Friday, December 30, 2005

50-'05: Top 50 of 2005

50. "Let It Ride" - Ryan Adams & the Cardinals
49. "The Widow" - the Mars Volta
48. "Twin Cinema" - the New Pornographers
47. "Off the Record" - My Morning Jacket
46. "All the Wine" - the National
45. "Monster Hospital" - Metric
44. "The Comeback" - Shout Out Louds
43. "Eat This City" - Thunderbirds Are Now!
42. "Crooked Teeth" - Death Cab for Cutie
41. "Little Sister" - Queens of the Stone Age
40. "Pachuca Sunrise" - Minus the Bear
39. "Cash Machine" - Hard-Fi
38. "Bom Bom Bom" - Living Things
37. "Publish My Love" - Rogue Wave
36. "Did You See the Words?" - Animal Collective
35. "Jezebel" - Iron & Wine
34. "Shuffle Your Feet" - Black Rebel Motorcycle Club
33. "Oh Mandy" - the Spinto Band
32. "DOA" - Foo Fighters
31. "Cosmopolitan" - Nine Black Alps
30. "Speed of Sound" - Coldplay
29. "Miles" - the Southland
28. "Love is an Unfamiliar Name" - the Duke Spirit
27. "Apply Some Pressure" - Maximo Park
26. "Black" - Okkervil River
25. "I Bet That You Look Good on the Dancefloor" - Arctic Monkeys
24. "Do You Want To?" - Franz Ferdinand
23. "Finding Out True Love is Blind" - Louis XIV
22. "Brighter Than Sunshine" - Aqualung
21. "In This Home on Ice" - Clap Your Hands Say Yeah
20. "Since K Got Over Me" - the Clientele
19. "Girl" - Beck
18. "Chewing Gum" - Annie
17. "Club Foot" - Kasabian
16. "Hardcore Days and Softcore Nights" - Aqueduct
15. "Oh My God" - Kaiser Chiefs
14. "Unwind" - the Rosebuds
13. "Tribulations" - LCD Soundsystem
12. "Hope There's Someone" - Antony and the Johnsons
11. "This Isn't It" - Giant Drag
10. "An Honest Mistake" - the Bravery
9. "Swimmers" - Broken Social Scene
8. "Entertain" - Sleater-Kinney
7. "Inaction" - We Are Scientists
6. "A Nervous Tick Motion of the Head to the Left" - Andrew Bird
5. "The Denial Twist" - the White Stripes
4. "John Wayne Gacy, Jr." - Sufjan Stevens
3. "Banquet" - Bloc Party
2. "Engine Driver" - the Decemberists
1. "I Turn My Camera On" - Spoon

Thursday, December 29, 2005

Auf der Maur


"Followed the Waves"
from the album Auf der Maur
2004
iTunes

Audio streams of "Followed the Waves" (via Capitol Records):
WM, Real

Melissa Auf der Maur was fortunate to experience the mid '90s alternative rock explosion firsthand, witnessing its rise and eventual fall from the stage. In an era overrun with uber-cool female bass players like Kim Gordon, Kim Deal, and D'Arcy Wretzky, the Montreal, Quebec native was among the best of the bunch. It caused quite a stir in her home country when the comely bassist abruptly left her band Tinker to become the newest member of Hole, following the passing of the band's original bass player, Kristin Pfaff.

Pfaff was called by many the most crucial member of Hole, so the young Auf der Maur had some big shoes to fill, but in the following years, she was able to hold her own with not only her solid bass playing, but her excellent backing vocals as well. Just listen to her give-and-take with Courtney Love on the 1996 cover of Fleetwood Mac's "Black Gold Woman." or her entrancing vocal harmonies on Celebrity Skin's "Boys on the Radio." After filling in on the Smashing Pumpkins' last two albums before the band imploded, she continued to work steadily, her most noteworthy project being Hand of Doom, her Black Sabbath tribute band, but we all knew it would be only a matter of a time before she put out a proper solo effort.

So here you have it. Unlike her beleaguered former bandmate Love, who keeps trying to become a pop rock goddess with only middling results, Auf der Maur has retreated to the heavier strains of '90s rock on her new album, the aptly titled Auf der Maur. Employing the services of producer Chris Goss (Queens of the Stone Age), as well as ex-Kyuss/current QOTSA frontman Josh Homme and former Kyuss/Fu Manchu drummer Brandt Bjork, Auf der Maur's obviously looking to put out one heavy mother of an album, and heavy this one is. Combining the booming, psychedelic stoner rock of Kyuss, the warm guitar drones of Smashing Pumpkins, the progressive melodies of A Perfect Circle, and a very sexy goth style that resembles Italian rockers Lacuna Coil, this album doesn't break new ground; in fact, the music is very ordinary, but the mere presence of Auf der Maur and her intoxicating voice makes the record a modest success.

At its best, Auf der Maur sucks you in with its hypnotically paced, darkly tinged hard rock. On "Followed the Waves," the album's lead-off single, that blend of raw desert rock and more exotic fare works perfectly (Auf der Maur herself admits the song was intended to be a knock-off of Kyuss's "Blues for the Red Sun"). Opening with Auf der Maur's ostentatious vocal howl, the song careens like a lumbering beast, with Homme's churning guitar riffs and Bjork's distinctive drumming style (thunderous, slow, heavy on the ride cymbal), as Auf der Maur displays great vocal range, singing a melody you'd usually hear from A Perfect Circle/Tool singer Maynard James Keenan. Current UK single "Real a Lie" has more of a metal-meets-shoegazer sound, with its chiming guitars that echo Lush, and is much more upbeat, as any pretentiousness is wiped away by a fantastic climax of bubblegum "do-do-do"'s. "Lightning is My Girl" roars out of the gate as Auf der Maur coos away in that sultry voice of hers, while "My Foggy Notion" and the fantastic "I Need I Want I Will" seem to bring a Middle Eastern element to their melodies. Meanwhile, the erotically charged "Taste You" and the lovely "Would if I Could" have more of a pop rock feel, resembling the best tracks on Celebrity Skin.

Unfortunately, Auf der Maur is far from perfect. The album simply runs too long, as songs like "I'll Be Anything You Want" and "Overpower Thee" are nothing more than dull, cabaret style filler, their Kurt Weill imitations contrasting too much from the rest of the album. Even more irritating are Auf der Maur's lyrics, which are often so juvenile, it's almost embarrassing, as she dares to sing such nauseating lines as, "Plug it in, so I can digest you/ I will taste you/ My appetite in that hole."

Still, despite the fact that the music gets a bit generic from time to time, and that she really has nothing very original to say, Auf der Maur is convincing enough to compel you to let a few missteps slide. With a very impressive lineup of guest musicians, including Eric Erlandson (Hole), James Iha (Smashing Pumpkins/A Perfect Circle), John Stainer (Tomahawk), as well as former Tinker bandmate Steve Durand, Auf der Maur is a fine first album. The murky musical style, done to death as it has been, seems to fit Auf der Maur well, her entrancing voice contrasting nicely with the sludgy riffs. She might not garner the media attention that Ms. Love has been getting, but hearing this CD, you know she'll do just fine on her own.
~ Adrien Begrand, Popmatters

Wednesday, December 28, 2005

Youth Group


"Skeleton Jar"
from the album Skeleton Jar
2005
iTunes

Download a free MP3 of "Skeleton Jar" from Insound.com
[right-click/save-as]


Youth Group are at the forefront of an exciting new era in Australian alternative music. Skeleton Jar is the band's second album and the first to be released in the US. Left field yet highly emotive lyrics navigate their way across varied landscapes of pop, folk, and indie rock terrain. The beauty of this album is that every note is well-placed, every strum thought through, economic in the precision of the pop-coated anger. If the darkened cover and alienated artwork don't tip you early, this is a dark album. Tightened, taut even, Toby Martin's unmistakably melancholic voice remains pure and potent throughout.
~ Insound.com

Tuesday, December 27, 2005

Okkervil River


"Black"
from the album Black Sheep Boy
2005
iTunes

Download a free MP3 of "Black" from Jagjaguwar Records
[right-click/save-as]


Texas has given the world many things of dubious quality; shoulderpad-riddled '80s soap operas and the family Bush being principal among them. But, for whatever blessed reason, capital city Austin appears to exist in its own cultural bubble, immune to the excesses of the Lone Star State. Austin is of course the home of cinema's slacker auteur Richard Linklater (director of Before Sunrise and Before Sunset), who made his name filming the city's laid back and vaguely boho inhabitants, and also to this lot: Okkervil River are a wonderful find, creating delicate, literate folky rock music of the very best kind.

An unknown quantity, to me, before the first listen, by the third play I was already plotting which of my friends I would lend it to and reprimanding myself for not having come across them sooner.

Black Sheep Boy is the fourth album from the intense quartet fronted by Will Sheff. Inspired by Tim Hardin's titular song, a minimal cover of which acts as an opener, the album takes the form of a narrative journey. For some this is bound to set alarm bells ringing, to set the tainted words "concept album" flashing in their head. But they needn't worry. Because all that really means is that this album boasts a lyrical continuity -- a kind of progression -- that only adds extra layers to your enjoyment of the music.

In fact the lyrics are a continual joy on this album, a source of real pleasure. Okkervil River write intricate, unsettling songs full of fresh imagery and emotional tripwires. Blessed with a rich vocabulary and a spot-on sense of meter, this means that even lines which superficially offer little you haven't heard before are given distinctive twists: on "Song of Our So-Called Friend" he sings: "Your face's falling tears, to me they're lovely and they're dear, though you don't love me and it's clear, that I will never see you in my arms." Sheff's rhythm and delivery lifts this sentiment to a different, stranger place -- he has a poet's sense of pace and wordplay.

A Gothic thread runs through much of Black Sheep Boy, a lyrical fascination with blood and blades and the blackest of emotions. Anger and pain have rarely been so eloquently depicted. The appropriately named song Black has to be one of the catchiest songs ever written about abuse and revenge; Sheff yells: "And I tell you like before, that you should wreck his life the way that he wrecked yours." It’s complex track, moving and powerful on a number of levels, full of impotent rage and a rare emotional intelligence. Like so much on this album it rewards repeated listens.

And there’s further subtle delights to come. "Get Big" is an unnerving morning-after duologue featuring delicate female harmonies; the elegant "A King and a Queen" employs rich mythical imagery ("to lie by your side for sublime centuries") to very moving effect. The album is full of stories within stories and repeated motifs; it has its own internal workings that only slowly reveal themselves.

Though the lyrics are certainly the thing here, musically Okkervil River aren't exactly slackers, layering strings over some inspired percussive touches -- and even employing a mandolin at one point. Will Sheff’s voice is also very agreeable, gruff yet deceptively delicate in places and more than capable of rising to the occasion, so to speak, particularly in the soaring finale to "So Come Back, I am Waiting."

Yes they have a wilfully difficult name (it's a real river near St. Petersburg apparently) and cover art that resembles the kind of thing a fifteen-year-old Marilyn Manson fan might scrawl on their school exercise books. But none of that matters, because ultimately Okkervil River make beautiful music; melancholic yet euphoric stuff -- songs that get under your skin.
~ Natasha Tripney, musicomh.com

Friday, December 23, 2005

Ron Sexsmith


"Maybe This Christmas"
from the compilation album Maybe This Christmas
2002
iTunes

Maybe this Christmas will mean something more
Maybe this year love will appear
Deeper than ever before
And maybe forgiveness will ask us to call
Someone we love
Someone we've lost
For reasons we can't quite recall
Maybe this Christmas

Maybe there'll be an open door
Maybe the star that shined before
Will shine once more

And maybe this Christmas will find us at last
In heaven, at peace
Prayed for at least
For the love we've been shown in the past
Maybe this Christmas

Thursday, December 22, 2005

The Earlies


"Morning Wonder"
from the album These Were the Earlies
2005
iTunes

Download a free MP3 of "Morning Wonder" from Insound.com
[right-click/save-as]


Produced on both sides of the Atlantic and with a palette of sounds almost as wide; The Earlies' debut album These Were the Earlies brings together their first self-released singles and subsequent EPs. Working with manipulated performances by a collective of English and American musicians, These Were the Earlies combines layered vocals with imaginary and more traditional instruments to produce a unique pop sound where sonic exploration can still take place. Residing in Northern England and Western Texas, The Earlies are united by a shared love of The Band, The Beach Boys, The Byrds, and The Beatles.
~ Insound.com

Wednesday, December 21, 2005

World Leader Pretend


"Bang Theory"
from the album Punches
2005
iTunes

Download a free MP3 of "Bang Theory" from Warner Bros. Records
[right-click/save-as]


World Leader Pretend don't have cute British accents, but their skills match those of their musical mates from across the pond. After finding out they weren't blokes, one might guess their edgy rock hailed from New York City or Los Angeles.

Wrong again.

This four-piece rock band hails from New Orleans, Louisiana, but there's no hint of Southern flavor here. Their songs range from radio-friendly alternative and fuzzed-out Radiohead-like rock, to slow, pretty ballads -- all filled with gorgeous piano melodies.

Imitation is the best form of flattery, and WLP borrows from the best. On opening track, "Bang Theory," singer Keith Ferguson's beautiful melodies sound like Coldplay's Chris Martin's -- but not for long. Within the same song, he growls and whispers like the Pixies' Frank Black. On "New Voices," Ferguson sounds just like Pete Yorn. With such a great group of role models, World Leader Pretend can't help but sound polished, professional, and above all, pleasant.

Although the songs sound nice, edgy drumming keeps the music interesting. WLP certainly beats to its own drum -- well, percussion, actually. Tambourines shake, triangles ring out, and cymbals shimmer, creating an aura of beauty and mystery. Behind these instruments, a firm but edgy beat backs each song.

Punches could easily be mistaken for a mix-tape. Rather than use the same formula on each song, WLP experiments with tempo and style. Surprisingly, the band is equally good at each style, which will allow listeners to get an interesting mix without losing any quality.

Watch out, Brits. Looks like you might have some serious competition.
~ Marisa Bardach, collegeclub.com

Tuesday, December 20, 2005

The Double


"Idiocy"
from the album Loose in the Air
2005
iTunes

Download a free MP3 of "Idiocy" from Matador Records
[right-click/save-as]


The Double combine unsettling electronic noise with simple, enjoyable vocal hooks to create a rickety, rattletrap pop collage that's too undeniably ear-catching to ignore.

Lead vocalist David Greenhill's nervous yet unaffected stylings stumble to the forefront of opener "Up All Night," backed by robust guitar and off-kilter percussion. Donald Beaman's quirky, squawking guitar gives this tenuously bound junkyard hodgepodge an organic feeling of depth that sits richly above the din of organ and bass.

"Idiocy" sets out similarly, with a brief, acrid burst guitar feedback that coalesces into an experiment-in-circuits pop song. The constant rolling floor-tom, kick drum and snare provide a strong undercurrent, and Beaman's quirky guitar spills in haphazard bursts of noisy feedback. The effect is intriguing; it's like the sound of a lunchbox full of computer chips under a piledriver. The Double pulls off similar juxtapositions throughout Loose in the Air -- the interplay of playful and rhythmic noise is what really gives this record character. For example, "On Our Way" it sounds as if someone is kicking a guitar amp in cadence with each syllable of the refrain. "In the Fog" would be as straight-up a piano ballad as you could imagine, were it not for the reverb, which swells and swells until the vocals float away in a lilting haze of guitar feedback.

They Might Be Giants-style organ and square-wave bass in "Icy" creep surreptitiously into your brain, while jangly tambourine and drums create an iridescent, rhythmic network through which David Greenhill's skittish vocals peek. Traces of pop settle in the background, as noisy, exciting experimentation gives the songs their depth. "Ripe Fruit," with its slower-than-slow pop mantra and endlessly repeated incoherent phrase, has a vocal melody as fluid and sweet as its title suggests.

On the downside, Greenhill's vocals are often mixed a little too low, so understanding the lyrics can be a real mental workout. However, if you're growing tired of hearing the usual pop tricks, but crave uptempo beats and hooks, Loose in the Air is the new fix you've been craving.
~ Robert Voyer, Splendid

Monday, December 19, 2005

Hard-Fi


"Cash Machine"
from the album Stars of CCTV
2005
iTunes

Some people believe in love at first sight, some other say it's total bullshit and that you need to know the person first. Whatever it is, you will love this album, sooner or later. It has all the features of a classic: potently singalong tunes, highly emotional lyrics, spot on low-fi production, and there's a really endearing underdog story behind this band. In other words, Hard-Fi deserve all the success they're having, and even more to come.

Songs like "Cash Machine," the perfect ode to being broke, or "Tied Up Too Tight" are capable of making other people -- even the ones who’ve never been there -- understand all the rage and the pride of coming from a suburban town, all the problems, the real-life stories, the desperation, the loneliness. Finally "Hard to Beat," one of the most romantic stories of love in a provincial town, is also a great dancing tune and is riding high in the UK charts right now.

Hard-Fi are the people's band, having been compared to The Clash, The Specials and The Streets. Probably true, but listening to Stars of CCTV is such a pleasure and will make anyone understand there's much more to them than the hype.
~ Giada Arnone, contactmusic.com

Friday, December 16, 2005

Spoon


"My First Time, Vol. 3"
from the iTunes single My First Time, Vol. 3
2005
iTunes

About six weeks ago or so, maybe a little longer than that, the entire back catalogue of Spoon was released on iTunes. And to promote or commemorate or something this occurance, the band released a new single exclusively on the iTunes Music Store service. And it's pretty good. And since Spoon is probably my favorite band, I figured they were due for another appearance.

Thursday, December 15, 2005

The Dead 60s


"Riot Radio"
from the album The Dead 60s
2005
iTunes

The Dead 60s' drummer, Bryan Johnson, is caught up in the mammoth expanse that is the United States.

A few weeks prior he was submerged in the hustle and bustle of New York City. Now he's in a burning hot, tarantula-infested RV park a few hours outside of Tucson, Ariz. Either way, he's a long way from the band's hometown of Liverpool. Such is life in the realm of rock 'n' roll.

For a group that formed a mere two years ago, things seem to be moving along awful quickly. Johnson and company are already embroiled in their second U.S. jaunt in recent months to support their self-titled debut.

The record, a dance-y punk-inflected rocker that wears its influences on its sleeve -- the Clash, Talking Heads, King Tubby -- has been burning up the American airwaves with its strong first single, "Riot Radio." The song features an infectious disco beat reminiscent of the Rolling Stones' "Shattered," with a Joe Strummer-like scream midway through that seems like it could have come right off "Sandinista!"

Industry tastemaker, Los Angeles' KROQ (106.7-FM), grabbed the tune a few months ago, which put the band in the precarious position of having to release its album in the States before its U.K. home turf. "Riot Radio" was issued independently as a single in England a year ago, but it was re-serviced to radio outlets in that country a few days before the album came out.

"The single was doing so well over here that the label decided they had to get it out right away," Johnson said in his Liverpoolian drawl. "It's quite overwhelming actually, but we've always wanted to tour to America."

Liverpool's long and illustrious musical heritage -- the Beatles, Echo and the Bunnymen, Frankie Goes to Hollywood -- seems to be resurfacing as the antithesis to the mopey ethereal sounds of Travis, Coldplay, Starsailor and the like that have dominated recent British charts. In the middle of it all is the Dead 60s, along with hometown contemporaries the Zutons and the Choral.

These bands seem to be angling down a path designed more for fun than contemplation. The music is energetic and filled with high-hat heavy dance beats trumpeted by soulful vocals, rather than brooding falsettos over waves of dissonant piano and guitar.

"It's just more appealing for us to make music that people actually dance to rather than just nod their heads to," Johnson said.
~ Paul Saitowitz, Riverside Press-Enterprise

Wednesday, December 14, 2005

Electric Six


"Dance Epidemic"
from the album Señor Smoke
2005

Señor Smoke is Electric Six's follow-up album to their cult 2003 hit Fire, which featured such fun as "Danger! High Voltage" and "Gay Bar."

Tuesday, December 13, 2005

The Cardigans


"I Need Some Fine Wine and You, You Need to Be Nicer"
from the album Super Extra Gravity
2005

There's something about the sort of breezy, uncomplicated pop that The Cardigans put out that makes you feel good of a morning.

There's no cool issues to deal with, no underlying influence or worthy lyrics, it's just good no nonsense pop.

But Super Extra Gravity, the follow up to multi-million selling Gran Turismo, has a darker side too.

Behind good pop songs like "Losing a Friend," "Overload," and "In the Round" (all belting songs) is a darker more sinister edge lurking around in the background.

They walk a fine line on this album, largely good stuff but occasional tracks, like "Don't Blame Your Daughter," could be Roxette if you closed your eyes and put yourself in a different place.

But forget those lapses, strange and beautiful and downright toe-tapping, this is a worthwhile addition to anyone's collection.
~ The Sun (London)

Monday, December 12, 2005

Neva Dinova


"Yellow Datsun"
from the album The Hate Yourself Change
2005
iTunes

Track the extensive vocal lineage of Jeff Buckley and Radiohead’s Thom Yorke, and the bastard descendant of the two would be Neva Dinova’s Jake Bellows.

Buckley’s influence is prominent in artists such as Jimmy Gnecco of Ours, while Kent’s Joakim Berg and Muse’s Matthew Bellemy have mastered Yorke impressions.

Yet Bellows is the first to strike a perfect balance between Buckley’s intensely cathartic, bittersweet howl and Yorke’s detached, atmospherically brooding voice.

And his Nebraskan quintet compliments this concurrence flawlessly on the band’s sophomore album.

With lush choruses and paroxysmal guitars during "Ahh," the acoustic folk ditty "Yellow Datsun" which fills its gaps with aquatic sound effects, and the upbeat "She Can’t Change" with guitars that would make Johnny Marr smile, Neva Dinova masks its morose undertones just enough to stay appealing.

Even the uber-depressing "I’ve Got a Feeling," with repetitive lyrics "The world’s a shitty place/ I can’t wait to die," somehow doesn’t seem that bad once Bellows laughs "Just kidding world/ You know I love you."

But his apparent depression would make his ancestors proud.
~ Derek Wright, NorthernStar

Friday, December 9, 2005

The Magic Numbers


"Love Me Like You"
from the album The Magic Numbers
2005
iTunes

London's Magic Numbers are two sets of siblings -- Trinidad-born Romeo and Michele Stodart and London natives Sean and Angela Gannon -- who've already been showered with "your-new-favorite-band" acclaim from the British music press. Their debut nearly lives up to the hype, blending rainy-day folk, shambling indie rock and heartbreak harmonies into a dog-eared pop record your mother could love. The U.K. hit "Forever Lost" shows off the Magic Numbers' combination of craft and insouciance, setting a caffeinated groove against a gorgeously harmonized slo-mo chorus and Romeo's depressed croon. The equally charming "Long Legs" sounds like the Strokes covering the Grease soundtrack (a good thing!), bubbling over with jangly guitars, countryish melodies and oooh-ahhh backing vocals. Cheeseball preciousness weighs down slower numbers such as "This Love," but when they're firing on all cylinders, the Magic Numbers treat their record collections like Romeo treats the idea of true love: as a source of wide-eyed wonder and a reason to get out of bed.
~ Christian Hoard, Rolling Stone

Thursday, December 8, 2005

John Lennon


"#9 Dream"
from the album Walls and Bridges
1974

Fans remember: 25 years go by without Lennon
By David Bauder, The Associated Press

Walking out of a college dormitory after visiting a friend one December night 25 years ago, I heard John Lennon's sweet song of longing, "#9 Dream," wafting out from an open door. It sounded wonderful. It sounded odd.

Why would a radio station or stereo be playing that? So much had happened since. Disco. Punk rock. I couldn't remember the last time I'd heard the song.

I walked home. Then, when I saw a cluster of friends quietly gathered around a television set, the reason became sickeningly apparent.

It was December 8, 1980. A mentally disturbed fan who had collected Lennon's autograph earlier in the day waited outside of the Manhattan apartment building called the Dakota for the singer to return from a recording session. Mark David Chapman opened fire. Lennon didn't survive the trip to the hospital.

The musical hero of a generation was dead, and anyone who had ever sung along to "I Want to Hold Your Hand" or chanted "give peace a chance" also remembers where they were when they heard the news.

In his typically blunt manner, Lennon had told Beatles fans a decade earlier that "the dream is over."

Now it really was.

Twenty-five years later, the day stands as a cultural black hole. Lennon became an instant legend, even more so than before, but it was hardly worth the price. Millions of people who never met him felt they knew him. His music often felt like personal letters; on "Watching the Wheels" he explained why he needed to step off the merry-go-round of stardom. A friend was gone.

"I still miss him massively," former songwriting partner Paul McCartney told The Associated Press. "It was a horrific day for all of us."

Stars remember

That night, an ambitious young woman who had just moved to New York to make it as a singer or dancer was out walking a few blocks from Lennon's home on the Upper West Side. She heard the sirens, saw a crowd beginning to gather. A curious Madonna joined them outside the Dakota.

"I remember walking up and going, 'What's going on? What's going on?' " she recalled. "And they said John Lennon was shot. It was so weird."

Madonna was a youngster during the feverish days of Beatlemania. But she later recorded Lennon's utopian vision of a peaceful world, "Imagine," which will likely be his best-remembered song.

Another version of "Imagine," by country singer Dolly Parton, is in music stores now. In her own tribute, Parton shot part of a video for the song in Strawberry Fields, the Central Park memorial for Lennon.

Parton had been on a plane from Nashville to Los Angeles the night Lennon was shot. She was supposed to go out with friends, but instead they went to her house to watch the news and talk about it. "Everyone was so heartbroken," she said.

"Like all young teenage girls back then, I fell in love with the Beatles," she said. "Back there in the Smoky Mountains, it was like something had been dropped from outer space."

Also in California, rock singer John Fogerty felt the loss of a kindred spirit. In 1969, Fogerty's band Creedence Clearwater Revival had sold more records than the Beatles, then an astonishing accomplishment. But both men spent the latter half of the 1970s publicly silent; Fogerty because of a business dispute, Lennon because he was "watching the wheels."

"I thought about him every day because he was that important to me," he said. "I was still a recluse but I was working on music in some fashion every day, and I would say to myself, 'I wonder what John Lennon is doing?' "

Singer Neil Diamond had been in New York that December night for the premiere of his movie "The Jazz Singer."

"Aside from being broken-hearted about the loss of this man, I felt I owed him something," he said. "My life would not have been the same without the Beatles."

Lennon's music has even touched artists who weren't alive when he was, like 21-year-old singer Patrick Stump of the hit pop-punk band Fall Out Boy.

"It is like the Bible," he said. "You can't cite it without sounding clichéd, but here's the thing, there's a reason why it's so citable like that. His body of work was so interesting and had so many valid points."

What if he'd lived?

What has the world missed in 25 years without John Lennon?

Yoko Ono has grown old without a husband; she still lives in the Dakota and is the caretaker of his work. Sean and Julian Lennon grew up without a dad. They've tried music, too.

John's legacy remains frozen in time and, like James Dean's or Kurt Cobain's, burnished by sudden death far too young. Lennon didn't grow old in the spotlight. He didn't have to watch his talent fade or hear the whispers that he'd lost it. McCartney could tell him a few things about that.

It's impossible to predict from his catalogue where his muse would have taken him.

His track record as a solo artist was wildly uneven in style and quality. The brutal confessional of Plastic Ono Band was followed by the perfectly polished Imagine. There's the leftist screeds in Some Time in New York City, the tired wistfulness on Walls and Bridges and the domesticated work he made at the end.

Even during the Beatles' intense creative period, author Bob Spitz in this fall's new "The Beatles: The Biography" portrays Lennon as tormented by personal demons and drug abuse. Would it have crippled him as he got older?

"The level of engagement wouldn't have gone away," said music journalist Alan Light. "If he was going to be an activist, he would have been all the way an activist. If he was going to be a father, he would have been all the way a father."

By moving to New York and walking the streets, Lennon always seemed more accessible, more human than his peers, Light said. No one had more reason to fear fandom than the four men who lived through the hysteria of Beatlemania. Living outside of a bubble made Lennon a target.

Chapman remains in New York's Attica state prison, where his third request for parole was denied in October. Ono wrote to the parole board urging he not be released. Chapman won't be eligible for parole again for two years.

A legacy of Lennon's death is a lingering uncertainty among musicians about being in public. Tom Araya, lead singer of Slayer, admitted that he's "a little more cautious, conscious of his surroundings" than he might have been otherwise.

McCartney's insecurity

Losing the partner to whom he's wedded in history has been difficult for McCartney, in ways he could and could not control. With Lennon lionized, McCartney's reputation shrank in comparison. For a while, it became LENNON-McCartney.

It was unfair, and has since been corrected, but not before breeding an unwarranted insecurity. McCartney has spent years seemingly saying, "Hey, I was cool, too." Light, the journalist, was struck by how McCartney opens his current concert tour with a video reminding fans of his Beatles exploits, when the music can speak for itself.

"He just digs himself deeper into a hole no matter when he does it," Light said.

If Lennon had lived, McCartney said he believes they would have written songs together again.

After seven years of studying the Beatles, author Spitz said he doubted it. Lennon had left the Beatles behind and hadn't gone back before he died. "I always assumed I would meet him," Fogerty said. "I never got to touch base from my heart to his heart, and I'm sure that millions of us felt the same way."

Lennon's words from "9 Dream" still echo.

"So long ago. Was it in a dream? Was it just a dream?"

Wednesday, December 7, 2005

Augustana


"Stars and Boulevards"
from the album All the Stars and Boulevards
2005
iTunes

The up-and-coming band Augustana's origin began with a single conversation between singer Dan Layus and guitarist Josiah Rosen on a snow-covered bench at school in Greenville College in Illinois. And the inevitable trip out of town and later cross-country jaunts led to the songs on its debut, All the Stars and Boulevards.

The album is rife with tunes inspired by these travels and tours, like the first single, "Stars and Boulevards," which Layus penned in Los Angeles following the end of a romantic relationship. Yet he found the song also spoke of his search for a place in the world.

"I want people to come away with whatever they need to come away, because that's the beauty of music," Layus says. "But for me personally, I'd rather have somebody take away a more universal theme about life than the girl-left-me-and-I-feel-alone kind of thing."
~ Brian Truitt, Washington Examiner


Examiner: Back before you were in Illinois, did you have that same nomadic spirit?

Layus: I grew up in San Diego, California, and then I moved out to Illinois for school. I had never been to the Midwest or anything and automatically, right away that was something that started in my life. Everybody leaves and goes somewhere new, you know, so it's not like a rare thing. But for me, it was a new experience and it started right there, that whole mindset of re-evaluating who you are from traveling.

Examiner: Have you visited any place since college that's made you think about the world differently?

Layus: Actually, dropping out of school and then moving back home was a totally different experience. It was like I had never lived there before. I grew up my whole life two miles from the ocean, and it was like I had never seen it before. And it was amazing and it made me very focused on what I wanted to do.

Examiner: Did you find that the cold and the weather changes affected you emotionally since you were a Cali kid?

Layus: Oh yeah, absolutely. I had a lack of mood change in California because of the sun all the time -- I was almost getting sunsick. So it was nice to actually see four seasons and whatever comes with that -- it is what it is and you deal with it. It definitely opened up my mind. It's baby steps, it was the first thing I experienced away from home that was totally new. So many people grew up with that but I hadn't.

Examiner: Because you have this traveling sense about you, is your perfect vacation simply staying at home?

Layus: Exactly! It would definitely be sitting at home, having a burrito, sitting on the beach and just doing absolutely nothing. Even going to Hawaii would be too much to handle.

Tuesday, December 6, 2005

Broken Social Scene


"Swimmers"
from the album Broken Social Scene
2005
iTunes

Life is good in Toronto.

Nearly three years after their breakthrough You Forgot it in People was released, the new self-titled album from Broken Social Scene finally hit the shelves less than a week after NHL hockey returned from its season-long lockout. The return of BSS and the city's beloved Maple Leafs in such a short span has caused constant and consistent celebration throughout Canada's largest city. OK, that may be an exaggeration, but it's closer to the truth than you might think.

You have to understand: Things have changed in Toronto. Long known simply as the mecca of the hockey universe (seriously, it's a religion), Toronto is rapidly transforming into one of the major centers of the indie rock world. Now, everyone in the city dreams not only of being a Maple Leaf, but of being in the Broken Social Scene family as well. And it's not that ridiculous of a dream. While there's limited space on the Leafs' roster, it seems there's always room for more in Broken Social Scene.

Their line-up was already bursting at the seams on the brilliant You Forgot it in People (henceforth YFIIP), but their numbers have grown again. The fantastic new album includes more than 20 people, featuring members of Metric, Feist, Do Make Say Think, the Dears, and Stars. Even Canadian rap saviour K-Os drops in on the frantic track, "Windsurfing Nation." With this constant adding and shuffling of members, you could say that Broken Social Scene is indie rock's Wu Tang Clan.

The result is exactly what you'd expect from a band that size: noisy, messy, random and above all, chaotic. Sometimes it sounds like the musical equivalent of throwing paint against a canvas and calling it art.

And yet, somehow, it works.

The countless guitars, swirling group vocals and blaring horns that define the album make a wall of sound so huge and so daring that it manages to make the ambitious YFIIP sound thin and conservative, which is no small feat. Whereas YFIIP was focused, meticulous and clean, Broken Social Scene sees the band throwing caution and formula to the wind. The only real carry over from the previous album is the mandate of being equally catchy and challenging. Not that they've ever appeared to be short on confidence, but with this record they seem to be playing with a new swagger, as if they believe they can do no wrong. It's becoming increasingly apparent that that may be the case.

Songs like "7/4 (Shoreline)," "Superconnected," and the epic closer "It's All Going to Break" (the only ten-minute long song you'll ever leave on repeat) are dynamic stadium rock anthems that have been drowned in fuzz and noise, maybe so that no one calls them stadium rock. Appearing at the midway point, "Swimmers" is the catchiest and most accessible track. Metric's Emily Haines sings in her typically strong and effortless Kim Deal (of The Breeders and The Pixies)-ish tones, helping showcase the band's impressive pop sensibilities more than any other song on the disc.

On the other hand, "Windsurfing Nation" will shock and surprise even the most seasoned BSS fan. Using countless singers to create a surging, weaving vocal collage, it's the most daring song on the album, and possibly the most exciting as well. Unfortunately, "Bandwitch" takes a long time going nowhere in particular. It's a rare moment when the band's over-indulgence doesn't pay off, and it kills the momentum towards the end of the album.

It's hard, and even unfair to say if Broken Social Scene tops its predecessor. It lacks some of the jaw-dropping beauty found in songs like "Anthems for a 17-Year-Old Girl" and "Lover's Spit" that made YFIIP so intimate, breathtaking and ultimately, so great. But this new album is much more focused, with every song heading in the same direction, and a great direction at that. It doesn't really matter which album is better. What's important is that they've delivered another incredibly solid effort, adding to what is turning into a stunning discography.

And Toronto is happy again.
~ Matt Henderson, Relevant Magazine

Monday, December 5, 2005

The Southland


"Miles"
from the album Influence of Geography
2005
iTunes

Download a free MP3 of "Miles" from Ruffword Records
[right-click/save-as]


Styles and tendencies in rock 'n' roll tend to change pretty gradually when all is said and done, the definitive sound or sounds of one era blending seamlessly into another, and only emerging as definitive in retrospect -- it's much easier, as an example, to talk about a "90s sound" now than it was back when we were living through it. And so the '00s (more than half over already!) may seem so far to have produced a difficult-to-generalize sort of sound to date -- particularly as there is by now such a longer and richer musical history for rock bands to be inspired by. But some characteristic sounds are emerging and this able and spiffy tune by a new L.A. band called the Southland pretty much nails one of them exquisitely. With its bedroom-rock-style mixture of acoustic and beat rhythms, "Miles" is not a song that could possibly have been produced in the '60s or '70s or '80s or '90s. That doesn't mean this is gloriously original; actually the point is that it isn't -- but it is enormously characteristic, and beautifully crafted. What wins is the memorable chorus, with its bittersweet melody and that great, marshmallowy slide-guitar lick.
~ fingertipsmusic.com

Friday, December 2, 2005

The Futureheads


"Area"
from the EP Area
2005

Reason #1,046 to love the Futureheads: Not only do they have the bullocks to quote "Cotton Eye Joe," they get away with doing it in this song's closing frame. Among late-'05 exclusive peeps, "Area" is better than "Juicebox" and has a way cooler name than that Liars track. Brewis kicks a choo-choo chug a lot like "He Knows," but we're spared the massive breakdown for something more transitive: Eight bars of well-harmonized onomatopoeia that could compete with My Morning Jacket for year's best wordless chorus. If the hook seems to lack the magnetism of anything on the debut record, give it some time, or a few repeat spins. Meanwhile, listen to Hyde talk home security -- "The doors have metal plates/ Fitted to the inside of the exit that is through the front gate" -- with bemusing intensity.
~ Sam Ubl, Pitchfork

Thursday, December 1, 2005

Belle & Sebastian


"Another Sunny Day"
from the album The Life Pursuit
2006

Download a free MP3 of "Another Sunny Day" from Matador Records

Belle & Sebastian's latest album arrives in early February, but Matador has released a track on its website. See above. Don't really know much details about the record... it's still two months off, after all. It looks a bit strange seeing the year "2006" listed.