fully relevant in today's musical environment. With sample and computer based music on the rise, it begs the meaning of the "source" being reproduced. As Vince noted, the Sony guy was very passionate, waxing nostalgic about growing up with music as his religion and lamenting that people download music and steal food from the mouths of babies. I apologize if I'm coming off as cynical. It's a moot point anyway, since I don't have enough bread (as one panelist put it) to get even a low-end hifi system.

So that's one panel covered. Stay tuned for more updates from the road!

CMJ Update #1

A quick update on my CMJ experience so far.

Tuesday night Owen and I arrived later than expected due to a late departure, so no CMJ passes. Spent the evening exploring the lower East side though which was fun.

Wednesday we went to the Hi-Fi panel which was actually quite a good panel. The range of opinions on the board was great, with a little bit of surprise on my part about how much the Sony guy cared about sound quality in his music. Very interesting panel. Then we saw Social Networks and music which was an unfortunate amount of shameless self promotion.

After a brief visit to the Cake Shop with Owen to see a band I didn't know, I wandered off to Chinatown to explore and then went on a bar crawl with the various other radio stations, promoters, labels, etc.

Thursday was college day and it was a lot of fun. Some panels were better than other, the quality of the musical acts was generally good, and at the end of the day I ended up going on stage to present on of the college radio awards.

After a quick visit to Other Music, I hit up the first metal show of CMJ.

Ionia was universally disliked by the crowd. I thought a different vocalist could have changed opinions.

The Autumn Black was a bit better, but generic metalcore is generic metalcore...thought there was a big improvement from the first band.

This show being ended, hit up the next show and I was more eager for this showcase, as it was Metal Blade and Relapse.

This or the Apocalypse was ok. More generic metalcore.

Bison B.C. was the surprise of the night for me. I had expected a more generic Metal Blade band, but they ended up being great, and something I will definitely play on my show this week.

Left to Vanish had hardcore dancing.

Tombs was uninteresting. Talented, just not good music.

Psyopus was cool. The music is quite mindblowing to see live, all very talented musicians. The vocalist was very charismatic and, this being a bar venue, often in the audience trying to draw more people in.

Today is the metal panels, yay!

MINUS THE BEAR'S NEW SEVEN SONG EP "ACOUSTICS"

Minus the Bear revisits six songs released on their previous albums with a more organic approach. The one new track, "Guns & Ammo" starts the album off devoid of the keyboards that have become a part of the Seattle band's distinctive sound. Even so, the album still sounds very much like the band we've grown to love and it's awesome to be able to appreciate them in this new light.

Acoustics is definitely good. The difference between these new acoustic tracks and their older counterparts is surprisingly dramatic. When I first caught wind of what Acoustics was about, it smelled a bit like a cheap ploy to make some extra cash with old material (See Metallica, U2). I am very happy to report that that is not the case.

Acoustics is only available online. If you're dying to get your hands on a physical copy then you've got to check them out on tour. Lucky for you, Minus the Bear will be at the Marquee Theatre in Tempe on November 13th.

If you don't live in the Phoenix area check to see when they'll be in your city on their website.

Anberlin/Scary Kids Scaring Kids/Straylight Run/There for Tomorrow @ The Marquee 10/18/2008

This time I caught the final few songs of the opening band at least. But I mean, who starts a Saturday night show at 6:30, seriously?

Also, one consistent comment I'll refrain from repeating is that whoever was doing sound tonight should be fired. It was worse than any professional show I've been to in my life. The bass drowned and muffled everything and the kick drum sounded like a gunshot. If any drum should sound like a gunshot, it's the snare.

There for Tomorrow was the opener and, from what I saw, may not be much of anything special live, but the music is good. The band themselves seemed like the typical first-time-on-a-big-tour band. A bit rigid on stage and quite as comfortable as the other bands. I do plan on checking out their myspace though and seeing how the recorded music sounds. Hopefully as good as it did live.

Straylight Run was the band I came to this show for, really. I had seen the other 2 major bands several times prior. At first, I was really disappointed, due to my fault alone. I did not realize Michelle had quit the band and I was greatly in the mood for those beautiful female vocals that were no longer with the band. That aside, the band did well lacking her presence. The setlist stuck to primarily older material, where Michelle's role was less prevalent and more easily removed. As it turned out, this was nice because I love the old material. the closing song was Big Shot and wow that song is incredible live. It was so powerful to me on CD at one point in my life that I couldn't see it getting better, but the live version blows the CD version away. I wish I'd had a video recorder.

Scary Kid Scaring Kids are from Arizona, so naturally the home crowd was pumped to see them return. I saw these guys very often about 3 or 4 years ago, and it seems that in the time between then and now they've gone through a lot of changes. I believe the lineup is a bit different. The band looks like they should be playing metal. They still bring the energy though. In fact, I was worried that seeing them at such a large venue after spending so much time with them at venues where I was literally falling onto the stage with them would spoil the live experience of the band for me. As it turns out, I will contine to assert that these guys are one of the best live acts I've seen. They are energetic, entertaining, tight, and happy. I miss being able to see them on a monthly basis.

Anberlin played their best set that I've ever seen by them. They seemed to stick primarily to Cities and Never Take Friendship Personal material, but that's ok as it's their best work, but it was odd that they refrained playing many songs from their recently released album. No complaints here, however. The highlights of the show were The Feel Good Drag, a song I've never seen them play live before, and which I assume the rest of the audience had not either, and they were applauding for several minutes after this track, as the band just stood with jaws dropped at the crowd enthusiasm for the performance. Then, the encore was *fin. As this is my favorite song by them, I am a bit biased, but this was an amazing performance. I swore I would never hear it live, due to its technicality and sweeping arrangements on the record, not to mention its length. They pulled it off great live though, and of course due to the length it ended up being the onyl song in the encore, but this song and Big Shot by Straylight Run were worth the ticket price alone.

Vivian Girls

The self-titled album of Vivian Girls offers a lot of toe-tapping beats, but falls short on variety. Most songs run for about two minutes or less, which makes it hard to differentiate between tracks. All of the songs would into a mix CD well, but feel a bit flat when next to one another. You could rock out to all of it, but it would be nice to be thrown a curveball every now and then. The standout song for me was "No." The song consists of only one word repeated multiple times, which makes it the easiest song to vocally understand. Plus, it's really fun to shout "NO!" at the top of your lungs.

All in all, this is a great album for background music but needs to be thrown into a mix for full appreciation.

Unearth/Protest the Hero/The Acacia Strain/Whitechapel @ The Marquee 10/15/2008

I have made a bad habit of missing the opening band at shows. I need to get out of school earlier.

Part of me wants this review to consist solely of "LOL hardcore dancing, LOL tough guy metal." But I need to be fair and balanced, like Fox News.

Whitechapel is generic. Period. The live mix was horrible. There was a wall of sound and it was nearly impossible to pick out any single instrument besides the drums, and even those were sometimes buried. What was entertaining to watch though was the Hardcore dancing. I mean, there is nothing that compares in terms of stupid things you can see happen at a show. There's something perversely satisfying in seeing people make assholes out of themselves.

The Acacia Strain was more Hardcore than Metal, and that was unexpected, I guess I haven't listened to much of their material. In fact I think I listened to half of one of their CDs once, and that's it. But the Hardcore emphasis was actually more enjoyable musically, and more hilarious in terms of general entertainment value. Something that has always tickled me about Punk/Hardcore is the whole "fuck corporations" deal they always get on, as they sing into Shure mics, play Fender guitars through their Marshall amps....it's nice I suppose. Also, the tough guy Hardcore these guys were selling is particularly hilarious. Something about the idea of "everyone here is your enemy, fuck up everyone around you" is just really comedic to me. Plus the irony in the vocalist so much time ranting against social tools was just as good as it gets. Actually, correction, the loud crowd cheers after the rant were the best. The best comedy in the world is things that no one else realizes are funny...though it might have been even funnier if they saw the irony in their cheers. The anthemic sing-along qualities of Hardcore are cool though.

Protest the Hero was the first non-generic band to play for the night. It was very good. The lighting and stage performance was great. The banter was great (a personal favorite was when the singer was talking about some dudes in front who were looking pissed because this band didn't have enough breakdowns and generic moshing sections...possibly funnier to me because I agreed with everything he was mocking). The mix, however, was still poor. Sure, you got those high pitched sweeps alright and all, but in general the sound was very muddy. I want to say the songs are just not meant to be played live, but I feel like the sound quality really inhibited my judgement of it all.

Unearth was good. I was surprised. In fact, I'd almost left before their set because I wasn't overly inspired to see it, but I stuck around...and was glad I did. I do not like this band on CD. Unlike the other bands during this show, however, these guys actually had a good sound mix, and in fact the mix was so good I was able to actually enjoy some of their riffs. The guitar work was more impressive than I remember it being, and though their set was almost 1 contiuous hour-long breakdown, somehow there was enough variety or something like it to keep me entertained for their set. The performance itself was also great...beerbongs on stage, good interaction between members, and near the end, one of the guitarists ran into the crowd, had a beer thrown to him, drank it, and then continued the song. Entertaining, if nothing else.

New Justice DVD

Just in time for Christmas 08, everyone's favorite French Christian Live PA Electro-metal duo Justice is releasing its first concert movie, A Cross The Universe. Judging from the (NSFW) trailer, Gaspard Augé and Xavier de Rosnay have been having quite a wild time on the road. In fact, I'm beginning to think Justice might not actually be practicing christians... come to think of it, maybe Daft Punk aren't actually robots either. Oh you dissembling French DJs, my worldview is crumbling!

It drops on Nov. 24, and you can be sure it will be featured at COTMA Brunch.

New Hot Tracks - The Blaze's MD speaks out

Brand new this week, here's a brief communique on what's going out on the airwaves/internetubes:


Of Montreal's Skeletal Lamping went into heavy rotation yesterday, and it is just as funky and disconcertingly sexual as you might expect, following Hissing Fauna.
Owen's Picks: Opener Nonpareil of Favor - the middle two minutes are straight up atonal guitar pounding, and then it breaks into this electronic doowop thing that is just incredible. Track 5 An Eluardian Instance - opens with a heaping helping of horn section hooks, bounces along on a bundle of trademark Barnes Basslines, and drifts into a surrealistic anecdote about "midnight raids on swedish plumtrees". Spectacular!


The Streets are also in heavy with Everything is Borrowed! Prompting me to wonder whether I'm propagating institutionalized racism by putting a white British MC in Heavy, but relegating the new Killer Mike LP to the neglected New Hiphop slot. Happily, I've rationalized it through a thought experiment: if I had a new Dizzee Rascal and a new (...umm) Slug album, Rascal would definitely get preference. The moral? Gentlemen (read: I) prefer rappers with British accents. Anyway, the Streets album is pretty darn good, with a fresh live musician take on its beat production. Mike Skinner isn't telling stories about eating eggs and fried tomato and calling girls anymore. He's talking about religion and (brace yourself) global warming (cringe?). Nonetheless:
Owen's Picks: On The Edge of a Cliff - the backing track is straight out of a 70s sitcom theme song (in the best possible way). The Lyrics are about how, like, isn't it crazy how you were even born? Like, instead of not-you? Y'know? Mind-blowing.

Mini Tigers: Cannibal Queen Video

Genghis Tron/Yip Yip @ The Phix 10/12/2008

Due to a set of unfortunate circumstances I missed the opening band, which was too bad as I heard good things, but I will review the other two bands.

Yip Yip was interesting. Two pretty young guys, a lot of keyboards and electronic instrumentation, a few cymbals, a saxophone, and interesting headpieces made up this band's on stage entourage. Experimental music is hard to critique, because if it doesn't click with you, you tend to hate it, there's no real middle ground for it. So for instance, the band I saw last night, I thought was an awful band, because their experimentation sounded like untalented, drug-induced noise. On the other hand, Yip Yip was doing some cool things. Not a ton, but enough to keep it interesting. Plus the benefit of experimental electronic music is that it's almost always dancy. Quite complex compositions for a two person band though, reasonably enjoyable.

Genghis Tron was awesome. How do I describe this band? Part electronic, part grindcore. It makes you want to dance, it makes you want to be totally spastic. It's great. The orchestrated light show was better than most bands I've seen in arena shows. The presentability of their live show is obviously very important to them and it added a ton to the experience. Live, some songs come off better than others, and the mixing was a definite problem at this venue, so I will tentatively suggest I prefer the music itself on CD versus live. One thing I was astonished by was how well rehearsed the band was though. As the drums are all programmed, I was astonished the band would play straight through three songs without breaking and remain tight and on tempo the whole time. Especially with the spastic nature of their music, they show an impressive sense of time in their performance. The experience of this band was awesome though, well worth seeing.

Opeth/High On Fire/Baroness @ The Marquee 10/9/2008

Let me start by saying this was a top notch lineup. Opeth is certainly a big name, but though the others may be a bit less-known, I knew enough about all the bands coming in to expect great things. I was not disappointed.

Baroness was only disappointing in two aspects, neither that I can fault them for. The first was the set length. It was quite short. This is usually to be expected with an opener, but with only 3 bands on the lineup you can always hope even the opener will get a good share of stage time. That was not the case here, however, they made the most of the time they did have without a doubt. The band is interesting because, stylistically, it is sort of a combination of the two other bands on the tour. Very sludgy and even doomy, but at the same time extremely progressive at points and very smart music. Despite performing music I felt would appeal to audiences of either larger band on this tour, the band failed to ever really get the crowd into it, the other disappointment. As they played music primarily if not solely from the Red Album, I was familiar with it all beforehand and it came off great live. Better than on CD. I can't wait to see this band again.

High on Fire was great the last time I saw them, at The Brickhouse. I felt they were not quite as good here, and I think it was really the size difference in venues. Matt Pike is a really charismatic guy I think, but he works best with smaller audiences, and there he has this unique way of connecting with his crowd that adds even more to the already astonishing heaviness of the music. Nonetheless, the band put on a solid show, and played 100% awesome songs, though with a tendency to play primarily off of Death is this Communion. I love this band live though.

Opeth was, sadly, the biggest name on this ticket by far, but also the band whose discography I was least familiar with. To that end, I expected a mediocre show, because much as I hate to say it, shows are more fun when you know the music. But where on CD I've always felt Opeth was a little same-y and uninspired, live I felt myself eating all my preconceptions. They were amazing. The stage banter was funny in the way only nerdy humor can be (but I mean that affectionately, being a nerd myself), even hitting up a little bit of healthy self-parody (no genre is as in need of this as metal), the musicianship was amazing, they're not virtuosos, but they definitely know what they're doing, and the songs blew me away. I am now inspired to look into their catalog again and try to connect with it the way I did live. Mike is really the root of that connection. He's extremely charismatic, and just from his stage demeanor you can tell how friendly he is. You may be in a crowd of hundreds of other people, but when he talks, it feels like he's being especially friendly to you, and it's great. A healthy mix of songs from throughout their discography, closing with perhaps my new favorite Opeth song, Drapery Falls. Now I wonder why I took so long to see these legends.