Sunday, May 18, 2008


Quick aside: Clearly, I haven't been updating this thing as much as I envisioned. I no longer work at The Review, as it was time to hand it over to the young guns. I graduate in 13 days and head to Europe for three and a half weeks shortly after that. What I'm trying to say is don't expect many more updates (if any) after this one. I'm sure I'll be back at this blogging thing sooner than I should be, it just might not be here.

If there's a note to go out on, it's Kanye West's "Glow in the Dark" tour. I'm not going to overanalyze (what too many of us tend to do) the thing because it might lead to nitpicking (no "Drive Slow"?) or unnecessary realizations (including "Gold Digger" because Kanye "needs pussy"?). There is no need for either when discussing West's intergalactic, 20-song adventure. Excuse the hyperbole but after last night's show, I would be hard pressed to name a more important, and impressive, performer than West right now. The chipmunk-soul-beat geek has transformed into the most engaging and hard-working showman in rap history. But now, after "Glow in the Dark," Kanye has transcended genre barriers and has his eyes set on being the biggest name is music. Big Brother Hov should take notice - just because your catalog is deeper than most record collections doesn't mean concert creativity should not be explored. Love him or hate him, there is no denying that at last night's performance at the Susquehanna Bank Center in Camden, N.J., Kanye West made a serious argument as being "the brightest star in the universe."

Random thoughts:

- Chris Brown, who came out to dance during N.E.R.D.'s new track "Spaz," is really tall, especially next to Pharrell.
- Breezy did not come out to sing the "Umbrella" remix with rumored girlfriend Rihanna, whose set was OK. The girls standing around me were really into it.
- Sean Fennessey talked about this on his Vibe blog but songs from West's Graduation sounded the best, in particular "Flashing Lights" and my favorite, "I Wonder."
- Lupe Fiasco's flow is no joke.
- There is nothing like seeing thousands of people moving their hands up and down during the "La, la, la, la..." part of "Can't Tell Me Nothing."
- Yes, Kanye was wearing his Air Yeezys, and yes, they were dope.
- There was a teenage couple sitting in front of me who were more concerned with taking kissing photos than watching the artists rip it.
- The acts seemed confused in addressing the crowd as Philly or New Jersey. Pharrell handled it with the most honesty. "We're confused because our hotels are in Philly but the show is in Camden. Pause. So what's up Philly and New Jersey?!"
- Hearing "Spaceship," from The College Dropout, was a nice reminder of how angry Kanye used to be.
- I left the arena feeling fantastic.

Friday, April 18, 2008


Spotted this goofy picture over at The Fader...The first blog from the Fool's Gold Screaming Bloody Murder tour. Your boy got caught on film doing his two step. There even might be an art editor behind him. Dancing is fun!

Tuesday, April 15, 2008


I took a few pictures from the recent Hot Chip and A-Trak/Steve Aoki shows. They were both booked by the consistent Philadelphia booking agency R5 Productions. I've been going to R5 shows for more than five years now and I'm thankful to have grown up near the Philly area. Fair prices, unique venues and strong buzz bands/acts.

The pictures are of the poorest quality, but I was able to get pretty close to both stages (Hot Chip played the Starlight Ballroom while A-Trak's "Screaming Bloody Murder" tour played the Barbary). If you're interested in purchasing a new phone, this is how the iPhone does it.

The crowd liked Hot Chip. The boys played "Wrestlers" really well that night.

A-Trak. 'Ye's DJ. Dates Kid Sister. Wears Jordan 4's.

Steve Aoki.

Friday, April 11, 2008


I swear I was going to write about this. But this pretty much sums up my feelings.

Tuesday, April 08, 2008


Look - a new feature! Trying out this Muxtape deal. For those unfamiliar with Muxtape, it's a Web site that allows users to upload mp3s to create a streaming playlist similar to - yes - a mixtape. Technology, man.

The songs are just random tracks I have and like. The site is extremely easy to use, so indulge. I'll make a new tracklist sometime in the near future.

(P.S.: Bonus beat at the end of this first edition. I was in a band in high school. That may or may not be a song we recorded for our first, and only, demo. I may or may not be playing guitar. I may or may not sing a few lines on it. The quality kind of sucks but I saw it in the vault and thought it'd be fun to post. We listened to Jimmy Eat World.)

(P.P.S.: The Review's art editor, Nick DiBerardinis, was inspired to make his own muxtape. Check out his Digital Hustlin' tape here.)


Alkaline Trio – Help Me
from the forthcoming Agony and Irony

The only band tattoo I ever considered getting was Alkaline Trio’s heart logo. It would have been morose but probably appropriate because the Chicago outfit is one band I still love listening to. It’s nice that I can comfortably consider myself a fan of every record they’ve released (some more than others, of course). And while I rarely listen to pop-punk nowadays - high school was a different story – I still keep tabs on Alkaline Trio because, frankly, the group knows how to change with the times without sacrificing artistic integrity.

It’s been almost 10 years since the band released its debut album Goddamnit. Since that decade, the group has seemingly perfected its upbeat yet dark three-chord onslaught. Alkaline Trio songs are typically fast (but have slowed down over the years), short-winded and feature lyrics like, “I wish you would take my radio to bathe with you / plugged in and ready to fall” (“Radio” from 2000’s Maybe I’ll Catch Fire). But look closer and there is growth. While the band first began writing songs about hating girls and drinking beer to forget those girls, Alkaline Trio slowly evolved its lyrics to reflect a more morbid tone. Although its approach was always far from peachy, the band transformed from emo punks to a group more influenced, especially aesthetically, by Bauhaus and Joy Division. The evolution was most apparent on 2005’s Crimson, which featured the excellent single “Time to Waste” – a sleek composition that proved Alkaline Trio was willing to mature but not change its melancholic tone.

Today, Alkaline Trio posted the song “Help Me” on its MySpace page. It is the first single from the band’s major-label debut Agony and Irony, due out July 1 on Epic Records. Unsurprisingly, it rocks. More importantly, it is purely Alkaline Trio – all distorted guitars, Matt Skiba’s vocals soar and, of course, those lyrics.

Did I find you in between
Heaven and Hell again?
Where nothing's what it seems,
it's just as well I plan
on giving me the creeps,
and a farewell to arms, and legs, and heads and all…

The song should appease both Epic and the band’s dedicated fan base (the Alkaline Trio fan club is called The Blood Pact). It proves the band can write catchy hooks but uphold its most identifiable aspects (guts, gore, sadness, the like). So often, bands make its desires for mainstream success painstakingly obvious (I see you, Pete Wentz). But in the case of Alkaline Trio and “Help Me,” the band members have somehow adapted to its major-label surroundings without alienating the people who got the group its new record deal in the first place. Integrity and responsibility? What concepts!

Friday, April 04, 2008


At least for this week. Spotted at the Smoking Section.

Thursday, April 03, 2008


Kanye West - Bring Me Down
from the live album, Late Orchestration

Did I speak too soon?

Very excited.

Tuesday, April 01, 2008


Lil Wayne - "Lollipop"
Lil Wayne - "A Millie"
from the forthcoming Tha Carter III

Call it inspiration, but I feel inclined to say a few things on Lil Wayne, the New Orleans rapper. His new album, Tha Carter III, will (supposedly) hit stores on Tuesday, May 13. It is one of, if not the, most anticipated albums of 2008, thus far. If you’re unfamiliar with the 25-year-old MC, then try this piece first. Or this one.

His buzz has been building for what seems like an eternity, and right on cue, the detractors have become just as loud as the fans. The haters have plenty of ammunition: Wayne loves drugs (weed and lean are obvious; cocaine and ecstasy seem like possibilities), recording songs (a few are perfect compositions, some are great, some are mediocre and others are head-scratchingly poor) and claiming he’s the best rapper alive.

I get where they’re coming from. New mixtape are made at an alarming rate (“The Drought is Over 5 (Grand Closing)” or “New Orleans Nightmare 8” or whatever it is this week) and the majority of the tracklists are recycled from other tapes or just not very good compared to Wayne’s standards.

And those standards are startlingly high. In the past couple years, Wayne has released some true gems – Dedications 1 and 2 with DJ Drama, Da Drought 3, Tha Carter III’s first “Leak” and the five-song EP titled The Leak EP are all imperative in understanding the rapper’s appeal, which there is an abundance.

I can’t keep my eyes or ears off of Lil Wayne. In terms of figures in music – not just Hip-hop – Dwayne Carter is the most compelling figure today (sorry Kanye, Boosie). Wayne stands alone in his scope: at his best, his wordplay, vocal inflections and metaphors create a rush that is intriguing, enthralling and fascinating all at the same time. His catalog is incredibly large, thus there’s always something to dig deeper into, even if the process takes time and work to produce results.

It is a legitimate argument that Wayne has yet to grasp the concept of quality control. In a recent interview, he said that he just records songs and sends them to his record company, Universal, to create Tha Carter III’s tracklist. That scares me – does he know the difference between a decent mixtape cut and a bonafide crossover smash? Is he too cocky, too arrogant or too high to know when a concept works or, more importantly, when it doesn’t? We will have to wait until May 13 to know, but I’d prefer Wayne to make the ultimate call of what makes the album and what doesn’t.

It’s the first of April and two tracks from Tha Carter III have been released. The first is the much-discussed “Lollipop,” Tha Carter III’s official single. From what I can tell, music journalists and fans are both split on it – some love it, some call it garbage. It’s not my favorite Wayne song, but I like it a lot. And I understand the apprehension – Wayne is an MC but he’s not rapping, the “lick the rapper/wrapper” pun is weak, it’s a play to mainstream success similar to 50 Cent’s “Candy Shop,” Wayne rips off T-Pain’s vocals, etc. – but the song, as a whole, just works for me. In Jeff Weiss’ Idolator piece, he writes that “Lollipop” is “a big, absolutely retarded pop song that you enjoy dancing to at clubs.” I haven’t been to a club in a while but I could imagine that pornographic beat would incite some serious grinding. And although Wayne doesn’t murder the track like he has so many others, his silliness still peaks through at times: while describing his sexual encounter, he sings, “And when I’m at the bottom, she’s Hillary Rodham” but pronounces it ride-him. Even Static, the now-deceased R&B singer, has fun with his slinky chorus, singing, “Shorty want a thug / Bottles in the club / Shorty want to hump / You know I like to touch your lovely lady lumps.” Trust me, it’s much better than Fergie singing it.

If “Lollipop” is Wayne’s attempt to garner more fans, then “A Millie,” the record’s street single, is the rapper hoping to keep the mixtape lovers happy. The song lacks a chorus and its beat consists of only a pounding 808 drum beat, simple snare blasts and a screwed-up repetition of “a millie, a millie, a millie…” Wayne goes in on the beat and does his best to drop jaws with his wordplay and vocal ticks. It works for the most part, especially when he spazzes:

Man I hate a shy chick,
Don’t you hate a shy chick?
I had a plate of shy chick
and she ain’t shy no more,
She changed her name to My Chick,
Yeah boy, that’s my girl
and she pops ex-cellent up in Wayne’s World
Totally dude,
You should see the faces when they see that this robot can move...

(I will concede that the song is inconsistent, though. “A Millie”-haters say the track is a confusing, drug-induced tangent, which might be true, but the execution is efficient until the end where Wayne’s finish is more huff-and-puff than an all-out sprint.)

So we have two songs and more than a month until the album is supposed to be released. My expectations of Tha Carter III fluctuate every day. Sometimes - usually when Wayne releases a strong remix or guest appearance – I put my faith in the fact that this dude can truly rap and create engrossing songs. And why not? He’s earned my trust – check out “Zoo,” “Something You Forgot,” “I’m Me,” “Kush,” “I Feel Like Dying” and I could keep going. But although I enjoy “Lollipop” and “A Millie,” I’d be lying if I put them on the same level as my favorite mixtape tracks. So now all I can do is wait. Impatiently.

Regardless of what happens, let’s attempt to put ourselves in Wayne’s shoes, just momentarily. His process of rapid-fire recording has transformed the way rap works in ’08 – no longer do you need the one hot single to build a fanbase; a steady outpouring of quality tracks (officially released or leaked to the Internet) will suffice – and now he has the weight of the world on his shoulders. He has yet to universally earn the crown of the best rapper alive but it’s clear he is on the brink of either mega-stardom or one of the biggest burn-outs in the history of music. Either way, I’m forever grateful that one man’s work is fascinating enough to spark so many different debates in an age where artistry takes a backseat to ringtone sales. You can love him or hate him, but there is no denying Lil Wayne is currently the heartbeat keeping Hip-hop not just alive, but relevant.

For those wondering where to start with Lil Wayne, the following is essential listening for comprehending all of the hoopla.

Essential Listening:

“Stuntin’ Like My Daddy” (feat. Birdman, from Like Father, Like Son)
“U Gon Luv Me” (from Dedication)
“Down and Out” (from Dedication)
“Go DJ” (from Tha Carter)
“I Miss My Dawgs” (from Tha Carter)
“Intro” (from Da Drought 3)
“Upgrade” (from Da Drought 3)
"Put Some Keys on That” (from Da Drought 3)
“Ride 4 My Niggas” (from Da Drought 3)
“Dought is What I Got” (from Da Drought 3)
“Promise” (from Da Drought 3)
“Live from 504” (from Da Drought 3)
“Dipset” (from Da Drought 3)
“Seat Down Low” (from Da Drought 3)
“Where The Cash At” (feat. Curren$y and Remy Ma, from Dedication 2)
“Georgia…Bush” (from Dedication 2)
“We Takin’ Over” (from DJ Khaled’s We the Best)
“What He Does” (from The Leak: Tha Carter III)
“La La” (from The Leak: Tha Carter III)
“Something You Forgot” (from The Leak: Tha Carter III)
“Zoo” (feat. Mack Maine, from The Leak: Tha Carter III)
“I Know the Future” (feat. Mack Maine, from The Leak: Tha Carter III)
“Scarface” (from The Leak: Tha Carter III)
“Time For Us to Fuck” (from The Leak: Tha Carter III)
“Beat Without Bass” (from The Leak: Tha Carter III)
“I Feel Like Dying” (from The Leak: Tha Carter III)
“Prostitute Flange” (from The Leak: Tha Carter III)
“I’m Me” (from The Leak EP)
“Kush” (from The Leak EP)
“Gossip” (from The Leak EP)
“Viva La White Girl” (Gym Class Heroes remix, from Lil Wayne and Friends 2 mixtape)
“Famous” (from Lil Weezyana Vol. 1)
“Tha Mobb” (from Tha Carter II)
“Money on My Mind” (from Tha Carter II)
“Best Rapper Alive” (from Tha Carter II)
“Oh No” (from Tha Carter II)
“Mo Fire” (from Tha Carter II)
“Receipt” (from Tha Carter II)
“Hustler Muzik” (from Tha Carter II)
“Shooter” (from Tha Carter II)


Wilco - Hate It Here

It's Spring Break '08 for the University of Delaware (always weeks after everyone else, telling?) and your boy is going through a love/hate relationship with Newark. No class, a short break from the newspaper, a couple less roommates. But with the lack of responsibility comes a lack of direction - what am I supposed to be doing with my time?

I'll worry about it later. In the meantime, I'll let Jeff Tweedy sing his own blues. Enjoy the song.

P.S.: I know Pitchfork called Sky Blue Sky "dad-rock" but whatever. A good song is a good song.

Tuesday, March 25, 2008


Ray Charles - "You Don't Know Me"

Download the song above and have a better day (even if the song has a hint of melancholy). I swear I'm going to get back to real updates soon.

Completely unrelated note: Panic at the Disco's new album, Pretty. Odd., comes out today. Here are my thoughts on it. If you know me, you probably won't be surprised - even if I was temporarily duped.

Friday, March 21, 2008


Big Boi - Royal Flush (feat. Andre 3000 & Raekwon)
from the forthcoming Sir Luscious Left Foot
spotted at Nah Right

When was the last time you heard a song this good?

Tuesday, March 18, 2008


Death Cab for Cutie - I Will Possess Your Heart

I'll save the excuses. But I come bearing gifts, sort of - it depends on the type of Death Cab for Cutie fan you are. If you're like me, you are unsure if you can even consider yourself a fan (most likely because the majority of the group's songs are either A) sleep-inducing B) forgettable or C) lame). If you're Adam Brody or someone who enjoys the band's melodic yet safe tracks, then I offer you the alleged first single from the band's forthcoming album Narrow Stairs.

The song, titled "I Will Possess Your Heart," is 8 minutes and 36 seconds long. Supposedly the radio version will be cut significantly, but it doesn't matter. While some touted that Narrow Stairs is the album to push Death Cab to Radiohead status, this first single does not make a strong case for the transcendence. If "Your Heart" is indicative of Narrow Stairs, then Gibbard & Co. might be experiencing creative stagnancy.

The elements of the song - Gibbard's vocals, though more forceful than previous songs, is still the centerpiece while his band plays lounge act - offer nothing new to those already familiar with the band. The most exciting aspect of the track is the prominent bassline that at least establishes a groove, but still, this is bland stuff. After the nearly nine minutes had elapsed, I was left wondering what I had been waiting for.

Death Cab is no stranger to testing its listeners' patience with long songs. But, unlike "Your Heart," they have succeeded before. The title track to the band's best album, Transatlanticism, clocks right under 8 minutes. Where it succeeds and "Your Heart" doesn't is in the build-up. There is no conflict in "Your Heart," but rather an unnecessary repetition of playing - no crescendo, very minimal soft-to-loud dynamics, no reason to stick with the lengthy piece. On the other hand, "Transatlanticism" first revolves around a simple, slow-playing piano part but allows growth through the duration of the song. Gibbard seemingly chants "I need you so much closer" while the guitars, piano and especially drums build to an expansive wall of sound. The song is exhausting but in a good way, because it rewards its listener for sticking with it. "Your Heart" lacks this pay-off and only disappoints those of us who hoped Gibbard and his band might have finally realized their shortcomings.

Friday, February 22, 2008


I know it probably seems like I only write about three bands/artists on this thing but I swear it's not like that. Anyway, if you still think the latest Hot Chip record isn't making it to your iPod, I plead for one last chance. If you're still not sold then I just can't help you. (And to the choir: see you in April.)

Wednesday, February 13, 2008


Above: Kanye West’s new video, “Flashing Lights.” It was co-directed by West and Spike Jonze, who directed Being John Malcovich but got his real start directing music videos like Weezer’s “Buddy Holly” and Wax’s “California.”

At the Grammy’s last Sunday, West described the award ceremony as his “home.” And even though he participated in the Sept. 11 showdown with 50 Cent over Billboard supremacy, it’s West’s artistic vision that matters most (West is a 10-time Grammy Award winner, and might be the only artist who would post this picture in his blog.)

West has released three albums and been nominated for three Album of the Year awards. But make no mistake – the rapper/producer applies a similar “make the best work possible” mentality to all he does – even his music videos. While other MCs have attempted to change the formula of video making (low-budget YouTube videos for half the track list), West remains true to his personality. The “Flashing Lights” video is no exception.

When I first hit play on the video, I was disappointed by its length (2:47) in comparison to the album version (3:58). After I watched the video, my feelings changed. There’s an eerie tone to the clip – the censored gasoline, the darkness of the shot, the woman’s attire. It becomes clear that this video was not made for 106 & Park (case in point: the star isn’t shown until 1:45). Jonze shot the video in one take, which isn’t new but as The Fader pointed out, he seems to be the one who does it the best. At 2:15, the camera pans away from West’s scared face to show the lovely woman grabbing a shovel. The graceful movement of the camera to show West’s (assumed) murder proves that West and Jonze are unafraid of the avant garde. It is refreshing to be reminded that some artists put their integrity over their SoundScan numbers. I couldn’t be more pleased.

On an unrelated note: if you find soulful Englishmen to be more your speed, allow me to direct you to my recent review of Hot Chip's Made in the Dark. Is it a shameless plug if it's in my own blog?

Tuesday, February 05, 2008


But my computer is, at least for now. Expect regular updates to resume as soon as I get it back. In the meantime, pick up the new Hot Chip record, Made in the Dark, which is in stores now. Or you can do what I did and purchase the CD/DVD edition. You can read my review of the album next Tuesday when The Review begins its Spring publication schedule.

I leave you with this:

Thursday, January 31, 2008


Vampire Weekend, heard of ‘em? They’re everywhere. And for every positive write-up the New York City band has received, there has been a call-to-arms to ignore them (Tom Breihan even wrote a column about the current love-hate state of affairs). I can understand the apprehension – the quartet looks like they’d enjoy a weekend of yachting at Martha’s Vineyard more than, say, a sold-out show at Philadelphia’s sweat-friendly First Unitarian Church (where they will be a week from today, actually). Many VW detractors cite the group’s seemingly obnoxious resume as the problem. The band members met at Columbia (ugh, educated musicians!), wear boat shoes (the horror!) and name-drop Louis Vuitton (I only like when Pharrell does that!). To top it off, Vampire Weekend’s music is influenced by black people. Afropop, to be specific. Who do these guys think they are?

As far as I can tell, they’re four members of a quaint indie rock band who just released one of the best records of the young year thus far. The self-titled Vampire Weekend album is quick, concise and defies ennui. The “Afropop meets Benetton” formula is simple: clean guitars (like starched-collars clean) are matched with crisp drums and keyboards that act as brisk pacesetters. Vocalist Ezra Koenig is rather straight forward in his delivery but is unafraid to use quick, high-pitched vocal inflictions to his advantage. I’ve only had the whole record since Tuesday morning, but it has nearly been on repeat since its unwrapping. And it’s not because of the hype. It’s because of the songs.

As of right now, my favorite song on Vampire Weekend is “Campus.” Blame it on my surroundings, but it’s difficult not to feel a collegiate connection to Koenig’s depiction of higher learning (and the women who come with the territory). Sure, there’s tongue-in-cheek humor like some of VW’s songs (“Spilled kefir on your keffiyah”) but there’s also a sincere sense of yearning when Koenig sings the chorus: “Then I see you / you’re walking cross the campus / Cruel professor, studying romances / How am I supposed to pretend / I never want to see you again?” The song’s protagonist never speaks to his love interest directly, but only from a distance. So as the song ends with the lines, “In the afternoon / you’re out on the stone and grass / and I’m sleeping on the balcony after class,” there’s a happily-ever-after void never filled but that’s OK. The song, like the album and the band that wrote it, is charming in its uncomplicated veracity. I do my best not to get sucked in to the blogcentric hype involving young buzz bands, but for now, Vampire Weekend is an anomaly. They’re actually pretty good.

Tuesday, January 29, 2008


ATTN: Advertisers

Commerce isn't a bad thing and I'm sure Leslie doesn't mind the checks, but keep your hands off this one. It's fine how it is.

Monday, January 28, 2008


Before discussion, it must be said: the new Panic at the Disco single (“Nine in the Afternoon,” which is now streaming at the band’s MySpace profile) is not targeted to me. In fact, the Las Vegas group (and everything it has done) is more for ’90s babies. The type of person you might see at the mall walking toward Zumiez with an Auntie Anne’s pretzel in hand and Sidekick on hip. This is not surprising, nor should it be held against the band (I am older than all of the members, anyway). It’s all too easy to forget this and want to immediately attack the group (the fact that Panic first contacted Pete Wentz, the man who would later sign them to his Decaydance label, through the tell-all Web site LiveJournal has soured some faces).

And while I was not a fan of its overwrought, tongue-twisting debut record (2005’s A Fever You Can’t Sweat Out), I will admit that the group’s primary songwriter, Ryan Ross, and vocalist Brendon Urie are capable of writing memorable songs. I’ve gone days with the song “But It’s Better If You Do” in my head, unable to escape. But with the group’s debut filled to its brim with ostentatious stabs at pop culture (song titles reference the emotional car-wreck film “Closer” and Chuck Palahniuk), A Fever was too large of a pill to swallow.

So now we have “Nine in the Afternoon.” Ross and Urie talked about getting high and listening to Beatles records while writing the single. It is then no coincidence that the band is currently mixing its sophomore record (Pretty. Odd.) at the Beatles’ Abbey Road Studios in London. Panic is not taking a cue from its Big Brothers in Fall Out Boy, who are clearly attempting to perfect its crossover pop-punk anthems, but are rather looking to the past for inspiration. Or make that their parents’ past. Either way, it could be worse. The new song is adequately enjoyable with its Sgt. Pepper aping – horns, a bright snare drum and march-inducing piano. The boys add their own adolescent touch with lofty lyrics like, “Your eyes are the size of the moon / You could 'cause you can, so you do / We're feeling so good / Just the way that we do / When it's nine in the afternoon.” It’s all cheeky and fun. Look at this way: this is not meaty material. But what if a group of young emo kids can shed the absurd circus act and embrace something with a little more substance? Does that then rub off on its audience? Is that that bad?

Tuesday, January 22, 2008


From a critical standpoint, it’s a smart rule to properly ingest and digest new songs, albums, videos, etc. before taking any sort of definitive stance. I’ve been burned plenty of times by not letting things grow on me; only to be dripping in yolk later. So no grand proclamations (yet), but a couple of new songs have surfaced (on the Internet, of course) and they’re certainly worth a few repeated listens. Tolerate, abhor, shrug off, whatever – just give these a chance. Might as well, January is a pretty dull month for music.

The supposed first single from the forthcoming N.3.R.D. album from Pharrell and co. leaked today. Like many N.E.R.D. songs, “Everyone Nose” does not sound like anything currently on the radio. It’s also a pleasant surprise – busy, sexy and very funny. Any pop act making music about “all the girls standing in the line for the bathroom” and the cocaine they’re about to snort gets a pass from me. The sultry breakdown at the end of the song’s first minute is quintessential Pharrell the Crooner, but the “Atchoooooo! Atchooooo!” on top is pure comedy. If coke wasn’t the new Red Bull yet, this song isn’t helping. Oh well. Did you hear those drums? (Spotted at The Fader)

Sean Fennessey posted “Black Hole,” a new Be Your Own Pet song from its album, Get Awkward, due in mid-March. If you’ve never heard them, here is a warning: the band is young (the drummer’s birth certificate reads 1990). Here is a warning to the warning: it doesn’t matter. “Black Hole” is fierce - snotty even - in a way only pissed-off youth can produce. The band’s frantic delivery (picture an angst-driven garage band angry at how bored they are) comes straight from vocalist Jemina Pearl Abegg and her deliciously bratty attitude. Read the lyrics for proof (sample: “Eating pizza is really great / So is destroying everything you hate”). (Spotted at Brokedown Palace)

I like these songs. More updates to come.

Sunday, January 20, 2008


One of my favorite bands, Hot Chip, is releasing a new album on Feb. 4 in the UK and a day later in the United States. It's titled Made in the Dark. The year is barely crawling -- not even walking, yet -- but this record has me by my ears, eyes and, most importantly, heart. In a word: affecting. I'm not ready to write about the record yet but I do want to mention 2006's The Warning. Some writers seem surprised by vocalists Alexis Taylor and Joe Goddard's turn as balladeers on the new record, but I am not.

"Look After Me" comes in the middle of The Warning. The track’s backdrop is minimalist. Synthesizer blip here, warm guitar picks there. It’s a trance, and a trip – remember, this is the same band known for its dance beats and tongue-in-cheek lyrics. Those elements are absent here, but the song’s emotional core fills the space exceptionally.

The chorus sounds like a deflated, and defeated, plead: “Look after me and I’ll look after you / That’s something we both forgot to do.” With the damage done, the song breaks down with the song’s most vulnerable couplet (“Every time I see your face I break down and cry / I see it in your family as they walk on by”). Cue the strings and it’s the beginning of the end, but should we be surprised? The final lyrics, which trail off sheepishly, make a case for this story being over before the drums were even programmed – “Come back to me and I’ll come back to you / That something we both can now not do.”

I get this feeling in the pit of my stomach when I listen to this song, and a lot of the songs on Made in the Dark. Part melancholy, part loss, part endearment, part ambivalence. That’s a lot of parts and it makes sense – these are complex compositions.