Daily posting is still my ultimate goal, but until then I'm thinking of naming this feature The Weekly Five. Anyway, without further ado, here are five new songs that have been rolling through atmosphere around me this week.
1. "Hollywood" by Codeine Velvet Club: Besides an awesome band name, the Codeine Velvet Club has something else going for it: Jon Lawler (better known as Jon Fratelli from the Fratellis). While I don't actually know much about the Fratellis--I always avoided them because the name makes them sound like some gooey teenage pop--apparently Jon Lawler is awesome. And I've been into a ton of Scottish bands lately (Frightened Rabbit, We Were Promised Jetpacks, Camera Obscura). After listening to this CD three or four times, I'm beginning to agree about Lawler, plus I love the retro, 1960s big band sound.
2. "Terminally Chill" by Neon Indian: The first 10 seconds sound like Daft Punk and then the song breaks out into a nice 1980s synth-jam. This song makes me want to drive to Palm Springs and snort cocaine with Julian--but (SPOILER ALERT!) hopefully not die in the car ride back.
3. "Sun Hands" by Local Natives: Apparently this LA-area band killed at SXSW (according to my friend Jeremy from New York). I'm into almost any song with a catchy, sing-along section that you can clap to (see: "15 to 20" by the Phenomenal Handclap Band). Before you go overboard there with the clapping, I said "almost." Maybe I should dial that back to "some" before you drag me to a karaoke bar and force me to sing along with "Saturday Night" by the Bay City Rollers. (And yes, I am now thinking about So I Married An Axe Murderer. And no, I don't think I digress too much.)
4. "Stranger" by Dr. Dog: I was a huge fan of Dr. Dog's last album, Fate--especially the Beatles-esque "Army of Ancients" and "The Beach"--and this follow up of the recently released album Shame, Shame continues along with the same, smooth sound. So far, this might be my early-summer anthem. I'm seeing Dr. Dog (along with Deer Tick) in a few weeks at the Fonda, and I'm excited.
5. "White Punks on Dope" by the Tubes: Inspired by my t-shirt today(which says "White Dopes on Punk"), here's an old track by the Tubes. You better know where you came from, son.
Showing posts with label music. Show all posts
Showing posts with label music. Show all posts
Friday, April 09, 2010
Thursday, March 25, 2010
Evolution of Heartbeats
I had these songs running through my head last night and I thought I'd put them together in a playlist.
Though it's not in order of release (I know the Knife's version came first), I think this flow is better as it builds as the songs go on. José González starts it off with his cover of the Knife's 'Heartbeats,' which comes second. Finally I threw in the Get Busy Committee's new track, 'My Little Razorblade,' that builds off the Knife's version and adds some much needed attitude to the electronic rhythm. Also, I highly recommend the Get Busy Committee's album Uzi Does It, because who doesn't love koalas, machine guns, and good samples?
Ladies and gentleman, introducing the Evolution of Heartbeats:
Though it's not in order of release (I know the Knife's version came first), I think this flow is better as it builds as the songs go on. José González starts it off with his cover of the Knife's 'Heartbeats,' which comes second. Finally I threw in the Get Busy Committee's new track, 'My Little Razorblade,' that builds off the Knife's version and adds some much needed attitude to the electronic rhythm. Also, I highly recommend the Get Busy Committee's album Uzi Does It, because who doesn't love koalas, machine guns, and good samples?
Ladies and gentleman, introducing the Evolution of Heartbeats:
Tuesday, March 09, 2010
The Daily Five Returns!
After a long hiatus, Diabolical H. Crazy is pleased to present the return of the Daily Five! But first, here's the Diabolical February iMix playlist. It should have been a little longer, but some of the songs didn't match up with iTunes. Anyway, on with the Daily Five!
Portugal. The Man. Here's a band I didn't know anything about until last week when I downloaded the "American Ghetto" album. I particularly like "The Dead Dog" and "1000 Years." I'm amazed such a rocking sound can come from Wasilla, AK ("The Home of the Palin Moose Burger!"). It must be the Portland in them. You can get "The Dead Dog" for free below:
I've been on a bit of a French pop kick lately (no, not the crappy French pop. The more soulful stuff by Carla Bruni, Autuor de Lucie, Josephine Baker, Valerie Leulliot, and others. Maybe I should do a French pop Daily 5?), which is how I found this song, in both English and French. Plus I'm a sucker for the Moody Blues. I remember walking down Broken Fence Way listening to "The Other Side of Life" on a boom box on my shoulder (updated review: it's a really, really, really bad album. But I thought I was cool).
I missed seeing Local Natives during their last two LA Shows, and then their album got yanked from eMusic and re-released by another label. So I waited and waited to finally check it out (legally). I like what I hear. And though I missed their shows, you can find me clapping along to this song at home.
I'm taking the easy way out today and posting another Local Natives song. What, do you think I sit around and blog all day? NO! I gots to make money somehow.
Portugal. The Man. Here's a band I didn't know anything about until last week when I downloaded the "American Ghetto" album. I particularly like "The Dead Dog" and "1000 Years." I'm amazed such a rocking sound can come from Wasilla, AK ("The Home of the Palin Moose Burger!"). It must be the Portland in them. You can get "The Dead Dog" for free below:
I've been on a bit of a French pop kick lately (no, not the crappy French pop. The more soulful stuff by Carla Bruni, Autuor de Lucie, Josephine Baker, Valerie Leulliot, and others. Maybe I should do a French pop Daily 5?), which is how I found this song, in both English and French. Plus I'm a sucker for the Moody Blues. I remember walking down Broken Fence Way listening to "The Other Side of Life" on a boom box on my shoulder (updated review: it's a really, really, really bad album. But I thought I was cool).
I missed seeing Local Natives during their last two LA Shows, and then their album got yanked from eMusic and re-released by another label. So I waited and waited to finally check it out (legally). I like what I hear. And though I missed their shows, you can find me clapping along to this song at home.
I'm taking the easy way out today and posting another Local Natives song. What, do you think I sit around and blog all day? NO! I gots to make money somehow.
Thursday, December 17, 2009
What's Been Ringing In My Ears This Year
I'm a bit of a music junkee. Really. Anyway, I just spent so much time putting together the list below that I don't feel like writing a proper intro to this post. So let's just get into it: here are Diabolical H. Crazy's top 10 albums of 2009.
1. Dirty Projectors "Bitte Orca" -- As in, please, I'd like another whale of an album like this. While it seems that the rest of the music press penciled in Animal Collective as the year's best album in January, "Bitte Orca" came out in June and picked up steam throughout the summer. "Stillness Is The Move" is definitely the highlight track (I think I must have Shazamed this song about a dozen times before buying the album, plus there's the Solange Knowles cover. Any song that is still amazing when covered in another genre must be an amazing song). The album starts with "Cannibal Resource," one of my all time favorite, "is this music? what the hell is this? wait, this IS music!" album openers ever. The vibe continues through "Temecula Sunrise" and "No Intention." At moments, it sounds like a cacophonic experimental middle school band, and it others it is simply pure genius.
2. Phoenix "Wolfgang Amedeus Phoenix" -- At first I had it really low on this list. Then not as low. And then I listened to it again. And again. It's a damn catchy album, and I can't believe I am putting something this poppy so high, but that's just the thing--who expected a (mostly obscure) French band to make one of the best pop albums of the year and then name it after one of the best composers ever? Everyone knows "1901" (thanks, Cadillac. By the way, I know someone who should do your marketing) and "Lisztomania," but this album is steady all the way through--so solid that I had trouble picking which song I wanted to link to (I went with "Lasso," but make sure you check out "Love Like a Sunset, Pt. II"). Oh yeah, and thanks to my wife for turning me on to this band and buying me tickets to the show.
3. Yeah Yeah Yeahs "It's Blitz" -- I liked "Show Your Bones." Having said that, it was definitely not the right album to follow their stellar debut "Fever to Tell." The YYYs could have retreated from "Show Your Bones," licked their wounds, and put out another indie-punk gem. Instead, they completely blew up their sound (seriously, Nick Zinner, keyboards? I had no clue.) and came out with one of the most backward-sounding, forward-reaching albums I have ever heard. It's hard to outshine Karen O, but in some cases on this album--like "Zero"--the music is at the forefront. Luckily Karen gives us "Heads Will Roll" and "Dull Life."
4. Girls "Album" -- "I wish I had a pizza and a bottle of wine." This line, from "Lust for Life," is so many perfect moments wrapped up into 11 little words. It's the first song on the album, and I completely skipped over it for a month, listening to "Laura," "Big Bad Mean Motherfucker," and "Hellhole Ratrace." And then one day, while walking the dog, I listened to "Lust for Life," over and over and over again. And then the rest of the album. It's at once retro and lo-fi, yet somehow modern and vulnerable. "So come on, come on, come on and laugh with me." And listen to this album.
5. The Flaming Lips "Embryonic" -- Okay, Wayne and company, the album's called "Embryonic"; we really didn't need to see that birth scene in the video for "Watching the Planets." As you say so well on the album's first song, "that's the difference between us." But you did show us that and so much more. Starting with "Convinced of the Hex, this album feels like the birth and destruction of something, but what? The ego (as in "The Ego's Last Stand")? Yourself? Celebrity? What?
(bonus side note: Karen O offers some amazing animal vocals on "I Can Be A Frog." Some called this the year of Jack White. I call it the year of Karen O.)
6. Passion Pit "Manners" -- Of the year's electronic albums, I like this one the best. Maybe it's the way "Moth's Wings" builds up. Maybe its the way "Sleepyhead" reminds me of my wife. But most likely it's the singing, sometimes high pitched, sometimes a collection of voices, that adds depth to everything else. That, and it's fun. Whatever it is, I have the manners to say, "thank you, Passion Pit."
7. The Decemberists "The Hazards of Love" -- I really didn't want to like this album. I even took most of the songs off my iPod for a while to make room for some newer albums. But there's this one riff that's repeated in a number of songs that just makes me want more, and I started adding them back. In my opinion, the Decemberists have always engaged in a bit of puffery and fluffery in their songs, making them sound complex and grandiose. And some of their so-called period songs (like "Eli, the Barrow Boy") seem like a creative writing class gone wrong. But this album, "The Hazards of Love," though a concept album, never feels overblown. It might be that refrain that first appears in "A Bower Scene" or it might be the presence of My Brightest Diamond, but this compact (one hour!) musical is simply Ear Delicious.
8. Animal Collective "Merriweather Post Pavilion" -- So okay, here it is. I think it deserves the hype it got. The band finally makes sense to me. I have to mention, I was a little skeptical for the first few listens. But after a while, you peel through the layers (and occasionally something that sounds like a siren backwards) to listen to an amazing album. And my wife liked "My Girls," which counts for something. From the confusingly named "Lion in a Coma" with its didgeridoo, through the never-ending build-up of "My Girls," there's only one word that can describe this album: genius. Or swirling. Your pick. I'm going with swirling.
9. DJ Danger Mouse and Sparklehorse "Dark Night of the Soul" -- This is an eerie, alternate universe of an album, almost like what Edward Scissorhands would have on his iPod if he didn't keep cutting the cord on his earphones. No wonder it accompanies a series of David Lynch's photography. It starts out strong, with a slowly haunting collaboration with the Flaming Lip's Wayne Coyne (each song has a different vocal collaborist). This album really plays like an old double record, with four distinct sections. From a slowly psychedelic beginning, the album delves into punk, and then another psychedelic turn--this one working its way down to the haunting, final two songs, which feature church (death?) bells, the fuzz from an old record player, and some understated Vic Chesnutt vocals. Don't listen to this album alone in the dark.
Oh yeah, and this record was never released (officially). Start your search here.
10. The Drums "Summertime" -- Even though it didn't come out until almost Fall, this brief debut EP by the Drums perfectly encapsulates every summer from the last 60 years. Surf rock, hand claps, and the catchiest whistling this side of Peter, Bjorn and John almost make this album sound like a relic from the past--as do the album's repeating themes of schoolyard love, holding hands and old-fashioned dates. It's a simple, classic format, perfectly executed.
The next five albums just missed my Top Ten. They are the best of the rest. But I'm making some tough decisions by leaving Wilco, the Dead Weather, blakroc, Metric, Mos Def, Soulsavers, The Very Best, Bat for Lashes, and Beirut off this list.
11. The xx "xx"
12. Edward Sharpe & The Magnetic Zeroes "Up From Below"
13. Arctic Monkeys "Humbug"
14. Miike Snow "Miike Snow"
15. Neko Case "Middle Cyclone"
Notable Omissions:
The Antlers "Hospice" -- I'm sorry, but the slow-building church organ just didn't do it for me, especially after trying to make it through Grizzly Bear's "Veckatimest." Speaking of ...
Grizzly Bear "Veckatimist" -- I get it. Kind of. "The Knife" was great. As are moments of "Veckatimist," like "Two Weeks." The rest of it just feels empty. And not in the amazing Bon-Iver-there's-no-one-else-around empty, more like soulless empty.
"Dark Was the Night" -- great album, but it was a COMPILATION. Sorry, not valid in my book. Neither are soundtracks (unless all the music is original and new). Sorry, them's the rules.
And now, if you've made it this far: time to debate.
1. Dirty Projectors "Bitte Orca" -- As in, please, I'd like another whale of an album like this. While it seems that the rest of the music press penciled in Animal Collective as the year's best album in January, "Bitte Orca" came out in June and picked up steam throughout the summer. "Stillness Is The Move" is definitely the highlight track (I think I must have Shazamed this song about a dozen times before buying the album, plus there's the Solange Knowles cover. Any song that is still amazing when covered in another genre must be an amazing song). The album starts with "Cannibal Resource," one of my all time favorite, "is this music? what the hell is this? wait, this IS music!" album openers ever. The vibe continues through "Temecula Sunrise" and "No Intention." At moments, it sounds like a cacophonic experimental middle school band, and it others it is simply pure genius.
2. Phoenix "Wolfgang Amedeus Phoenix" -- At first I had it really low on this list. Then not as low. And then I listened to it again. And again. It's a damn catchy album, and I can't believe I am putting something this poppy so high, but that's just the thing--who expected a (mostly obscure) French band to make one of the best pop albums of the year and then name it after one of the best composers ever? Everyone knows "1901" (thanks, Cadillac. By the way, I know someone who should do your marketing) and "Lisztomania," but this album is steady all the way through--so solid that I had trouble picking which song I wanted to link to (I went with "Lasso," but make sure you check out "Love Like a Sunset, Pt. II"). Oh yeah, and thanks to my wife for turning me on to this band and buying me tickets to the show.
3. Yeah Yeah Yeahs "It's Blitz" -- I liked "Show Your Bones." Having said that, it was definitely not the right album to follow their stellar debut "Fever to Tell." The YYYs could have retreated from "Show Your Bones," licked their wounds, and put out another indie-punk gem. Instead, they completely blew up their sound (seriously, Nick Zinner, keyboards? I had no clue.) and came out with one of the most backward-sounding, forward-reaching albums I have ever heard. It's hard to outshine Karen O, but in some cases on this album--like "Zero"--the music is at the forefront. Luckily Karen gives us "Heads Will Roll" and "Dull Life."
4. Girls "Album" -- "I wish I had a pizza and a bottle of wine." This line, from "Lust for Life," is so many perfect moments wrapped up into 11 little words. It's the first song on the album, and I completely skipped over it for a month, listening to "Laura," "Big Bad Mean Motherfucker," and "Hellhole Ratrace." And then one day, while walking the dog, I listened to "Lust for Life," over and over and over again. And then the rest of the album. It's at once retro and lo-fi, yet somehow modern and vulnerable. "So come on, come on, come on and laugh with me." And listen to this album.
5. The Flaming Lips "Embryonic" -- Okay, Wayne and company, the album's called "Embryonic"; we really didn't need to see that birth scene in the video for "Watching the Planets." As you say so well on the album's first song, "that's the difference between us." But you did show us that and so much more. Starting with "Convinced of the Hex, this album feels like the birth and destruction of something, but what? The ego (as in "The Ego's Last Stand")? Yourself? Celebrity? What?
(bonus side note: Karen O offers some amazing animal vocals on "I Can Be A Frog." Some called this the year of Jack White. I call it the year of Karen O.)
6. Passion Pit "Manners" -- Of the year's electronic albums, I like this one the best. Maybe it's the way "Moth's Wings" builds up. Maybe its the way "Sleepyhead" reminds me of my wife. But most likely it's the singing, sometimes high pitched, sometimes a collection of voices, that adds depth to everything else. That, and it's fun. Whatever it is, I have the manners to say, "thank you, Passion Pit."
7. The Decemberists "The Hazards of Love" -- I really didn't want to like this album. I even took most of the songs off my iPod for a while to make room for some newer albums. But there's this one riff that's repeated in a number of songs that just makes me want more, and I started adding them back. In my opinion, the Decemberists have always engaged in a bit of puffery and fluffery in their songs, making them sound complex and grandiose. And some of their so-called period songs (like "Eli, the Barrow Boy") seem like a creative writing class gone wrong. But this album, "The Hazards of Love," though a concept album, never feels overblown. It might be that refrain that first appears in "A Bower Scene" or it might be the presence of My Brightest Diamond, but this compact (one hour!) musical is simply Ear Delicious.
8. Animal Collective "Merriweather Post Pavilion" -- So okay, here it is. I think it deserves the hype it got. The band finally makes sense to me. I have to mention, I was a little skeptical for the first few listens. But after a while, you peel through the layers (and occasionally something that sounds like a siren backwards) to listen to an amazing album. And my wife liked "My Girls," which counts for something. From the confusingly named "Lion in a Coma" with its didgeridoo, through the never-ending build-up of "My Girls," there's only one word that can describe this album: genius. Or swirling. Your pick. I'm going with swirling.
9. DJ Danger Mouse and Sparklehorse "Dark Night of the Soul" -- This is an eerie, alternate universe of an album, almost like what Edward Scissorhands would have on his iPod if he didn't keep cutting the cord on his earphones. No wonder it accompanies a series of David Lynch's photography. It starts out strong, with a slowly haunting collaboration with the Flaming Lip's Wayne Coyne (each song has a different vocal collaborist). This album really plays like an old double record, with four distinct sections. From a slowly psychedelic beginning, the album delves into punk, and then another psychedelic turn--this one working its way down to the haunting, final two songs, which feature church (death?) bells, the fuzz from an old record player, and some understated Vic Chesnutt vocals. Don't listen to this album alone in the dark.
Oh yeah, and this record was never released (officially). Start your search here.
10. The Drums "Summertime" -- Even though it didn't come out until almost Fall, this brief debut EP by the Drums perfectly encapsulates every summer from the last 60 years. Surf rock, hand claps, and the catchiest whistling this side of Peter, Bjorn and John almost make this album sound like a relic from the past--as do the album's repeating themes of schoolyard love, holding hands and old-fashioned dates. It's a simple, classic format, perfectly executed.
The next five albums just missed my Top Ten. They are the best of the rest. But I'm making some tough decisions by leaving Wilco, the Dead Weather, blakroc, Metric, Mos Def, Soulsavers, The Very Best, Bat for Lashes, and Beirut off this list.
11. The xx "xx"
12. Edward Sharpe & The Magnetic Zeroes "Up From Below"
13. Arctic Monkeys "Humbug"
14. Miike Snow "Miike Snow"
15. Neko Case "Middle Cyclone"
Notable Omissions:
The Antlers "Hospice" -- I'm sorry, but the slow-building church organ just didn't do it for me, especially after trying to make it through Grizzly Bear's "Veckatimest." Speaking of ...
Grizzly Bear "Veckatimist" -- I get it. Kind of. "The Knife" was great. As are moments of "Veckatimist," like "Two Weeks." The rest of it just feels empty. And not in the amazing Bon-Iver-there's-no-one-else-around empty, more like soulless empty.
"Dark Was the Night" -- great album, but it was a COMPILATION. Sorry, not valid in my book. Neither are soundtracks (unless all the music is original and new). Sorry, them's the rules.
And now, if you've made it this far: time to debate.
Wednesday, September 23, 2009
Dirty Rock from the U.K
I woke up a little hazy today and have been moving slowly ever since. Not that the night before was epic or anything, but it included a stop at a bourbon bar, a creepy mustache, and a bartender so hot that my brother-in-law and I named her Zooey Fox. I think the mustache was probably the worst part of the night.
As I was beginning my afternoon slide into unproductivity (aided by the haze and the heat), I heard a song on Sirius XMU (still Left of Center to me) that was so great I had to listen to it again. Because I was streaming Sirius online and not listening through my radio, I couldn't check out who the artist was. I then tried the next-best solution, Shazam on my iPhone, only to learn that this song was unrecognizable. I ran to the other room to turn on my Sirius receiver (and wait for the antenna to find a signal) just in time to see who sang the song.
It still amazes me that some bands can be so strongly associated with a region, yet they come from somewhere else. My go-to example for this is Creedence Clearwater Revival, who sound like they are from the South but were actually from San Francisco. The band I heard today also captures this same phenomenon: The Heavy.
On first listen, they also have a dirty, southern sound. And the first video I watched ("Sixteen") had the familiar backdrop of "Shoot the Freak" and Coney Island. But they're not from the South or from Brooklyn. After looking around for a release date on their upcoming album ("The House that Dirt Built" drops in the U.S. on October 13, according to Amazon), I found that this album was released in the U.K.--their home base--two days ago. We Americans need to wait another three weeks.
Not being very patient, I tracked down two songs today: the soulful "How You Like Me Know" and the bluesy "Sixteen." The Heavy channels a little Screamin' Jay Hawkins on "Sixteen," which is always acceptable to me. Let me know what you think (about the songs, not the mustache).
As I was beginning my afternoon slide into unproductivity (aided by the haze and the heat), I heard a song on Sirius XMU (still Left of Center to me) that was so great I had to listen to it again. Because I was streaming Sirius online and not listening through my radio, I couldn't check out who the artist was. I then tried the next-best solution, Shazam on my iPhone, only to learn that this song was unrecognizable. I ran to the other room to turn on my Sirius receiver (and wait for the antenna to find a signal) just in time to see who sang the song.
It still amazes me that some bands can be so strongly associated with a region, yet they come from somewhere else. My go-to example for this is Creedence Clearwater Revival, who sound like they are from the South but were actually from San Francisco. The band I heard today also captures this same phenomenon: The Heavy.
On first listen, they also have a dirty, southern sound. And the first video I watched ("Sixteen") had the familiar backdrop of "Shoot the Freak" and Coney Island. But they're not from the South or from Brooklyn. After looking around for a release date on their upcoming album ("The House that Dirt Built" drops in the U.S. on October 13, according to Amazon), I found that this album was released in the U.K.--their home base--two days ago. We Americans need to wait another three weeks.
Not being very patient, I tracked down two songs today: the soulful "How You Like Me Know" and the bluesy "Sixteen." The Heavy channels a little Screamin' Jay Hawkins on "Sixteen," which is always acceptable to me. Let me know what you think (about the songs, not the mustache).
Monday, September 14, 2009
Carcass Rock?
Usually I'm skeptical of the whole "super group" concept--Jack White's projects exempt. Exhibit 1 of bad super group ideas: the reality show Supergroup.
But this snippet of a song by Them Crooked Vultures--who have been written about and blogged about continuously--has me excited. Nirvana drummer and Foo Fighters frontman Dave Grohl returns to the drums. Josh Homme, from Queens of the Stone Age, Eagles of Death Metal, and Screaming Trees, plays guitar. And John Paul Jones--whose middle name would surely be "Fucking" had he not used "Paul"--from Led Zeppelin is on the bass and the keys.
Look for the album sometime in October (I think).
But this snippet of a song by Them Crooked Vultures--who have been written about and blogged about continuously--has me excited. Nirvana drummer and Foo Fighters frontman Dave Grohl returns to the drums. Josh Homme, from Queens of the Stone Age, Eagles of Death Metal, and Screaming Trees, plays guitar. And John Paul Jones--whose middle name would surely be "Fucking" had he not used "Paul"--from Led Zeppelin is on the bass and the keys.
Look for the album sometime in October (I think).
Friday, September 11, 2009
New Music
I love finding out about new music, and the last few months have been especially fruitful for me as I have started to tip-toe into the L.A. music scene (Edward Sharpe and the Magnetic Zeroes, The Henry Clay People, Foreign Born).*
Last night I went to see the Soulsavers at the Troubadour. Red Ghost opened (check out covers of The Widow and A Memory) and sings on a few Soulsavers songs.
But I was really impressed by Jonneine Zapata. Turns out, she's from L.A. and is playing a bunch of shows at the Silverlake Lounge in October. I might have to venture over and check her out again.
Anyone else have any L.A. music tips, along the lines of the bands listed above?
*As a side note, I still find myself listening to way more Brooklyn-based bands, from the Dirty Projectors to Matt & Kim to Grizzly Bear. I think the highest concentration of my music comes from Brooklyn. My current Brooklyn obsession is The Drums.
Last night I went to see the Soulsavers at the Troubadour. Red Ghost opened (check out covers of The Widow and A Memory) and sings on a few Soulsavers songs.
But I was really impressed by Jonneine Zapata. Turns out, she's from L.A. and is playing a bunch of shows at the Silverlake Lounge in October. I might have to venture over and check her out again.
Anyone else have any L.A. music tips, along the lines of the bands listed above?
*As a side note, I still find myself listening to way more Brooklyn-based bands, from the Dirty Projectors to Matt & Kim to Grizzly Bear. I think the highest concentration of my music comes from Brooklyn. My current Brooklyn obsession is The Drums.
Best Live Music Venue in L.A.?
Having lived in L.A. for a little more than a year, there are still tons of music venues I've yet to check out, but I find myself venturing back to the same few venues over and over. I see big shows at the Greek, mid-sized shows at the Music Box at the Fonda, and small shows at the Troubadour. It must be something about whoever books the shows at these places.
I love, love, love the Troubadour. It could be that it was just a mile from my first apartment here, it could be because it looks and feels like what a small live music venue should look like (at least to me), it could be because of the Loft upstairs, or it could be because I love faxing in my order instead of going through the Evil Empire (aka Ticketmaster). Or it could be because of all of the above.
I say the Troub is my favorite, but I haven't checked out places that continually get recommended to me, like Spaceland and the Echoplex. And I haven't been to the Wiltern yet (I had tickets to the Wilco-Okkervil River show in June, but life got in the way of music and I had to sell them).
So, Angelenos, I ask: What's your favorite place in L.A. to see live music?
By the way, the most amazing venue I have been to is the United Palace Theater in Washington Heights/Manhattan. Here's a picture of the 2007 Arcade Fire show, courtesy of Product Shop NYC. And I grew up going to shows at Red Rocks Amphitheater in beautiful Morrison, Colorado.
I love, love, love the Troubadour. It could be that it was just a mile from my first apartment here, it could be because it looks and feels like what a small live music venue should look like (at least to me), it could be because of the Loft upstairs, or it could be because I love faxing in my order instead of going through the Evil Empire (aka Ticketmaster). Or it could be because of all of the above.
I say the Troub is my favorite, but I haven't checked out places that continually get recommended to me, like Spaceland and the Echoplex. And I haven't been to the Wiltern yet (I had tickets to the Wilco-Okkervil River show in June, but life got in the way of music and I had to sell them).
So, Angelenos, I ask: What's your favorite place in L.A. to see live music?
By the way, the most amazing venue I have been to is the United Palace Theater in Washington Heights/Manhattan. Here's a picture of the 2007 Arcade Fire show, courtesy of Product Shop NYC. And I grew up going to shows at Red Rocks Amphitheater in beautiful Morrison, Colorado.
Wednesday, September 02, 2009
The Daily 5: Late Summer Reminiscences
For me, summer has been a bit sad since I noticed the shorter days in mid-August. But this recent release by The Drums will help me extend my summer mindset for a few more weeks at least. Okay, who am I kidding? I live in Los Angeles.
Continuing the summer theme, here's a song off a recent EP by BLK JKS, a great band from South Africa. Their new album comes out next Tuesday (9/8), so make like a robot and buy it.
Philly-based rapper Amanda Blank has been getting tons of press lately, and I think it's because she's hot. Okay, she's hot and she can rap. Okay, she's hot, she can rap, and she has some interesting beats.
More Amanda Blank. So she's hot, she can rap, and, as she shows on this track, she can sing. Sure, she's no Karen O, at least not yet.
Yesterday was my anniversary, and today I wish that I were "working part time." Seriously, I'm not operating at full capacity today. This song by the Glendale, CA-based The Henry Clay People has been rattling around my head for a few days now.
BONUS! 6 for the price of 5! The Soulsavers! I'm throwing this song on because I just learned that these guys are playing the Troubadour in West Hollywood on 9/10. I'm faxing in my ticket order today. I love this song, and I love that I can fax in my order to the Troubadour and avoid Ticketmaster fees.
Monday, August 31, 2009
The Daily 5: Inaugural Edition
For this inaugural edition of the Daily 5*, I am providing the first five songs off my late-summer playlist--perfect for cruising down to the Santa Monica Farmer's Market, driving along Ocean Avenue, or heading to the Helm's District for a weekend "shift" at the Office.
The Phenomenal Hand Clap Band "15 to 20 (feat. Lady Tigra)"
This is another really catchy song. You will be singing along by the second verse (assuming you can count by fives).
*Note: By naming this post "The Daily 5," I am not guaranteeing any type of daily posting. We'll just see how this goes. Right now, it's a pain as I can't quite figure out the best way to get tracks up. Let's just say that this post took somewhere between two minutes and two hours. Yeah.
Edward Sharpe and the Magnetic Zeroes "Janglin"
Edward Sharpe reinvents himself and turns out a great album for the summer. We saw them play at the Hammer Museum's "Also I Like to Rock" series this summer, and it was a great show (even though we practically had to climb a tree for a view).
The Phenomenal Hand Clap Band "15 to 20 (feat. Lady Tigra)"
This is another really catchy song. You will be singing along by the second verse (assuming you can count by fives).
Dirty Projectors "Stillness Is The Move"
The new Dirty Projector's album, Bitte Orca, is equal parts strange and mesmerizing. And this song is definitely both.
YACHT "Psychic City"
A former member of The Blow adds a collaborator, with great effect. Plus, the subtitle of this song (Voodoo City) might just be a shout out to my brother's doughnut shop.
Friendly Fires "In the Hospital"
I wish the fires in LA County were a little friendlier this week. But if you need something else to think about, this is a pretty catchy track.
*Note: By naming this post "The Daily 5," I am not guaranteeing any type of daily posting. We'll just see how this goes. Right now, it's a pain as I can't quite figure out the best way to get tracks up. Let's just say that this post took somewhere between two minutes and two hours. Yeah.
Monday, August 18, 2008
Things to do in Los Angeles when You're Dead
This weekend, I played tourist in my new home town of Los Angeles. Some things were fun; others were not so fun. Before I get to the good stuff, I present this list of things to do in Los Angeles when you are dead (or, don't bother wasting your time on this crap while you are still breathing):
Written while listening to: Sirius Left of Center, MGMT, Beck's "Soul of a Man"
- "You're Going to Hollywood": Old glamour and American Idol aside, Hollywood (specifically, Hollywood Boulevard) is a cesspool of fanny packs, jean shorts and bad hair cuts. Yes, Mann's Chinese Theater is cool (Frank Sinatra had small feet, while Dean Martin's footprints were larger than expected), but the sightings were mostly a big waste of time. I was especially disappointed in the "celebrity" and "superhero" impersonators: it looked like these costumes had been dug out of a trash bin behind a failed children's pizza establishment. Here is a list of the celebrities we saw impersonated: Lucille Ball, Spiderman (at least two), Batman (at least three), the Joker (Heath Ledger's version, although he was posing with a grey Batman, so it was clearly a much earlier batman; I'm not sure about the continuity here), some naked dude with cobras (not an impersonator but the only impressive thing I saw), Barney (the kid's character, but his suit was so faded it was almost brown), the Tin Man, Darth Vader, Yoda (note: if you are 5'6", you are about three feet too tall to impersonate Yoda, and some stripper that was probably supposed to be Marilyn Monroe. (Non sequitur: I think "glamor" should be spelled "glamour," especially when referring to old glamour.)
- Um, I'm not sure. I actually enjoyed the rest of the weekend: getting lost in the Hollywood Hills, driving through Brentwood, buying and then using a pretty funny Star Map, visiting the Santa Monica Farmers Market, checking out a gallery opening in Silver Lake, and hanging out with my little sister.
Written while listening to: Sirius Left of Center, MGMT, Beck's "Soul of a Man"
Friday, April 11, 2008
Hoist up the John B Sail
For this Friday's music post, I'm trying out Muxtape. Previously I had been using Mixwit, which I like because you can embed your mixes in a number of places (like here and on Facebook). But Mixwit uses songs that are already online somewhere, so some of the stuff I listen to is either unavailable or the link is dead. Enter Muxtape: you can upload your own songs (yay!) but only in MP3 format (boo!). I have a bunch of AAC and MPEG files that were unusable. Plus, it's a pain to embed the list here, and from the looks of it, I can only have one Muxtape at a time.
Anyway, here is a link to my current Muxtape. It's working now, but eventually I should learn how to upload music directly to this site. Enjoy.
1. Okkervil River - John Allyn Smith Sails. I have probably listened to this song four or five times today. Nice incorporation of Sloop John B, as well.
2. The Rakes - Suspicious Eyes. Great beat. I like the contrast between the voices, as well. A very strong, "We Are Scientists"-esque guitar line.
3. Black Kids - I'm Not Gonna Teach Your Boyfriend How To Dance With You. I love the album name: "Wizard of Ahhhs." And I love this song; it sounds like it was recorded in a basement somewhere. Kate Nash does a good cover of it, too. Maybe she'll play it when I see her next month.
4. Metric - Rock Me Now. I always think the song says "Fuck Me Now" and I end up checking the song title.
5. Tapes 'n Tapes - Hang Them All. New Tapes 'n Tapes. I am seeing them next week. I'm still making my way through the new album, but this song stood out so far.
6. Coconut Records - Summer Day. I hate Jason Schwartzman. Really. First, he's in some of my favorite movies (Rushmore, I Heart Huckabees, The Darjeerling Limited). He also hangs out with a naked Natalie Portman in Hotel Chevalier. Then he's the drummer for Phantom Planet, which recorded that damn catchy theme song to "The O.C." And now he's fronting his own band, putting out solid albums, and singing with Kirsten Dunst. Damn him.
7. She & Him - I Thought I Saw Your Face Today. An actress who can sing. Brilliant! Lots of nice sleepy tunes here that make me want to linger in a field after a picnic and look at the clouds.
8. Liam Finn - Second Chance. His dad was in Crowded House. I never listened to them, but I like this song (and the album) a lot. "Remember me? Honestly, I don't"
9. Dawn Landes - Bodyguard. This song makes me want to say everything four times. Four times. Four times. Four times. This is a nice, effortless song.
Anyway, here is a link to my current Muxtape. It's working now, but eventually I should learn how to upload music directly to this site. Enjoy.
1. Okkervil River - John Allyn Smith Sails. I have probably listened to this song four or five times today. Nice incorporation of Sloop John B, as well.
2. The Rakes - Suspicious Eyes. Great beat. I like the contrast between the voices, as well. A very strong, "We Are Scientists"-esque guitar line.
3. Black Kids - I'm Not Gonna Teach Your Boyfriend How To Dance With You. I love the album name: "Wizard of Ahhhs." And I love this song; it sounds like it was recorded in a basement somewhere. Kate Nash does a good cover of it, too. Maybe she'll play it when I see her next month.
4. Metric - Rock Me Now. I always think the song says "Fuck Me Now" and I end up checking the song title.
5. Tapes 'n Tapes - Hang Them All. New Tapes 'n Tapes. I am seeing them next week. I'm still making my way through the new album, but this song stood out so far.
6. Coconut Records - Summer Day. I hate Jason Schwartzman. Really. First, he's in some of my favorite movies (Rushmore, I Heart Huckabees, The Darjeerling Limited). He also hangs out with a naked Natalie Portman in Hotel Chevalier. Then he's the drummer for Phantom Planet, which recorded that damn catchy theme song to "The O.C." And now he's fronting his own band, putting out solid albums, and singing with Kirsten Dunst. Damn him.
7. She & Him - I Thought I Saw Your Face Today. An actress who can sing. Brilliant! Lots of nice sleepy tunes here that make me want to linger in a field after a picnic and look at the clouds.
8. Liam Finn - Second Chance. His dad was in Crowded House. I never listened to them, but I like this song (and the album) a lot. "Remember me? Honestly, I don't"
9. Dawn Landes - Bodyguard. This song makes me want to say everything four times. Four times. Four times. Four times. This is a nice, effortless song.
The Beginning of the End of the Night
I was sitting at the Spotted Pig, in a highly coveted window stool, and enjoying my Old Speckled Hen when my wife called. It was nearly midnight and I was sure this was the "goodnight baby" call (one of us has to work in the morning). Instead, she asked me where the LABA party was, and if she could bring anyone with her. Five minutes (and about 20 text messages for directions) later, I was in a cab on the way to LABA to meet my wife.
To say LABA was a shit show would be an understatement. For some reason, the whistles and silly string always come out, along with everyone's party spirit. At one point, I traded my newly-acquired sombrero for a huge black wig and walked around slapping people on the back when they didn't recognize me. The night ended at 3 a.m., or about three hours later than I planned.
The day began, however, with beautiful weather and the decision to skip my 3 p.m. class to enjoy an outdoor beer or two with a buddy. Afternoon beers rolled into a sunset rooftop party (complete with grill, keg, and beer pong. If you've never picked up ping pong ball from a very dirty roof, threw it into a beer, and drank said beer, I encourage you to try it.). The party was a pre-game for LABA--the Latin American Business Association's biannual blow out--but I decided to leave the masses behind and head to a Gnarls Barkley show at the Highline Ballroom.
A very intimate space, the Highline seemed way too small for a duo/band of Gnarls' status, but I guess that's the point. The show was half CD release party and half tune-up for a future tour. The band was good, and Cee-Lo made love to the microphone, but something sounded a little off. I was surprised that the band didn't own the room more, like I had seen Ghostland Observatory do a few weeks ago at Webster Hall. Still, the always-changing Cee-Lo and Danger Mouse did not disappoint visually, coming out in matching white dinner jackets and frilly tuxedo shirts. Cee-Lo also rocked an impressive pompadour wig (think 1950's hipster) that eventually made him look a bit like Aretha Franklin during the song "Run," which they played second or third in the set. The rest of the band rocked blue tuxes (think Austin Powers) and ably backed up the headliners, though one guitarist seemed to think he was in My Chemical Romance instead of Gnarls Barkley. The hits came--Gone Daddy Gone, Crazy, Go-Go Gadget Gospel--but some of the newer, slower songs were the highlights of the show. I particularly liked "Blind Mary" and "Who's Gonna Save My Soul." I need to give the new album a few more spins, but so far I'm a fan. Definitely darker and a little slower, The Odd Couple shows a nice progression from Gnarls Barkley, but it is definitely a little light on the xylophone (though there is still some glockenspiel for you obscure percussion instrument fans).
Currently listening to: Selected Gnarls Barkley and Okkervil River's "John Allyn Smith Sails," continuously.
To say LABA was a shit show would be an understatement. For some reason, the whistles and silly string always come out, along with everyone's party spirit. At one point, I traded my newly-acquired sombrero for a huge black wig and walked around slapping people on the back when they didn't recognize me. The night ended at 3 a.m., or about three hours later than I planned.
The day began, however, with beautiful weather and the decision to skip my 3 p.m. class to enjoy an outdoor beer or two with a buddy. Afternoon beers rolled into a sunset rooftop party (complete with grill, keg, and beer pong. If you've never picked up ping pong ball from a very dirty roof, threw it into a beer, and drank said beer, I encourage you to try it.). The party was a pre-game for LABA--the Latin American Business Association's biannual blow out--but I decided to leave the masses behind and head to a Gnarls Barkley show at the Highline Ballroom.
A very intimate space, the Highline seemed way too small for a duo/band of Gnarls' status, but I guess that's the point. The show was half CD release party and half tune-up for a future tour. The band was good, and Cee-Lo made love to the microphone, but something sounded a little off. I was surprised that the band didn't own the room more, like I had seen Ghostland Observatory do a few weeks ago at Webster Hall. Still, the always-changing Cee-Lo and Danger Mouse did not disappoint visually, coming out in matching white dinner jackets and frilly tuxedo shirts. Cee-Lo also rocked an impressive pompadour wig (think 1950's hipster) that eventually made him look a bit like Aretha Franklin during the song "Run," which they played second or third in the set. The rest of the band rocked blue tuxes (think Austin Powers) and ably backed up the headliners, though one guitarist seemed to think he was in My Chemical Romance instead of Gnarls Barkley. The hits came--Gone Daddy Gone, Crazy, Go-Go Gadget Gospel--but some of the newer, slower songs were the highlights of the show. I particularly liked "Blind Mary" and "Who's Gonna Save My Soul." I need to give the new album a few more spins, but so far I'm a fan. Definitely darker and a little slower, The Odd Couple shows a nice progression from Gnarls Barkley, but it is definitely a little light on the xylophone (though there is still some glockenspiel for you obscure percussion instrument fans).
Currently listening to: Selected Gnarls Barkley and Okkervil River's "John Allyn Smith Sails," continuously.
Wednesday, April 02, 2008
Bringing Back Beats
The Clash's "Straight to Hell" came on my iPod yesterday. Great beat. I think M.I.A. likes it as well. "Paper Planes" has been one of my favorite songs so far this year.
Monday, March 31, 2008
Today's Mixtape
I checked out Ghostland Observatory on Friday night at Webster Hall. This was a great show, from the lasers down to the vampire-esque cape on the band's drummer/keyboardist/music maker. However, the frontman can sure rock the room, as was evident on the first song on this mix - "Midnight Voyage." It seemed like this guitar riff would keep going and going and going.
Wednesday, March 26, 2008
Hello? Is there anybody in there? Just nod if you can hear me.
In the words of a friend (describing another friend), I'm now two-thirds less crazy.
But I'm at least twice as indignant, slightly funnier, and possibly less ironic. And I'm not at all opposed to starting sentences with a conjunction (though, unlike Vampire Weekend, I am in favor of an Oxford Comma).
More than that, I'm back after a short hiatus. I really didn't have anything better to do (hello Facebook Hold 'Em!): I have just been lazy. Ask Mrs. TFMITW--she'll vouch for that. Now, I need to figure out if any of my audience is there. This includes a random New Yorker who drinks sake at noon, a guy who has fallen asleep smelling his perfume-coated hand, one with a bun in the oven, and, um, I think that's it. Now, make like Jefe: "I'm still here, El Guapo!" Also, watch this video, too.
But I'm at least twice as indignant, slightly funnier, and possibly less ironic. And I'm not at all opposed to starting sentences with a conjunction (though, unlike Vampire Weekend, I am in favor of an Oxford Comma).
More than that, I'm back after a short hiatus. I really didn't have anything better to do (hello Facebook Hold 'Em!): I have just been lazy. Ask Mrs. TFMITW--she'll vouch for that. Now, I need to figure out if any of my audience is there. This includes a random New Yorker who drinks sake at noon, a guy who has fallen asleep smelling his perfume-coated hand, one with a bun in the oven, and, um, I think that's it. Now, make like Jefe: "I'm still here, El Guapo!" Also, watch this video, too.
Wednesday, April 11, 2007
Country Music Jumped the Shark
I just saw a commercial for the CMT Music Awards, "country's only fan-voted award show." The commercial was a blur of bare midriffs, crowd surfing and some Shakira-esque chest pumping. With Carrie Underwood's American Idol pedigree and the frosted tips of Rascal Flatts, this looks exactly like a Ryan Seacrest fan club meeting. The show also has tabloid favorite Keith Urban, who is only interesting because of who he married. I'm sure that in old-school country tradition, his music will be a lot better after he falls off the wagon and loses Nicole Kidman. There's also a band called Sugarland, which looks like a Nashville version of the Pussycat Dolls.
Seriously, this is country music now? Fan-selected country music? Who are these fans? My sister-in-law listens to some country, but I don't think she's a big fan of Sugarland.
Martina McBride is there, and I guess she's a little country. Toby Keith may be sort of country too, but the verdict is still out on that one. His next album might sound like a drunk James Blunt album. Hank Williams III is playing, but I'm sure ol' Hank Williams and Hank Williams Jr. wouldn't be caught dead in this crowd. What happened to the country of Johnny and Willie, or even Reba or Patsy Cline? Where's the bad boy image of David Allen Coe? Where's Alabama, Brooks & Dunn, or (even) Garth? When did country become pop?
Plus, Bon Jovi is scheduled to appear -- I'm not sure if this represents more evidence of Country's shark jumping, or if it is just a sad state of affairs for Bon Jovi and the boys.
Seriously, this is country music now? Fan-selected country music? Who are these fans? My sister-in-law listens to some country, but I don't think she's a big fan of Sugarland.
Martina McBride is there, and I guess she's a little country. Toby Keith may be sort of country too, but the verdict is still out on that one. His next album might sound like a drunk James Blunt album. Hank Williams III is playing, but I'm sure ol' Hank Williams and Hank Williams Jr. wouldn't be caught dead in this crowd. What happened to the country of Johnny and Willie, or even Reba or Patsy Cline? Where's the bad boy image of David Allen Coe? Where's Alabama, Brooks & Dunn, or (even) Garth? When did country become pop?
Plus, Bon Jovi is scheduled to appear -- I'm not sure if this represents more evidence of Country's shark jumping, or if it is just a sad state of affairs for Bon Jovi and the boys.
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