Thank you, Pitch music editor and author of the Wayward Blog, Jason Harper, for pimping us out recently. Reading that just a second ago really made my day!
On a side note, I spent too much money on booze in Lawrence last night (cheap beer at Free State + $1.50 Wells at Replay = why did I move to KC again?) and forgot to replenish my funds and do not have enough cash to see Albert Hammond, Jr. tonight. Yes, I have failed you.
Tuesday, June 5, 2007
File Under: Thanks Jason Harper!
Monday, June 4, 2007
Nostalgic Music Video of the Day: Flaming Lips - "She Don't Use Jelly"
Its been a while since we've done one of these, hasn't it? Long enough for I Guess I'm Floating to steal our idea (sort of).
Lately I've been on a medium sized Flaming Lips kick (for larger Flaming Lips kicks see last summer, and Fall of 2003). I even recently got together with fellow blogger Nicole and our respective significant others for a Zaireeka listening party, which I assure you is more fun than it probably sounds (so much so that I considered an entire blog on just how amazing that album, and the experience of listening to that album, truly is). As a result, I found it fitting to come back with the most famous Lips song and video: She Don't Use Jelly.
What I find so fascinating about this song, and the band, is that this song represents the middle period of the Flaming Lips perfectly. It is not as sloppy and loud as their pre-Warner days, yet not nearly as majestic and tight as they would become later, though traces of both the early and later phases are noticeable. The Flaming Lips, perhaps more than any other band, released albums that grew on one another to the point that after two decades of making music the sounds are entirely different. Yet, if you listened to each album in order of their release, it would all make perfect sense.
As for the video, its pretty standard 90s. Band plays somewhere indoors, outdoors, cut to scenes that vaguely relate to the song in some fashion, and scene. One thing I remember is that when I was young, I used to have a crush on the girl in the tub. I wonder who she is and where she is now? Was she a relative of Wayne's? A friend perhaps? It does seem like the only way to be in a Flaming Lips video is to be a friend of the band's, or Spongebob.
One more thing that I have to ask before I go is this: Why the hell is it necessary to take your unplugged electric instruments, a snare drum, and pretend to play them in the video? I mean, you could bring a high hat and and practice amp too if you want, but don't go out of your way to convince me that you're actually playing the song or anything. This is certainly not the only video where you'll see it, of course. I just felt that some attention needed to be brought to the matter. It wasn't until "Hardest Button to Button" that anyone finally got it right.
Well, without further ado, here's the Flaming Lips:
Tuesday, May 29, 2007
Live Review: Arcade Fire
May 20, 2007
Chicago Theater
Chicago, Il
Knowing that it may be some time before the 'Fire come to town again, the girlfriend and I decided to take a little post-finals vacation to the Windy City to see them at one of the nation's most beautiful theater's. One speeding ticket and several hours later, we arrived in the cold and rainy city only slightly bleary but excited throughout our bodies. Its no secret that the Arcade Fire are one of my favorites right now. Funeral still ranks as a recent classic, and Neon Bible is holding its own as one of the year's best as well. Then there's the matter of their live shows, which can be quite similar to a religious experience when the band is really giving it their all. Expectations were high, and anticipation was even higher. Your's truly could no longer stand not knowing how Neon Bible would translate from the living room speakers to the theater.
After nearly snoozing through the end of Electrelane's 45 minute set, which unfortunately came off even more like an amateurish Stereolab live than on record, and an even more uneventful intermission in which the house speakers pumped some really lame adult rock/folk artist, it seemed all too appropriate, and necessary, that the Arcade Fire took the stage and opened with "Wake Up".
It should be noted that the Chicago Theater has a great sound system, and marvelous acoustics to boot. At a previous Arcade Fire show, at the 2005 Austin City Limits Festival, I wondered if it were really necessary for 9 people to be on stage. Instruments and backup vocals were occasionally lost in the mix, not to mention the sea of fans singing, nay, screaming along with every word. The Chicago Theater, on the other hand, had no problem accommodating the band, which has now swelled a bit larger to 10 members, and their massive sound. The crowd was much tamer too, for better or worse. For my money, its not an Arcade Fire show if you can actually hear them singing, but then again it was a nice change of pace to actually hear Win's vocals, and I must say that, at times, his voice really has a presence, which is good considering Regine seems to have settled into more of a role in the backseat. Don't let my lame pun fool you though. Regine is rarely idle, her energy certainly keeps the car running, if you know what I mean, especially during "Antichrist Television Blues", where her musical contributions are slim but her stage presence is captivating.
It could be said that since Win has become the face of the band, Regine must be the backbone, but that statement, while not entirely inaccurate, fails to capture the importance of the rest of the band. Regine, Richard Reed Perry, Will Butler, Tim Kingsbury, Sarah Neufield, and four others whose names I have sadly not learned, are more like vertebrae, each providing a special function, or two, that is vital to the survival of the band as we know it. Neufield and her partner in violin crime (sorry for not knowing the woman's name) were especially clear, stressing the tension in Funeral songs like "Wake Up" and "Neighborhood #2 (Laika)", and bringing the Neon Bible to life.
But ultimately this tour comes down to one man only, Win Butler. Like it or not, he is the voice of the band, and with fewer call-and-response songs and less Regine it is up to Win to ultimately make or break each song. Fortunately, he did a fine job. Sure, he sounded a bit winded towards the end of "Antichrist", like he wasn't able to keep chugging along with the songs frantic pace, but he more than made up for it during songs like "Intervention", "Windowsill", and "My Body is a Cage", which was easily a highlight for this reviewer. Those three songs stood out because Win made them. If his voice falters, so do those songs.
There were other highlights too. Every song, if you want me to be dead serious, but nothing more so than "Wake Up", which in roughly 5 1/2 minutes reminded me how much I love this band. Though the crowd as a whole may have been mellower than in shows past, you could still feel the energy growing with each note played. When the song reached its end the crowd gave a composed but generous applause. It was an odd moment for this fan who is used to seeing crazed teens and college students flailing about like they're witness to the second coming of the Beatles, but it was fitting of the moment. A mature, yet euphoric applause, for a mature, yet euphoric band.
Tuesday, May 22, 2007
Live Review: Animal Collective
May 20, 2007
The Granada
Lawrence, KS
OR, Everything I Learned About Animal Collective I Learned in Kindergarten
Thinking about “Sweet Road” in a recent Crayola commercial, I thought the 5/20 Animal Collective show could best be discussed through observations straight from the coloring book.
Lesson No. 1: “Sometimes it’s OK to color inside the lines.”
A fellow Animal Collective fan said of a Here Comes the Indian-era show, “They didn’t really play songs.” Avey Tare has said that at that time the band was improvising more and more, yet they were concerned about relying on improv in a live setting. Perhaps that is why, all of the chaotic chanting aside, the band relies on a more structured set these days. This structure in many ways seems to have worked its way into the new material as well.
Fans of 2002’s Here Comes the Indian or 2003’s Sung Tongs will see the band building on the more traditional songs found in 2005’s spectacular Feels. Often the band worked to balance the frenetic chaos of its trademark sound (chanting, tribal drums, etc.) with more typical song structures. Perhaps one song early in the show epitomized this tightrope act: we are greeted by three-to-four minutes of a traditional song arc, followed by several minutes of feverish, foot-stomping chants. On one track about a “girl with the flower in her hair,” Tare sings the wistful opening verse over minimalist backdrops. As he segues into the next verse, a wall of sound crackles over the lyrics, obscuring them. Still the framework remains, a spider web quivering under all the noise.
Thankfully, both Avey Tare and Panda Bear can sing. And, as one discovers when the sound is stripped down, their lyrics ain’t half bad, either. Bringing vocals to the foreground (a transition started with Feels) could be an intriguing move for the band. Of course, who’s to say they won’t pile on the reverb or other noise in post-production? (For those who still haven’t heard the acoustic version of “Flesh Canoe,” check it out. Alas, if only Avey Tare and Kria Brekkan had made an album of songs like this one, as opposed to Pullhair Rubeye.)
An aside: I would be remiss to discuss the show without commenting on the new material, as this new material constituted 90% of the concert. That said, this is Animal Collective we’re talking about. What I heard in concert may sound nothing like what makes it onto Strawberry Jam. Maybe the basic songs will stay the same, but they’ll layer more sounds/beats. Maybe they’ll sing the lyrics in a made-up language, a la Sigur Rós. Maybe they’ll play the album backwards.
Lesson No. 2: “Even if you don’t have a 164-pack with built-in sharpener, you can still create a masterpiece,” OR, “Even if your crayons aren’t sharpened, you can still make do.”
I expected a troupe the likes of Broken Social Scene to drag onstage, carrying any number of bongos and banjos and clothed in tribal garb. Instead, out walked Panda Bear in his Adidas shirt; Avey Tare in his sideways cap. At least the Geologist was wearing a light strapped to his head, which I’d like to think is more about achieving that whole “miner look” than for any practical purpose like, say, seeing the controls. Thankfully the crowd answered the Collective's calling. The girl with the paper mache Panda Bear head certainly proved her loyalty, not to mention the group at the front dressed as various animals and err, Lady Liberty?
But hey, these guys aren’t here for a costume party (no offense, Flaming Lips). They’re here to make some amazing music. And they don’t need anything but a drum and a keyboard and some electronic doohickies to do it.
Lesson No. 3: “You can always borrow someone else’s crayons if they have colors you don’t.”
Perhaps the biggest surprise of the night was the incorporation of electro/dance beats into the mix. That’s right: think Animal Collective Dance Party. During this part of the show many fans were scratching their heads, looking at one another in disbelief, and then promptly dancing like ecstasy-riddled fiends. During one song the Collective toyed with rhythm: the beat would draw you in and then fracture, leaving you thumping along to an unpredictable, yet infectious rhythm. Hey, many of us aren't the greatest dancers – now we have an excuse.
Minutes later I thought I’d wandered into an Islands show, as the band transitioned into a calypso-infused tune. I saw much hands-in-pockets, head bobbing, shuffling in place action that climaxed with a tribal dance song that I have a feeling will be my next “Purple Bottle.” All I can say is that the guy wearing the 80s sweatband probably never thought the accessory would be put to such good use.
Lesson No. 4: “Don’t act like you like my picture and then toss it aside.”
This final lesson may have little, or nothing, to do with Animal Collective. Still, it needs to be said. Whether it’s the band or the lights guy or the venue manager or whomever, the Granada has to stop blue balling its audiences when it comes to encores (read: Joanna Newsom’s 12/10/06 show). I completely respect an artist’s choice not to play an encore. I paid my $12 and got way more than my money’s worth. That said, I do not understand how someone could allow a crowd to cheer in the dark for ten minutes or more, only to turn the lights on after we’ve screamed ourselves hoarse? I admit that little part inside me wanted to believe that after the room cleared a bit, the Collective would return and say, “Now that it’s just us and all you REAL fans…” They didn’t, and that’s OK – but come on guys, do you have to be such teases?
Friday, May 11, 2007
Which Came First, the Music or the Misery?
Driving home from work yesterday, I had to turn off Joanna Newsom’s phenomenal album Ys. I had once thought the thirty-minute commute a perfect opportunity to delve into the album. Perhaps this time I delved a little too deep. At one point in “Sawdust and Diamonds” – I believe it was the line “And though our bodies recoil from the grip of the soil, why the long face?” – I started to choke up a bit.
This got me thinking: how can some albums take on such monumental, life changing status that they become torturous? Distressing? Unbearable?
Case in point: Neutral Milk Hotel’s In the Aeroplane Over the Sea. The album encapsulates our journey from birth to death beautifully and harrowingly. In the opener, “The King of Carrot Flowers Pt. 1,” the protagonist reflects on his father’s suicide attempts. Or more accurately, his father’s inability to realize those attempts: “Each one [was] a little more than he would dare to try.” We traverse the album’s often bumpy, unforgiving terrain, and see how one could be driven to such a dark place. We see bliss and sorrow intermingle in the titular track, when Jeff Mangum reminds us that one day we will all die. In the meantime, he implores the listener, “Let us lay in the sun and count every beautiful thing we can see.” We see the haunting vision of “Holland 1945,” perhaps the band's finest example of combining boisterous music with melancholy subject matter. As in life, Mangum wants us to feel the joys and horrors and everything in between.
Few albums can bring me to tears – you haven’t claimed me yet, Ys – but Aeroplane is an album I cannot listen to now without feeling, well, pretty bummed out. Perhaps I’ve brought this on myself. Once, in a drunken stupor, I told my husband that I wanted the album played at my funeral. (Hey, he understands getting worked up about the album. I can distinctly recall him being heavily intoxicated at sunrise and screaming the lyrics to “King of Carrot Flowers Pt. 2-3” whilst throwing full beer cans at our apartment building. The phrase “I love you, Jesus Christ” never sounded so compelling.)
Many of us turn to music when we’re down, whether it’s to seek comfort or wallow in the mire. So it’s no surprise that when we are in a good mood, we would want to avoid somber tunes, no matter how amazing those tunes might be. Thus I gravitate to Takk over Agaetis Byrjun or even Neon Bible over Funeral. When I need my Neutral Milk Hotel fix, On Avery Island is a much more upbeat alternative, that is until we get to that bit about “carving holiday designs” in one’s flesh.
In some cases my album avoidance stems from my wanting to keep that album sacred, special. Like, “We’ll only listen to Aeroplane on the night of our first child’s birth,” or something like that. Maybe it’s not wanting to ever completely “crack” an album – or at least not wanting to wear it out entirely. Thankfully these complex, often mysterious albums can stand up to repeat listenings. This is particularly true of Ys, an album so dense there’s likely far more to cry over than I’ve unearthed to date. For now I’ll keep pondering the question Rob Gordon poses in High Fidelity: “Did I listen to pop music because I was miserable? Or was I miserable because I listened to pop music?”
Monday, May 7, 2007
School's Almost Out
That's right, only one more week left until I can start barraging you daily with useless crap all over again. Excited? Didn't think so. Well, I'll do my best to get your interest back, I promise. Until then, here's what Nicole and I have been listening to all semester long. When our schedules get back to normal, be on the lookout for some more album reviews (that Blonde Redhead has been hogging the Album of the Week to itself for quite some time), concert reviews (Arcade Fire in Chi-town), and perhaps an on the road blog while yours truly is in Minneapolis for a few days.
And dear readers, if you have any finals, good luck.
Until next time. Enjoy!
Nicole seyz:
Best Spring Music Mixtape
(Burn it for your friends, gain instant popularity)
"Sleeping Lessons" - The Shins
"Cato as a Pun" - Of Montreal
"Cast Off Crown" - Deerhoof
"Time to Get Away" - LCD Soundsystem
"The Well and the Lighthouse" - Arcade Fire
"And She Would Darken the Memory" - The Twilight Sad
"Spring and Summer By Fall" - Blonde Redhead
"A Paw in My Face" - The Field
"Take Pills" - Panda Bear
Top Five Songs to Listen to on Umpteenth Day of Depressing Spring Rainstorms
(Bottle of Captain optional)
Of Montreal - "The Past is a Grotesque Animal" ("Let's tear this fucking house apart.")
Blonde Redhead - "The Dress" ("I love you less, now that I know you.")
Peter Bjorn & John - "The Chills" ("Your tongue is sharp, but I miss the taste of it.")
The Shins - "Split Needles" ("This is what you get for pulling pins. Another hole inside the hole you're in.")
LCD Soundsystem - "All My Friends" ("Well if you're worried about the weather, then you picked the wrong place to stay." That keyboard conjures images of rain, doesn't it? )
Most Anticipated Summer 2007 Releases
(We'll see which ones make the cut come next progress report)
Clientele - God Save the Clientele (5/8)
Interpol - Our Love to Admire (7/10)
Architecture in Helsinki - Places Like This (8/7)
New Pornographers - Challengers (8/?)
Iron & Wine - The Shepherd's Dog (Single due 7/10, Album 9/?)
SonicRyan Sez:
A Trio of Favorite Albums:
Peter Bjorn & John - Writer's Block
The Twilight Sad - Fourteen Autumns and Fifteen Winters
The Arcade Fire - Neon Bible
10 Songs:
Of Montreal - "Grondlandic Edit"
Arcade Fire - "Ocean of Noise"
Blonde Redhead - "Top Ranking"
Peter Bjorn & John - "Up Against the Wall"
Explosions in the Sky - "Catastrophe and the Cure (Four Tet Remix)"
Deerhunter - "Lake Somerset"
The Besnard Lakes - "Because Tonight"
LCD Soundsystem - "New York, I Love You, But You're Bringing Me Down"
The Shins - "Phantomb Limb"
The Twilight Sad - "And She Would Darken the Memory"
Biggest Surprises Thus Far:
Hearing "Black Mirror" on the radio.
Deerhunter - Cryptograms
Getting A Little Tired Of:
Amy Winehouse - (Why is she so popular? Is it because she looks like a goth-punk chick but happens to front a soul band? I don't care if the Dap Kings are her backing band. Why not just listen to Sharon Jones and the Dap Kings then?)
Waiting For a New Radiohead Album: (Though it should be noted that the last time they made us wait four years...wait a tic, they've never made us wait four years before. This one better be good, guys.)
Summer Festivals - Yes, I'm going to one, and really want to go to another, but what ever happened to playing clubs and theaters? I know, these festivals are usually a lot of fun, and who doesn't like getting heat stroke while spending a weekend on various drug cocktails? I guess I'm just old fashioned and pine for the days when rockin' out all sweaty like to bands in un-air conditioned venues was the norm.
Summer Summer Summer Time (Albums I'm Looking Forward To, That Is):
Spoon - Ga Ga Ga Ga Ga
See Nicole's List
Monday, April 30, 2007
Beat Happenings
Between trying to finish the semester on a strong note and working my ass off over the weekend, blogging has sort of fallen by the wayside, for now. But for those in desperate need of a fix, here are some happenings that have occurred in the recent days.
Clap Your Hands Say I Demand a Refund! - Clap Your Hands Say Yeah "postpone" their final four US tour dates for no apparent reason. A brief Kansas City Star piece speculated that the VooDoo Lounge show, originally scheduled for tonight, was called off because of low ticket sales, which proves my theory, albeit a band too late, that indie bands with no radio play and 21+ venues don't mix. That, or it proves my theory that the new CYHSY album is shit, and that no one, regardless of venue, wants to see them anyway. But what do I know, I sit on muh porch with muh pa and watch them tumbleweeds a-rollin' all the livelong day. I never heard nonathis "indy" music, fact the only indy I know is racin'.
Why Pay For Coachella When You Can Watch It On YouTube? - You mean I can watch Win fuck up during "Rebellion" without paying $9 for a veggie dog? Talk about having your cake and eating it too.
Seriously, I'd fuck up too if I had to play a show in that heat, so no disrespect. By the way, most of Bjork's set is on YouTube, you don't even have to look that hard. Thanks to all the kids who ripped the live web stream, by the way. Without your work I'd be left with only crappy minute long cell phone footage.
Will She Be Thrown in the Lake To See if She Floats? - The Pitchfork Music Festival Keeps getting better. Recently announced artists include Yoko Ono, Sea and Cake, Califone, Twilight Sad, and Nomo. This is turning out to be the best $50 I've ever spent, and the show is still 2 1/2 months away. Don't believe me, see for yourself.
Sheryl Crow on Hygiene - Sheryl Crow thinks everyone should use one square of toilet paper every time we take a shit. While many people have dismissed the idea, it certainly beats her usual means of waste disposal: releasing albums.
In all seriousness though, if musicians are so concerned with the environment, shouldn't they be embracing the MP3 as a waste-free medium instead of opposing it? I know that many do, if only out of necessity, but its still something I think about every time a band reminds me that they have CDs for sale in the corner.
New Minus Story Album Details Announced - God bless CMJ, one of the music magazines that helped inspire me to become a music journalist, even if that means having a shitty blog that I update only in my spare time. But I digress, Minus Story, one of my favorite area acts, are releasing their new album in June. Read more here.
Speaking of New Albums, Ever Hear of a Band Called Interpol? - Pitchfork recently tickled my fancy with some details about the new Interpol album, Our Love to Admire, which will be released on July 10th. As of right now the band has no shows scheduled between July 8th and August 4th, so here's hoping they play some in that time frame. I honestly wouldn't be surprised if they wind up playing a nearby gig on their way to/from Lollapalooza. Fingers crossed!
Avey Tare & Kria Brekkan's Pullhair Rubeye Gets Mixed Reviews, Played Backwards (Which In This Case Would Be Forward) - Knowing Pitchfork, and just about everyone else these days, has a bit of an obsession with all things Animal Collective, I was a bit surprised to see this album get a measly 1.0 rating. Granted, I have not heard a single note from the album, but surely it can't be any worse than Hollinndagain, can it?
Tuesday, April 24, 2007
Hella Coachella Batman!
The Coachella Valley Music and Arts Festival starts this Friday afternoon in the middle of some California desert. Depending on whom you ask, Coachella is the best of the American music festivals, though for my money that title would go to All Tomorrow's Parties, though this year's the Pitchfork Music Festival should be mentinoed as well. Still, Coachella's April/May start time typically means they get the jump on many of the year's biggest outdoor festivals, and though I can't be in attendence this year I can still leave my two cents and pick it apart.
Off To A Good Start - This year's Coachella opens with Flosstradamus, two Chicago DJs who know how to rock a party.
Let America Laugh Indeed - The Comedians of Comedy troupe get a whopping two-and-a-half-hour set time, which is only five minutes less than Bjork and Rage Against the Machine combined! With such funny men and women as Patton Oswalt, Brian Posehn, Maria Bamford, Zach Galifianakis, Hard N' Phirm, Aziz Ansari, Howard Kremer, and Jasper Redd, you'll likely see more funny for your money here than you would all year. Besides, do you really want to see Tokyo Police Club and Nickel Creek?
I'm Sorry, Is This Coachella Or the Set of a New Sofia Coppola Film? - Let's see, you've got Peaches, Jesus and Mary Chain, Air...yep, its a Sofia movie alright. Let's just hope its better than the last one. I kid, I kid. But seriously, here's hoping that at least one person gets a lap dance to "Fuck the Pain Away."
And Now For Something Completely Different - On Friday, Rufus Wainwright soothes the nerves, only to have Peeping Tom fuck it all up 35 minutes later. On Saturday, Ghostface Killah is sandwiched between Blonde Redhead and the Decemberists. Still, nothing comes close to Sunday's main stage where Explosions in the Sky get followed by the Roots, who then get followed by Willie Nelson. After Willie, the audience will be treated to recently reunited one-hit-wonders Crowded House, who somehow have to find a way to top the living legend's performance, a feat that even Bob Dylan, another living legend, found difficult. Obviously the schedulers have a sick sense of humor.
Speaking Of Sick Senses of Humor - Is it just me, or did anyone else finally get why "on the main stage" was printed next to the second tier act Tiesto? In case you haven't noticed, Tietso are pseudo-headlining Saturday night. The Peppers must have booked some studio time with Rick Rubin to record some more songs about California. The Peppers still get a longer set time, so perhaps the joke's on Tietso after all. By the way (not a pun, I swear), the Rapture get the last laugh: They get a headlining slot and a longer set time than Bjork, Peppers, Rage, Tiesto, or any other headliner for that matter.
Aw No They Didn't (snaps fingers) - A rant to the schedulers: You gave Sonic Youth and Interpol conflicting set times?!?!? Did it not occur to you that maybe, just maybe, Interpol fans might also be Sonic Youth fans, and vice versa? How about switching Interpol and Tiesto? Interpol is far more deserving of a headlining spot than Tiesto, and thousands of sweaty, thirsty, drugged out people will no longer have the burning desire to beat your foolish asses.
This Week's Featured Flavor: Sour Grapes - How in the hell did so many flavor-of-the-week-it-bands take precedent over so many (somewhat) more established artists? Peeping Tom - who have a legitimate rock star in Mike Patton, I can't deny that - have one album to their credit, yet get a better slot than established artists like Of Montreal, Nickel Creek, Rufus Wainwright, and the reunited Jesus and Mary Chain. Peter Bjorn & John and MSTRKRFT get better slots than the Frames, Fountains of Wayne (who suck, I'll admit), and Roky Erickson & the Explosives, while Girl Talk trumps all of them plus the New Pornographers, the Decemberists, Travis, !!!, and Ghostface Killah. The worst offender is Sunday, where 18 bands play after Willie Nelson has finished. Let me repeat that, 18 fucking bands play after Willie Nelson. I'm seriously at a loss for words, especially considering that one of the "artists" trumping Mr. Nelson is Lily Allen. Let me repeat, Lily "I Thought Being a Pop Star Would Be Easy Because My Parents Are Rich, but No One Told Me I'd Have to, Like, Tour To Promote My Album and Now I Don't Want to Play Shows Anymore" Allen has a later time slot than Willie Nelson.
Making Your Own Mad Lib With Coachella Bands Is the New Sudoku - Bjork and her Busdriver were on their way back home after Coachella when Bjork got a phone call from her Brother, Ali. He invited them to a party at "some Crowded House" in the neighborhoood referred to as the Gotan Project. "What does the place look like?" Bjork asked.
"All the Cribs here look the same, except this place has a Grizzly Bear out front."
Bjork and Busdriver arrived at the party a few minutes later. They were treated to a set by DJ Shadow, who has not undergone much Digitalism and only spins El-Ps. Busdriver danced with some Brazilian Girls while Bjork mostly ate the food, which consisted of Peaches, Red Hot Chili Peppers, and some Damien Rice from the Fields that surround the neighborhood. While she was snacking, a man named Flosstradamus approached her and told her stories about the party's host, the murderous Ghostface Killah. He told her about his terror group, the Evil Nine, and of the Rapture, which the man felt was nearing with each passing day. "There will be no Happy Mondays for the Faithless in hell," he said to her. "Not even Jesus and Mary Chain can save you when you're down there." Bjork, figuring the man had eaten one Infected Mushroom too many, told him that she had to leave to grab another Pop Levi, but really made up the excuse so she could find Busdriver to go home.
Later there was a knock on the door. It was the Tokyo Police Club. "The Peeping Tom across the street must have complained about the Noisettes," said Ghostface. He opened the door to greet them and promised to be quiet. The police, feeling Justice had been served, turned to leave when they heard a sound. RATATAT!!! it went, and soon most of the officers were down. The police called Interpol for backup as they watched Ghostface and his evil men throw Roky Erikson and the Explosvies in the Air, creating several Explosions in the Sky. Interpol promised to send the Kaiser Chiefs and every law enforcer from VNV Nation, but told them it would take hours before they could arrive and the Coup could begin. The cops had the Feeling that they would never Circa Survive.
Suddenly, a superhero named the Nightwatchman rode in on his Sparklehhorse. He had heard about the Lupe Fiasco from his trusty sidekick, Kid Beyond, who was attending the party. Together, the duo foiled the Kooks and arrested them on charges of resisting arrest and crimes agains The Good, The Bad, and The Queen. After the commotion, Bjork and Busdriver, who were starting to miss the more soothing atmosphere of chirping Andrew Birds and the lovely Nickel Creek, left for home. When she arrived, Bjork climbed into bed with her Teddybears and fell fast asleep.
Friday, April 20, 2007
Thank You, I Guess I'm Floating, For This...
Interpol - "Pioneer" (Live 4/15/07)
Quality is what you might expect (not great), but its still decent enough to hold a person over...for now.
Interpol - "The Heinrich Maneuver" (Live 4/15/07)
Not the full song, but you'll get the idea. Any bets as to whether this song is going to be the first single?
Interpol - "Mammoth" (Live, date unknown)
I kinda dig this one, even if the quality is worse than the others, and Paul's voice is off more than its on. (Edit: It gets better as it progresses!)
New Members
I'm working on finding collaborators to post on Midwest Music and More. So far one has already accepted, and posted. Ladies and gentlemen I introduce to you my dear friend Nicole, or Beckon the Wonderland, as she is known 'round these parts (Link removed. You had your chance). Give her a round of applause. Okay, now sit down and shut up. If the others accept the invite I'll happily introduce them too. Hopefully the new blood will help keep the content fresh, the tone edgy, and the beer cold.
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