22 July 2009

Some more videos

Been away for a few days, but finally got the chance to check out some videos. Okay, some of this is cheese - but the music is great (one song even has a sample of "Happy House" by Siouxsie and the Banshees). Enjoy!

Preston: "Dress to Kill" from his YouTube Channel prestonofficial.

The Twilight Sad: "I Became a Prostitute" from the Fatcatrecords YouTube Channel.

Team Facelift: "I Want to Have Your Baby" from the tommymas YouTube Channel.

Bloc Party: "One More Chance" from their YouTube Channel: blocpartyofficial.

Crystal Fighters: "Xtatic Truth" from their YouTube Channel: CrystalFighters.

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Our Lady Peace: "Burn Burn"

Our Lady Peace is one of those bands that take me back many, many years; whenever I hear their song “Superman’s Dead,” I think of seeing them live at Irving Plaza with a dear friend. One of two things I have always loved about Our Lady Peace is that they are simply a rock band; they may have been influenced by grunge and even some Brit pop, but they never fit into those categories. The other thing I love about the band is their humility. They never tried to write a stadium anthem, or even entertained dreams of being the greatest rock band ever. Instead, they have stuck to their singular concept, evolved throughout the years, and can always be expected to put out solid music. Releasing their first album in five years, “Burn Burn” (21 July 2009) proves that after all these years Our Lady Peace is as urgent, vibrant, and compelling as they were when they first hit the airwaves in 1992.

This time around, Raine Maida (vocalist) produced the album. “Burn Burn” is emotive yet not emo, introspective yet not gloomy, power-packed yet not overwhelming. For instance, in the track “The End Is Where We Begin,” Maida sings, “Here I am, waitin’ for one last chance, ‘cause this time we got nothing left to loose. And everything is ruined, but the end is where we begin.” Delivered with conviction devoid of overdramatic or emo bellowing, the music is fast paced and guitar driven. “Escape Artist,” with keys and a constant shift of beats, demonstrates the band’s constant attention to details and ability to compose a single song with more than one emotional mood. In essence, their mission has always been to deliver the most complete experience from listening to a single song.

The album easily sways from out-and-out rock fests to slower paced songs; however, regardless of the actual sound of the song, the emotive and thematic qualities do not lessen or intensify with the speed or lack of tempo. The guitar playing is as mature as the vocals. There is no attempt at flashy falsetto (Maida has one of the best falsettos out there), and the guitar playing, though intricate at times, is not attempting to be virtuoso. That being said, the closing track is perhaps the most amazing track on the album. “Paper Moon” really puts forth a new maturity in sound for Our Lady Peace (with bits of falsetto and a great solo); the song moves, flows easily, between distinct parts – a journey though a luscious, morphic soundscape, which ends abruptly, leaving you wanting more. Tongue-in-cheek when Maida sings, “hipsters trapped in their own irony,” dead serious with, “I was thinking that if you know a way out, then I’d like to go with you,” the song is a culmination of everything that Our Lady Peace is about – emotive, strong craftsmanship, that can make you party along or sit back and think with one song.

There is nothing like throwing on some old music and reliving memories in your mind, but what is more amazing is throwing on new music and having memories rush back. I think I speak for all fans of Our Lady Peace when I say that there is something about this band that elicits a visceral response when you listen to them. It is an experience that is not static; though you know you are listening to something new, a lot comes to mind. This is yet another one of those qualities about this band which amazes me. I spent the better part of the last sixteen hours listening to “Burn Burn,” and I have come away from it being able to say that this album is definitely going down on my must list for 2009. Get this album, see them live – it is an experience you will not regret.

Track Listing:
1. All You Did Was Save My Life
2. Dreamland
3. Monkey Brains
4. The End Is Where We Begin
5. Escape Artist
6. Refuge
7. Never Get Over You
8. White Flags
9. Signs of Life
10. Paper Moon
11. Time Bomb – bonus track
12. The Right Stuff – bonus track

Keep up with Our Lady Peace at their homepage, MySpace, and Facebook.

Here is their video for “All You Did Was Save My Life” from their MySpace Video Page.

All You Did Was Save My Life

Catch them live. Check out their homepage for more information on the following dates and future updates.

Thursday, July 23: Ed Fest, Edmonton, AB Canada
Friday, July 24: Summer Invasion, SK Canada
Saturday, July 25: Virgin Fest, Vancouver, BC Canada
Tuesday, July 28: The Troubadour, Los Angeles, CA USA
Sunday, August 2: Citadel Hill, Halifax, NS Canada
Saturday, August 8: Turtle Crossing, Brandon, MB Canada
Saturday, August 8: X-Fest, Brandon, MB Canada
Monday, August 10: House of Blues, Dallas, TX USA
Tuesday, August 11: Antone’s, Austin, TX USA
Wednesday, August 12: House of Blues, Houston, TX USA
Friday, August 14: Center Stage Theatre, Atlanta, GA USA
Sunday, August 16: Theatre of the Living Arts, Philadelphia, PA USA
Monday, August 17: 9:30 Club, Washington, DC USA
Tuesday, August 18: Paradise Lounge, Boston, MA USA
Thursday, August 20: House of Blues, Cleveland, OH USA
Friday, August 21: The Fillmore, Detroit, MI USA
Saturday, August 22: Vic Theatre, Chicago, IL USA
Sunday, August 23: Verizon Wireless Theatre, Maryland Heights, MO USA
Saturday, August 29: The Great New York State Fair, Syracuse, NY USA
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15 July 2009

Catching up with the Lightning Seeds, Wave Machines, and Kasabian

Here is my attempt to bring myself up to speed, or at least try to. I wanted to give time to some CDs that I did not miss, but just did not have the time to dedicate to them when they initially were released. But as it is the summer, and typical of July and August, the rate of new releases has slowed down a bit, I finally have the opportunity to go backwards a bit. Though I am sure that some of this may be old-ish news, I still wanted to post a few words about these three albums. I have been listening to Lightning Seeds since 1989 (dating myself a bit, ah?), Kasabian since their since their debut, and recently came across Wave Machines when a friend made me listen to them. On face value, it seems odd to be writing about these three bands together, but actually there is one common thread between them: they offer up music that is not a repetition of everything else out there. These three albums are by far distinct and great alternatives to what is the “indie” mainstream.

The Lightning Seeds: “Four Winds”

This is the sixth studio album for the Lightning Seeds, the first since 1999! Ian Broudie (vocalist, guitarist, song writer, and creative mastermind behind the band) has taken his time releasing a proper solo album and producing the works of other bands. Now back with Lightning Seeds, “Four Winds” was released on 18 May 2009 in the UK, and available as an import in the US. And the time away from the music scene has helped to evolve the band’s sound substantially, though not to the point of being unrecognizable. Though the pop sensibility is there, also present is a melancholic, moody feeling throughout the album. This is definitely the Lightning Seeds album that has the most emotional depth till date.

This is not to say that what you get isn’t straightforward pop; what you get out of the Lightning Seeds is pop with more introspection than before. Right from the opening track, “4 Winds,” a sorrowful pop song, Broudie sings, “I guess you got those blues, and when you get those blues there’s nothing you can do.” The mood of the music and the lyrics do not “lighten” up for the lead single, “Ghosts.” A 60’s inspired ditty, miles away from past singles like “Pure,” the song works because when it verges on being just another pop song, the ingenious production (with little sound effects) makes the song fresh and intriguing. My favorite track on the album is “I’ll Be Around,” and not because it is familiar, closer in sound to older material. Lyrically one of the Broudie’s strongest, musically the song is best described as one long sigh. What makes the song is the mismatched elements of the music: from an 80’s beat, to contemporary almost eerie synth sounds, psychedelic guitar playing, and dead pan vocals. But that is Broudie’s talent as a composer and producer – his ability to create a song out of variant threads of genres and ideas.

Broudie has always been criticized as just another producer who wants his fifteen minutes of fame behind a mic. But considering that his track record as a producer is with indie rock, and not obviously Beach Boy influenced music (like “I Still Feel the Same”) with electronic elements, Broudie and the rest of the Lightning Seeds have always offered up something that is distinct and different from the everyday fad. “Four Winds” is no different. The Lightning Seeds avoid all the current clichés (post-punk revival, synthpop, nu-shoegaze, etc…), and instead deliver on their own brand of pop music. Ten years definitely gave them the perspective of going in another direction, and though some old fans are going to scream, “This is not what I expected,” the unexpected is very delightful.

Track Listing:
1. 4 Winds
2. Things Just Happened
3. Ghosts
4. Said and Done
5. Don’t Walk on By
6. The Story Goes
7. On a Day Like This
8. I’ll Be Around
9. All I Do
10. I Still Feel the Same

Keep up with the Lightning Seeds at their homepage, MySpace, and Facebook.

Here is the video for “Ghosts” from the fcowen123 (Universal Music TV) YouTube Channel.

Wave Machines: “Wave If You’re Really There”

Wave Machines is a relatively young band, formed in 2007, out of Liverpool. Releasing their debut album “Wave If You’re Really There “ on 23 June 2009 and really deliver a distinct brand of electropop. As compared to most of the artists out there working on electropop, the album is much more sedate (mature maybe) in sound. Incorporating more guitars in their brand of electropop than most others in the genre, the album may not be a standout against the other electropop releases of the year, but definitely offers a valid, well constructed alternative to the radio ready electropop being produced.

Opening with “You Say the Stupidest Things,” the elementary electro sounds are accompanied with one of the funniest lines of the year: “The day is wasted if you’re not wasted.” In tempo, the song really never picks up its speed, but the song has that Talking Heads quality that gets you to stop and listen and admit, with some guilty pleasure, that you like what you are listening to. The same goes for the rest of the album. “Keep the Lights On,” with its disco overtones, gets you bobbing you head, while “The Greatest Escape We Ever Made” may get you onto your feet. Like many of the synth and electropop bands of the 80s, the music isn’t dance ready but danceable. But what is impressive about the sound here is that there is no attempt at a very “electronic” sound. This is very bare recording, bare production, which allows the melody of each song to speak for itself.

Already, I imagine, the press is slacking them off (I will be googling in a bit to see what is being said), but the reality is that this is perfect lounge music. Ignore the press if they are slacking them off, in the least what you get with this album is a great, head bobbing experience. At most, if you are willing to give into it, you will get whisked away into a quirky world that is entertaining and carefree. Not all music has to be heady, and not all music should be bombastic. Sometimes, quite often, music should just be an enjoyable, carefree experiences that you can repeat over and over – and “Wave If You’re Really There” can deliver that experience again and again.

Track Listing:
1. You Say the Stupidest Things
2. Carry Me Back to My Home
3. I Go, I Go, I Go
4, Keep the Lights On
5. Punk Spirit
6. The Greatest Escape We Ever Made
7. Wave If You’re Really There
8. I Joined the Union
9. The Lines
10. Dead Houses

Keep up with Wave Machines at their homepage, MySpace, Facebook, and Twitter.

Kasabian: “West Ryder Pauper Lunatic Asylum”

Out of Leicester, Kasabian has impressed me since moment one and have never disappointed. They released their third album, “West Ryder Pauper Lunatic Asylum” (5 June 2009 in the UK, 9 June 2009 in the US), after teasing us with two singles, “Vlad the Impaler” and “Fire.” Audiences were teased enough to launch the album to #1 in the UK upon release. Though the album’s title evokes the idea of insanity, the band has explained that they chose the title for aesthetical reasons – they simply liked the way it sounded. However, the music is pretty erratic, incorporating rock and electronic to various degrees. I can sum up the album with one phrase: treasure trove.

The biggest surprise on the album is the track “West Ryder / Silver Bullet.” It is a duet with Rosario Dawson. The track is more neo-psychedelic than anything else, what really got me was that I could never imagine Dawson’s voice along side of Tom Meighan’s. The song is eerie, scary even, but it works. (Thumbs up to Dawson for doing such a track!) The rest of the album will keep you as entranced, with a few more surprises. The opening track, “Underdog,” will not ease you into the listening experience – it is going to grab you and throw you into it. “Take Aim,” with its urban beat and building urgency after the orchestrated opening, is perhaps the most hypnotic, infectious song on the album. As a listener you never know what world you are, either the 60’s with tracks like “Fast Fuse” or a spaghetti western with tracks like “Fire.” And as you’re being tossed back and forth between styles, getting more and more erratic, you end at “Happiness.” Avoiding that rock ending, but definitely offering up an anthem, the song is laden with tinges of gospel.

Come to think about it, the album is a bit lunatic, schizophrenic. Kasabian could have played it safe, reproducing the sound and exact style of the past two albums; they could have produced a series of radio friendly songs ready to conquer the pop charts, but thank God they didn’t! “The Wet Ryder Pauper Lunatic Asylum” may not be everyone’s cup of tea, until they take a good listen to it. It is very hard not to like this album… love it even. What you get here is an adventure through an unexpected, cliché free soundscape that is mesmerizing.

Track Listing:
1. Underdog
2. Where Did All the Love Go?
3. Swarfiga
4. Fast Fuse
5. Take Aim
6. Thick As Thieves
7. West Ryder / Silver Bullet – featuring Rosario Dawson
8. Vlad the Impaler
9. Ladies and Gentlemen (Role the Dice)
10. Secret Alphabets
11. Fire
12. Happiness
13. Runaway – Live, Japanese Bonus Track
14. Cunny Grope Lane – Japanese Bonus Track, iTunes preorder
15. Road Kill Café – Japanese Bonus Track

Keep up with Kasabian at their homepage, MySpace, and Facebook.

Here is their video for "Where Did All the Love Go?" from the KasabianTour YouTube Channel.

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13 July 2009


I thought I would do something a bit different. Living in the States, a country that geographically is so expansive, language is something that is often taken for granted. There is an attitude that “everyone” speaks English, and if they don’t, they should. (I am sure that the US is not the only country that has this mentality.) But if you lived in the middle of Europe, where countries are the size of American states, there is a different thinking and acceptance of different languages, seen in the fact that Europeans typically speak multiple languages. I bring this point to the forefront because it goes to explain why the American pop / mainstream airwaves are dominated by English speaking musicians and entertainers. We are one of those countries, unlike France, Germany, or Netherlands, where music from other “non-domestic” language origins does not chart. I thank my mother that she made me learn Spanish from a young age, to the point that I feel as comfortable with my mother’s tongue as that of my national origin. It has led me to appreciate literature and music that are not produced in English. In fact, I have come to enjoy not just Spanish artists, but also music from all over the world – but right now I would like to look at one band only – Amaral. This is an amazing band, I hope I spark enough curiosity in the band for some people to take the plunge and explore.

Photograph from Amaral's MySpace.

Out of Zaragoza, Espana (Spain), Amaral is the duo of Eva Amaral (vocalist, songwriter, guitarist, and namesake of the band) and Juan Vicente Garcia Aguirre (Juan Aguirre for short, guitarist and songwriter). Their influences span a range of different musical genres, which is apparent in their music: British pop and rock, Latin music from salsa to Mexican folk, and synth/electropop to name a few. From obscurity to global recognition, they have supported Bob Dylan and Lenny Kravitz, and in 2008 Amaral shared the stage at the 46664 Foundation benefit concert, held at Hyde Park, with Queen and Paul Rodgers, Annie Lennox, Sugarbabes, Amy Winehouse, and Razorlight.

What do they sound like? They are chameleons. Album to album, their sound has matured and become more and more complex. Within each album, the range of music can go from acoustic folk to electronic dance. These two have no qualms or hesitations about writing the music they want to write, to jump from one genre to another, yet consistently do it with sophistication, sound craftsmanship, and incredible intricacies in their arrangements. Lyrically (all lyrical translations done by me), they range from the mundane, everyday, straightforward sort of writing to highly poetic language. Just as musically there is a morphology to be dissected, lyrically there is also that same thrill that one does not know what to expect. With a new album in the works, the sky is the limit for this band.

Just a note, as anyone who speaks more than one language or taken a foreign language in high school or college, many things just don’t translate well. What is highly poetic and figurative in English may be base in Spanish, and vice versa. For example, “You are my sunshine” is not cute in Spanish (or even used as far as I know). On the flip side, in English we would say “Nice to meet you,” but in Spanish you say “Encantado,” literally “enchanted.” So when reading through some of the translated lyrics, keep in mind that they come from Spanish. One other note, that may perhaps encourage some people to learn a bit of Spanish, cursing is Spanish is much more fun than English.

“Amaral” (1998)

The album immediately solidified Amaral in the Spanish music scene, while ears started to perk in Latin America. This was not a straightforward, expected sound out of Spain in 1998. The incorporation of Anglo-musical influences permeates every song. Included in the collection is “Dile a la rabia” [“Tell It to the Rage”] (translation: “Tell the rage to stay behind, between the fog and the traffic noise, next to the stones that have harden us…”), can easily fit along sing the current trip-hop of its day, with ambient keyboards reminiscent of the post-punk rockers. Also, the lead single, “Rosita” [“Little Rose”] is a treat. Definitely more in line with a Smiths-esque type of guitar playing, the song is the antithesis of the emotionally laden “Dile a la rabia.” “Un dia mas” [“One More Day’], easily my favorite on the album, is a mantra for facing another day, a mantra of seeing the wonders of life and joys that it brings.

Track Listing:
1. Rosita [Little Rose]
2. Un dia mas [One More Day]
3. Voy a acabar contigo [I’m Going to Finish with You; or I Am Done with You]
4. Cara a cara [Face to Face]
5. Tardes [Afternoons]
6. No existen los milagros [Miracles Do Not Exist]
7. Lo quiero oir de tu boca [Literally, I Want to Hear It in Your Mouth; figuratively, I Want to Hear You Say It]
8. Habla [Speak]
9. 1997
10. Dile a la rabia [Tell It to the Rage]
11. Soy lo que Soy [I Am What I Am]
12. No se que hacer con mi vida [I Don’t Know What to Do with My Life]
13. Mercado negro [Black Market]

Here are the video for “Rosita” and “Voy a acabar contingo” from the canalgrupos YouTube Channel.

Eva Amaral, photograph from Amaral's MySpace.

“Una pequena parte del mundo” (2000) [“A Small Part of the World”]

Recording their second album in London, twelve of the thirteen tracks are written by Amaral, as they included a cover of Cecilia’s (born Evangelina Sobredo Galanes) “Nada de Nada” [“Nothing At All”]. This album is no sophomore slumps, easily outselling their debut album. The album in general is a slower tempo than the debut, and more acoustic. Even with a title like “Cabecita loca” [“Crazy Little Head”], the music is sedate, emotive, and relaxing: translation, “You called me crazy little head for following my dreams, for breaking the waves. I’ll defend myself with my broken wings against the current, fly…” The album ends with “El final” [“The End"], a touching admission of the heart: translation, “Life is not the same without you, without you life is meaningless. Why should I continue when at the end of it all I will never find you.” The music is best described as cute, with wind chimes in the background (among other sound effects), which belies the lyrical content - irony of sort.

Track Listing:
1. Subamos al cielo [Rise to the Heavens]
2. Cabecita loca [Crazy Little Head]
3. Como hablar [How to Speak]
4. Los aviones no pueden volar [The Airplanes Can’t Fly]
5. Queda el silencio [The Silence Remains]
6. Una pequena parte del mundo [A Small Part of the World]
7. Botas de terciopelo [Velvet Boots]
8. Volveras la suerte [Luck Will Return]
9. El dia de ano nuevo [New Year’s Day]
10. El mundo al reves [Upside Down World]
11. Siento que te extrano [I Feel That I Miss You]
12. Nada de nada [Literally, Nothing of Nothing; Figuratively, Nothing At All] – cover, original by Cecilia
13. El final [The End]

Here are the videos for “Como Hablar” from the canalgrupos YouTube Channel.

“Estrella de Mar” (2002) [“Starfish”]

If I was forced to rank my top twenty favorite albums of all time, I would have to place this one on it – hell, it would make top 10. This album has it all – sultry ballets, danceable beats, head bobbing rock, folky ditties, and poetry. Again returning to London to record the album, this was the album that screamed out “Amaral is here.” Selling over a million copies in Spain alone and breaking a few records, Amaral garnished the global attention from critics and audiences. I would invest in the Latin American edition, even if you have to import it at a pricey cost. To hear Eva Amaral and Beto Cuevas sing a duet version of “Te Necisito” [“I Need You"] is an experience you will never forget. But the song that still haunts me on this album after all these years is “En un solo sequendo” [“In Just a Second”]. This is a song of epic proportions. I am temped to translate all of the lyrics, the sheer poetic genius of the song, but here is just a sample: “Outside the wind blows, outside it rains, a frightening howl, but a whisper surrounds us, it embraces us slowly, like a mantra we both know. It is not a ghost, it is my sprit that speaks; it enters your dreams and from a distance screams that I love you. In just a second, I have realized what’s important and what’s not – the end of the world, the storm (a play on words, as it also means “torment”), and hurt are so far away from this room… I want to kiss you, but I am scared that I will wake you…” The song starts very slowly, with sound effects, but the beat drops as the second verse (where the above lyrics come in) starts. As the beat kicks in, and the guitar start to aggressively come in, keyboards bring an ambient and emotive edge, while Eva’s voice oscillates somewhere between anger and despair.

Note, the first cover is the European, the second the Latin and North American.

Track Listing:
1. Sin ti no soy nada [Without You I’m Nothing]
2. Moriria por vos [I Would Die for You]
3. Toda la noche en la calle [Out All Night on the Streets]
4. Te necesito [I Need You]
5. Que Sera? [What Will Be?]
6. Salir corriendo [To Leave Running]
7. Estrella de mar [Literatlly, Sea Star; figuratively Starfish]
8. Rosa de la paz [Peace Rose]
9. No sabe donde va [She Doesn’t Know Where She Is Going]
10. De la noche a la manana [Literally, From Night to Morning; figuratively, Overnight]
11. El centro de mis ojos [The Center of My Eyes]
12 En un solo segundo [In Just a Second]
Bonus Tracks for Latin American and North American Editions
13. Te Necesito – sung as duet with Beto Cuevas
14. Sin ti no soy nada – acoustic
15. Moriria por vos – acoustic
16. En un solo segundo – acoustic

Here are the videos for “Te Necesito” (the first the original, the second the duet with Beto Cuevas) and “Toda la noche en la calle.” The first and third from the canalgrupos YouTube Channel. The duet from the Ligaproducciones YouTube Channel.

Juan Aguirre, photograph from Amaral's MySpace.

“Parajos en la cabeza” (2005) [“Birds in the Head”]

Recording this album in the famous Eden Studios of London, “Parajos en la cabeza” [“Birds in the Head”] garnishes the same critical acclaim as the prior album in Spain, as well as Latin America. This album is quickly canonized as one of the best Latin Rock albums of all time. The album does receive positive critical reception in other markets, leading Moby and Amaral to collaborate eventually. This album opens with “El universo sobre mi” [“The Universe Over Me”], which is driven by some of the best strumming of an acoustic guitar. Lyrically, again Amaral offers up an anthem/mantra: translation, “I want to live, I want to scream, I want to feel the universe over me. I want to know what it is to be free, I want to find my place [in the universe].” Amaral owns this theme of living life on your own term in Latin Rock. My favorite track on the album is the dramatic “En el rio” [“In the River”]: a song that speaks of dreams, of seeing her father and swimming the river until reaching the ocean – incredible imagery of being born and slowly immersing yourself in life, the world. Again, beautiful strumming, but what makes the songs are the string arrangements. They highlight the emotional highs and “highers.”

Track Listing:
1. El universo sobre mi [The Universe Over Me]
2. Dias de verano [Summer Days]
3. Revolucion [Revolutions]
4. Mi alma perdida [My Lost Soul]
5. Marta, Sebas, Guille y los demas [Marta, Sebas, Guille, and the Others – the later two are names with no English equivalents]
6. Esta madrugada [This Early Morning]
7. Big Bang
8. Enamorada [In Love]
9. Tarde papa cambiar [Too Late to Change]
10. En el rio [In the River]
11. Resurreccion [Resurrection]
12. Confiar en alguien [To Trust Someone]
13. Salta [Jump]
14. No soy como tu [I’m Not Like You]
15. Si tu no Vuelves [If You Don’t Come Back] – Mexican edition

Here are the videos for “El universo sobre mi” from the canalgrupos YouTube Channel, and the link for “Marta, Sebas, Guille y los demas” from the emimusic YouTube Channel.

Link: “Marta, Sebas, Guille y los demas”

“Gato negro. Dragon Rojo” (2008) [“Black Cat. Red Dragon”]

Amaral does the unspeakable in today’s musical market: in 2008 they release a double album. And yet, it manages to be a top 40 World Chart album. The first disc of the double is referred to as “Gato Negro” [“Black Cat”], and the second as “Dragon Rojo” [“Red Dragon”]. Released in various formats, including a USB drive, the album was recorded in part in London, but for the first time, Amaral also recorded in New York. Staying closer to a standard rock format than their prior albums, there are few songs that will catch you by complete surprise. For example, “Alerta” [“Alarm”] incorporates elements of ska, with cutting, critical lyrics like, “Sleeping princess, in an empty castle…” Another surprise on the album was Juan Aguirre singing lead vocals on “Es solo una cancion” [“It’s Only a Song”]. The double album closes with “Concorde” – named after the supersonic jet that was decommissioned. A slow paced tempo, lacking any sustained use of snares, the song relies heavily on arpeggios and the emotive quality of Eva Amaral’s voice: translation, “Nothing will ever be the same, it is the end of innocence; you will no longer be able to fly the Concorde over our heads.” A song that just ends, as abruptly as it began, it leaves you with a feeling of being haunted.

Track Listing:
Disc One: “Gato negro” [“Black Cat”]
1. Kamikaze
2. Tarde de domingo rara [Strange Sunday Afternoon]
3. La barrera del sonido [The Sound Barrier]
4. Las chicas de mi barrio [The Girls of My Neighborhood]
5. Esta Noche [Tonight]
6. Las Puertas del Infierno [The Gates of Hell]
7. Biarritz
8. Gato Negro [“Black Cat’]
9. Rock & Roll
Disc Two: “Dragon rojo” [“Red Dragon’]
1. Perdoname [Forgive Me]
2. Alerta [Alarm]
3. El blues de la generacion perdida [Lost Generation Blues]
4. De carne y hueso [Literally, Of Flesh and Bones; figuratively, Flesh and Blood]
5. Dragon rojo [Red Dragon]
6. Es solo una cancion [It’s Only One Song]
7. El artista del alambre [The Artist of the Wire]
8. Deprisa [Fast, or Quickly]
9. Doce palabras [Twelve Words]
10. Concorde
11. El artista del alambre, acoustic – iTunes Edition

Here is the link for “Kamikaze” from the GatoramaTV YouTube Channel.

Bonus time – here is Amaral’s “Llegara la tormenta” from the aragonmusical YouTube Channel. It is a cover of Bob Dylan’s “A Hard Rain’s a-Gonna Fall.”

Keep up with Amaral at their homepage and MySpace (does not seem heavily used).

Take the plunge if you do not speak Spanish and take a listen, you might find yourself impressed. And if you do understand Spanish, not only will you hear some great music, but also the poetry of this band will blow you away. And with a new album on the way, this may be the best time to start catching up with Amaral.

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11 July 2009

More Videos

Some videos to enjoy.

The Boy Least Likely To: “When Life Gives Me Lemons I Make Lemonade” from the boyleastlikelyto Vimeo Channel.

When Life Gives Me Lemons I Make Lemonade from The Boy Least Likely To on Vimeo.

IAMX: “Tear Garden” from the iamx YouTube Channel.

The Maccabees: “Can You Give It” from TheMaccabees YouTube Channel.

Major Lazer featuring Andy Milonakis: "Zumbie" from the downtownmusic Vimeo Channel.

Major Lazer - "Zumbie" ft. Andy Milonakis from Downtown Music on Vimeo.

Maximo Park: “Questing, Not Coasting” from the maximoparkofficial YouTube Channel.

Metric: "Help I'm Alive" from the metricmusic YouTube Channel.

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10 July 2009

La Roux: "La Roux"

At the moment, it really is all about the 1980s. It does not matter if we are talking about post-punk revival or electropop, musicians are turning back to the simple sensibilities kitschiness, and catchy hooks that really characterized the 80s. La Roux is no exception. The band is the brainchild of Elly Jackson (“la roux” being a reference to her red hair) and Ben Langmaid, who both share songwriting and production duties. She is the face of the band, while he is the musical wizard of the band. The arrangement is much like that of Vince Clarke post Depeche Mode in Yazoo and Erasure. Go figure, both bands are definite influence on La Roux. But they are also like early Eurythmics (another obvious influence), with a stoic
Lennox and a mysterious Stewart. Regardless of all the comparisons, La Roux has been tantalizing the British and European airwaves for the past few months.

Finally releasing their self-titled debut, “La Roux” (29 June 2009 in the UK, available as import in the US), La Roux is successfully riding the success of their first two singles. “Quicksand” and “In for the Kill” (which reached #2 on the UK Charts) led the anticipation of this album. Though many fans and critics alike did not know what to expect out of the band, their brand of electropop “pops” out from the speakers and has its own definitive sound. Much like the early Eurythmics (with “In the Garden” (1981) and “Sweet Dreams (Are Made of This)” (1983) albums), there is a constant control of emotion – the music resists become a bubbly, love fest.

Hands down, my favorite track on the album is “As If By Magic”: “Slurring all my words, until something sticks but in this smoky universe my mind keeps playing tricks. And although you’re the only home I know, as if my magic thoughts of you are gone.” Set to music that is sedate, mid-tempo (a bit to slow to dance, but fast enough to “move” to), Jackson’s voice never reaches emotional breakdown or anger; instead she personifies everything stoic and statuesque. The same with “I’m Not Your Toy,” set to music that reminds me of my old Atari 2600. You want Jackson to get angry and passionate as she states, “It’s all false love and affection; you don’t want me, you just want attention.” Instead what you get is plain matter of fact, with some inflection for effect. It is brilliant because of it is counter logic. We expect someone to become angry, we expect someone to want to scream, but when you think about it, if you are over someone, and you’re not their toy, you can be stoic and statuesque, matter of fact, and walk away.

Okay, the production is not overwhelming, but that is the point. There is no gimmicky trick here to get you to keep listening; there are no obvious sound effects to hook you. Your attention is constantly brought back to the actual music – the ingenious arrangements, the distinct vocal styles. From the fast-paced opening “In for the Kill” to the electro epic of “Armour Love” (and then the bonus tracks), what you get is precisely delivered music, a meticulously produced soundscape that is captivating. I am all for the bubbly, synthpop, or darker sides of electropop, but La Roux’s brand of electropop, which does not fit any of the above, is an incredible experience. Their own brand of electropop is a definite tipping of the hat to the past, but also a big, bold step into a new direction.

Track Listing:
1. In for the Kill
2. Tigerlily
3. Quicksand
4. Bulletproof
5. Colourless Colour
6. I’m Not Your Toy
7. Cover My Eyes
8. As If By Magic
9. Fascination
10. Reflections Are Protections
11. Armour Love
12. Grown Pains – UK Bonus Track
13. Saviour – iTunes Pre-Order Bonus Track

Keep up with La Roux at their homepagae, MySpace, and Facebook.

Here is their video for “Bulletproof” from their MySpace video page.

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Transbeauce Videos

Over the past few months, I have made all of my friends listen to "Stories on the Radio" by Transbeauce. I can honestly say that it was an exciting experience to write about their music (link) and interivew them (link, they responded in both English and French). I wanted to share two videos by them, "Dressed in Black Berlin" and "The Stars Are Black" (one of my favorite tracks of all time). As demonstrated by these two songs, their music is amazing. Sexy, eerie, and captivating all in one, Transbeauce has a way of hypnotizing the listener with their sound, and even their imagery. Enjoy.

Both videos from LabelNoko YouTube Channel.

"Dressed in Black Berlin"

"The Stars Are Black"

Keep up with Transbeauce at their homepage and MySpace.
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03 July 2009

What Exactly Do Videos Sell?

Reality: at the end of it all, you can produce the most amazing video ever, but if the music is subpar, it will not catch on. Ultimately, bands try to sell their music through videos, and in our sound byte, broadband world videos have become more and more important. But it is not just the actual song that videos are selling, they also sell the band as product: image, attitude, etc… Most fashion is emulation of famous people, and most teens get their idea of rebellion and counterculture (or at least what will piss off their parents) from musicians and celebrities. The image of the band, who they are, is the most important thing to sell other than the music; it helps identify them, set them apart, and is a sort of visual signature that cannot be confused. But what happens when a band decides that they do not want to be the focal part of their own videos? What if they do not want to even appear in their own video? This is where things get really tricky.

Take Bjork for instance. Her video for “All Is Full of Love” has her animated as a robot that is being constructed. (Video from the bjorkotcom YouTube Channel.)

Always one to juxtapose fantasy and reality, the carnal from the synthetic, Bjork’s video is the story of a robot that feels love, or as she sings, “full of love,” from another robot. Symbolism? Well, we as humans work as robots, in a daily grind, but it is not often that our labors are appreciated. Actually, those that we pore ourselves over quite often take us for granted. She sings, “You’ll be given love, you have to trust it, maybe not from the sources you have poured yours.” Comfort and love is not often found in the object that you pour your devotion over, but rather in those that pour themselves as you do. Love is found in the familiar, the similar, not in opposites or where you do not have the right to demand it. Most work is thankless, comfort is found in the least expected places.

Then you have Metallic’s harrowing “All Nightmare Long.” (from their MySpace Videos page.)

Metallica - All Nightmare Long

Depicted in the video is an alternate history of a battle between the USA and the USSR, in which the USA loses. The narrative in brief: the USSR discovers this alien sore that can reanimate dead bodies (as it uses it as a host). This spore (analogous to a bio weapon) devastates the American population – as a new flag, a hybrid of the American and Soviet flags, is planted. Perhaps the song itself was not originally written for political reasons (“Cause we hunt you down without mercy! Hunt you down! All nightmare long!”), the song works well with the idea of terrorists trying to gain a biological weapon that other nations are not ready to combat. In one quick attack, history as we know it could take another turn, supplanting the USA as a world power to another nation. This is perhaps Metallica’s most ambitious video to date.

But it does not all have to be death and gloom; sometimes bands just want to create a fun video. For instance, Bloc Party’s “Flux” (from blocpartyofficial YouTube Channel.)

No statement, just a fun video. An ode to Godzilla and Mazinger (Tranzor Z in the USA) type monster film, this video offers an alternative to boring videos with bands standing there in performance or some heady narrative. Though lyrically and visually the video has no common ground (other than the line “I’d kill for an adventure”), the storyline is cute, infectious, and as fast paced as the song. It works.

And not all statements have to be as apocalyptic as Metallica’s. Erasure, using some fan footage, makes a powerful, practical statement with “I Could Fall in Love with You.” (From the MuteUSA YouTube Channel.)

A love fest for sure. Boy kissing girl, girl kissing boy, boy kissing boy, girl kissing girl – cast to a typical Erasure single (somewhere between pop-ditty and ballad in tempo, with perfect melodies but awkward rhymes at times), the video just pushes forth the notion that love is love, no matter in what format it comes in. (I am curious though, which video – Metallica’s or Erasure’s – would piss off the conservative right the most?)

Though the boys of Muse appear in their video “Knights of Cydonia” (from the muse YouTube Channel), they are supplanted as the focal point by the narrative of the video.

Combining elements of spaghetti westerns, kung fu movies, and science fiction, the storyline revolves around The Man With No Name saving his love, Princess Shame Kuriyami. Sure, the video dismisses the real lyrical theme of the song, which is political (“How can we win, when fools can be kings; don’t waste your time, or time will waste you…”) and a calling to arms to stand for justice. But the video works, and though the band is in the video as holograms, it is the actors that command your attention.

Placebo took a stab at this kind of video with their cover of Kate Bush’s “Running up That Hill” (from their MySpace Videos page.)

Running Up That Hill

First off, I think that this was the most daring song that Placebo has ever covered. This is one of those songs that are sacrosanct, untouchable. Yet Placebo is able to pull it off to perfection. A montage of fan footage, mouthing the lyrics of the song, the video is as slow and gut wrenching as their cover of the song. And why not take this approach? The song is a cover, and, in essence, the montage is covering them covering a song. Considering that they have the money to produce a flashier video than this, they get bonus points for not doing it! Instead, the video gains emotional power because of their fans – it is so obvious that these non-professional actors feel what the band is putting out there.

Well, it came as a surprise to me when Depeche Mode took this approach with the video off of “Sounds of the Universe”: “Wrong.” (From their MySpace Videos page.)

Depeche Mode - "Wrong" (official music video)

Definitely wrong in everyway! The video is a harrowing narrative of a man tied in a car, moving backwards out of his control, as it smashes into everything until eventually he gets smashed at the end, as the song ends on it’s final word, “Wrong.” The band only appears for a few seconds, as bystanders looking at this car spin out of control. My first impression of the video: fucking amazing! Like Muse, I am not sure that the video does justice to the lyrical content of the song, but this video demonstrated that this band of veterans could try something new, something different, and could still disturb the shit out of me. Hands down, this is my favorite of video of the year so far.

Then the band released “Peace.” For some odd reason the single will not be released in the USA. (From their MySpace Videos page.)

Depeche Mode - "Peace"

So why was does the video not include Depeche Mode at all? The official line is that David Gahan was ill (he did have surgery) and was not available for the video. But videos are not produced overnight; they are planned out, permits have to be obtained, directors and producers have to make time in their schedule, etc… So forgive me if I do not buy the party line. This is a well-conceived and filmed video. So other than the promotional poster on the building towards the end of the video, why is the band not in it? Why not wait till Gahan was out of the hospital and able to film? Personally, I think that this was the concept for the video from the beginning. Which leads me to think – and this can be dangerous.

If videos sell more than just the song, has Depeche Mode hit on something that other bands have not? Videos also sell image, attitude, and, yes, culture. “Peace” is so intertwined with war in this video. (It sort of reminds me of a bumper sticker I saw a while ago: “Fighting for peace is like fucking for virginity.”) Is DM capitalizing on the current world crisis with wars and threats of it everywhere? It is impossible to think that anyone in this world is not conscious of all of the war occurring. Or is DM hiding behind their videos? Let’s admit it, videos are made for teens and twenty-somethings, who get to watch one or two videos a day between reality shows on MTV. Is the image of three Brits pushing fifty the sellable image that they want, or a haunting video that will stay with their audience?

Perhaps I am wrong, and that may make me a bit of a schmuck for dissing Depeche Mode this way. Perhaps the video was filmed this way because of circumstances, but I find it hard to believe. The better question to ask, though, is are these two videos going to garnish the attention and airplay that DM is hoping for? Will these veterans be able to add to their fanbase? Considering that they peaked at #3 on the Billboard 200 album charts, #2 in the UK, and #1 on the World Album charts (not to mention #1 in at least 20 countries, already scoring a platinum albums in Germany and Italy), perhaps they are doing something right.
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Catching up with Gossip and The Joy Formidable

I am not one of these people that believe that the measure of the worth of a band is how long they stay underground. Even though I have decided to really concentrate on bands that are not in the mainstream (that is top 20), the reality is that all musicians want their music to be heard - that is why it is recorded and performed for the public. One of the things I really enjoy the most is when a band, on their own merits and not with the help of a promotional campaign funded by major labels, break through and start to garnish attention. There are moment when this defies the very notion of what is mainstream, like the Cure in 1989, or can even help to redefine music, like Muse's political awareness in 2006. Regardless, here are two bands that deserve to be praised on their own terms - Gossip and the Joy Formindable. Both bands have started to make waves with their music, both bands have started to attract both audiences and critical respect, and both bands have done it on their terms.

Gossip: “Music for Men”

So much is being made about Beth Ditto (vocalist) of Gossip. On one hand, she is being hailed a punk icon, but the latest album, “Music for Men” (released 19 June 2009 in the Netherlands, 22 June 2009 in the UK, 23 June 2009 in the USA), is a major label release. On the other hand, she is being hailed a rising pop icon, despite that she does not fit the stereotype of the role: she is a plus sized lesbian. The reality, however, is that she should be praised, not for a an album that is making waves on album charts all over the world, or all the garrulous attention that the band is getting, but rather for her artistic integrity. From comments about not wanting to play for an audience that does not know the Ramones to taking on topics in music that would ruin other musicians, Ditto and Gossip (which also includes Brace Paine on guitar and bass and Hanna Bille on drums) are proving that musical integrity and conscientious craftsmanship is the key to strong music.

I hear the hardcore fans already… but they are on a major label now; they sold out. To this I say, “Do you expect a band with this much talent to stay underground forever?” The rise of Gossip is on their merit, and not some corporate scheme to sell out and make big bucks (though those bucks may be in store for them). Sure, the album is not as in-your-face as the previous music (I got to see them in 2007 on the True Colors Tour, and even some in that crowd were a bit put off by some of what they had to say – I loved it). But that confrontational, punk rock mentality is here, present as ever. Ditto sings in “Heavy Cross”: “We can play it safe, or play it cool, follow the leader, or make up all the rules. Whatever you want, the choice is yours, so choose…” And if you think Gossip is trying to write a lovely love song for pop credibility, then listen to “2012”: “A tragedy loves misery; misery loves company; company is misleading; I’ve made it this far without you…” Surely this is not the material for a pop ditty.

“Four Letter Word” is an ingeniously childish song: “L is for leaving, O is for on time, V is for the voices warning me I’ll lose my mind, E is for the ending, the unhappy ending of the four letter word.” (And here you thought the four-letter word was “Fuck.”) Musically the album is pretty straightforward, with a few new production gimmicks (Rick Rubin did produce this album). It may not be as edgy as the previous two albums, which is criticized by many, but I am sure if they produced the same sound again these same people would be bitching about that too. “Four Letter Word” (which borders on electropop), “Pop Goes the World” (cowbell and all), and “Vertical Rhythm” (sleek, straightforward rock) are the three most musically interesting tracks on the album; however, there is no filler here.

The most insincere thing a musician can say is that they write and perform music for themselves; if this were true, they would stay at home in their parent’s garage and play all day with their friends. Musicians want their music to be heard; perhaps they may not care whether or not their music charts, but they want the opportunity to have as many people as possible listen to what they have created. No one says, “I am going to record an album, but I only want 100,000 suburbanites to buy the album.” If the music is good, there is always the possibility of becoming big (in the sense of a following) and obtaining longevity. I hope Ditto and the rest of Gossip make no apologies for their major label debut. I hope that they continue to do things the exact way they want to, because what they have produced is a sincere album, that will get you on your feet, dancing or slamming, and enjoying their groovy sound. The rest of the humbugging is just bullshit. Get the album.

Track Listing:
1. Dimestore Diamond
2. Heavy Cross
3. 8th Wonder
4. Love Long Distance
5. Pop Goes the World
6. Vertical Rhythm
7. Men in Love
8. For Keeps
9. 2012
10. Love and Let Love
11. Four Letter Word
12. Spare Me from the Mold

Keep up with Gossip at their homepage and MySpace.

The Joy Formidable: “A Balloon Called Moaning”

“A Balloon Called Moaning” (19 January 2009) got right by me when I first started the blog. But since I discovered it, it has been on my iPod. I had the pleasure of getting the band to answer a few questions for me (link) and wanted to give you more in way of talking about the actual music. This is an amazing album, on many levels. Both musically and for what the band is trying to accomplish with how it is promoting/distributing their album. What the Joy Formidable understands, because they themselves are fans of music, is that there are many ways to invest in a band: whether selling a CD or a concert ticket or a t-shirt or spreading the word by forcibly making people listen to the album in your car as you are driving fast on the NJ Turnpike, people invest differently in a band.

I have written about the free music debate (link) and this is not meant to continue that debate, but rather to give a point of reference. In a gamble, they offered their music in two formats: a free download on their website and on CD. They found that most people who downloaded the album for free also purchased the CD. Why? Because they gave the chance to fans to listen and invest. And that is the thing about this album: you will want to invest; it is infectious as all hell.

The album opens with “The Greatest Light Is the Greatest Shade” (I do love a good oxymoron). This is one of those songs that is hard to put a finger on. With an oscillating background, a steady beat, and airy vocals, you can label this song just about anything you want – but what you will agree is that it is an incredible, epic scaled, opening for an album. The next two songs are power-packed gems. “Cradle” is a great fuck-you-it’s-over song: “I can see he says what he means; I can’t say what he means when he says that I’ll pretend a pretty pretend, when all I wanna see is the end of this.” Then “Austere,” and anyone who saw this years NME’s Shockwave Award show knows this number. The high-pitched “ah-ah-aha” is background is unforgettable and infectious. The compressed guitars are in your face. Just from the first three tracks you get the idea that the Joy Formidable is not just verse with the current fads in music, but rather have an appreciation of what has been relevant over the past few years: from post-punk to shoegaze, from dream pop to Brit pop.

Also on this album is “Whirring,” which was released in May as a single. This is the kind of song that you itch to see live, because you know that the recorded version may be great but does no justice to it. (Actually, you can say that about all of the songs on the album.) The album closes with “Ostrich,” the darkest song on the album, but it is not overwhelming in an emotional sense, where it is musically. Think whirlpool: this song will musically force you into its world, whether you are resisting it or not. But that is the beauty of this album; at the end of it all, you find yourself completely addicted to the album. So I am going to keep this simple, go to the bands MySpace and decide how you want to invest.

Track Listing:
1. The Greatest Light is the Greatest Shade
2. Cradle
3. Austere
4. While the Flies
5. Whirring
6. 9669
7. The Last Drop
8. Ostrich

Keep up with the Joy Formidable at their homepage, MySpace, Facebook, and Twitter.

Here are their videos for “Cradle” and “Austere” from TheJoyFormindable YouTube Channel.

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Amazing Baby: “Rewild”

The Brooklyn based band Amazing Baby has just released their debut album “Rewild” (22 June 2009). The New York / Brooklyn music scene is no joke; highly competitive, it has given birth to many viable and relevant musicians, from Interpol and White Rabbits, to Heloise and the Savoir Faire and Dirty Projectors. To rise to the level and competency to be part of this scene is no easy feat. What makes Amazing Baby’s album even more impressive is the shocking fact that these guys started off as ringtone designers. Regardless though of what you think of the New York music scene or ringtone designers, you will have to admit that their eccentric noise will help to establish them and garnish attention.

With their own take on rhythmic drumming, acoustic guitars and distorted sounds, they bring a refreshing sort of psychedelic music. When these guys perform, they might not look like the hippies of yesteryear (or today’s hipsters), but it’s almost like going back in time; a sort of mix of the best of 60s rock-pop and psychedelic with the urgency of today’s music. Carrying a sound that is reminiscent of a time period this far back is quite risky, considering that everyone is going crazy for the 80s these days, but as many New Yorkers, they reject what is expected of them and tread on in the direction of their choice.

Each song is overly catchy and unique. I disagree with the constant categorization that all of their music is psychedelic, as this just minimizes the range of music here. Sure, it is undeniable that many of the songs would fit nicely in that description, but there are more elements at play – from that experimental indie-pop to dance elements, this album continuously breaks free from definitive labeling. Their two singles “Pump Yr Breaks” and “Bayonets” do not just serve as ear candy but also have proven to be lyrically sound. Check out the opening lyrics to “Pump Yr Breaks.” Cryptic and stream of consciousness, they paint an image that is worthy of veteran lyricists: “Pump your brakes, kid. Leave me alone. Fallen angels over the phone, the bottle's nearly empty by the end of the show. You said you wouldn't leave me but you left me alone…”

I am going to avoid making predictions, but this is the most interesting debut album I have listened to all year. And though I do love a lot of the 80s influenced music, I think this may be the first band out there that has the potential to interest audiences in music influenced by another era. Either way, this eclectic, iconoclastic even, album is one that you should not allow to get by you.

Track Listing:
1. Bayonets
2. Invisible Place
3. Kankra
4. Headdress
5. Dead Light
6. Deerripper
7. Old Tricks in Hell
8. The Narwhal
9. Roverfrenz
10. Smoke Bros
11. Pump Yr Breaks

Keep up with Amazing Baby at their homepage and MySpace.

Here is their video for “Headdress” from their YouTube Channel: theamazingbaby.

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Moby: "Wait for Me"

Finally Moby’s new album is out. Born Richard Melville Hall and a native New Yorker, Moby is one of the most prolific artists out there. “Wait for Me” (29 June 2009 UK, 30 June 2009) marks his ninth studio album. What has always amazed me about Moby is how dynamic he is: DJ, singer, songwriter, musician, producer, and performer. Completely underrated, the reality is that Moby is no lightweight in the music industry; he is a veteran with a few international platinum albums under his belt. On a sidenote, though this album is released under the moniker of Moby, remember he has also employed other monikers: Voodoo Child, Schaumgummi, Vatican Commandos, AWOL, Caeli Seoul and Gin Train.

Typically speaking, I am not a fan of DJ generated music, but this album has honestly been an eye opening experience for me, for two reasons. First is that he is the first DJ I have listened to that has actually been able to make songs that just make me stop and think; he is able to fill me with both emotions and thoughts. Second, this is not your typical electronic album in the sense of tempo and arrangements; there seems to be a personal side to this album that seethes through the music, allowing anyone to listen to it and feel a connection. The album begins with “Division,” a amazing soothing, classically influenced song, which leads into the perfect harmonies of body and soul in “Pale Horses.” The album then continues to slowly addict you to the slowness and pure beauty of the melody and in the case of “JLTF” (one of my favorites an amazing), to addict you to voice.

This album is filled with so many sounds and instruments, arranged to perfection, that sing together to make this the ultimate rainy day experience I have ever heard. Moby set out to make a personal album and let me tell you it doesn’t get much more personal then what you feel when shifting through song after song. What is amazing is that he is able to convey this sense of being “personal” through music. If music can be poetic, if poetry can be uttered without words, then it is the music of this album. This album is filled with great songs that have no issue transitioning from one to another, almost as if being one long track that will soothe your soul throughout the entire time.

Track Listing:
1. Division
2. Pale Horses
3. Shot in the Back of the Head
4. Study War
5. Walk with Me
6. Stock Radio
7. Mistake
8. Scream Pilots
9. Jltf 1
10. Jltf
11. A Seated Night
12. Wait for Me
13. Hope Is Gone
14. Ghost Return
15. Slow Light
16. Isolate

Keep up with Moby at his homepage, MySpace, and Facebook.

Here is his video for “Pale Horses” from the MobyStuff YouTube Channel.

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01 July 2009


Just wanted to share these videos. Enjoy.

White Lies: "Farewell to the Fairground" from the whiteliesofficial YouTube Channel.

Yeah Yeah Yeah: "Heads Will Roll" from the yeahyeahyeahsmusic YouTube Channel.

Metric: "Sick Muse" from the metricmusic YouTube Channel.

Empire of the Sun: "Standing on the Shore" from the EmpireOfTheSunSound YouTube Channel.

Dirty Projectors: "Stillness Is the Move" from the DominoRecords YouTube Channel.

Zoot Woman: "We Won't Break" from the wantingforsomething YouTube Channel.

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