Vocalists

This one has been long in coming….

Anyone (other than me) can carry a tune and some can even show off an amazing range in the last thirty seconds of a song, but singing is another story altogether. A few months back, a friend asked me who were my favorite female and male vocalists: who would I consider to be a great vocalist? Immediately, I started scratching my head, because I really had never thought about this in any serious way. So I started compiling a list of criteria of what would make a great vocalist – in that sort of classical sense of singing, sans the rappers, screams, sprechgesang, etc… I immediately dismissed two factors: popularity and range. Popularity, generally, is the measure of corporate sponsorship, and range only indicates what notes you can hit, but that does not indicate if the singer uses his/her voice to maximum capacity. So amongst my criteria was the ability to be emotive – can the singer make me feel? Also, does the singer sell the lyrics, making them believable? And does the singer have a distinct style?

At first I felt a bit inundated: Was I considering the entire range of singers out there? Did I forget anyone? I started asking around, trying to get people’s opinion, and it was funny how no one could agree on five; I goggled a few lists, and they could not agree with one another either. But the one common trend I found is that most of these personal and media lists were not broad in scope (and some of the people included had no business being called a great vocalist – for some, entertainer would be a better term). I started then to compile my own list (sifting through my iTunes collection and the vinyls and CDs that have yet to make their way into the external hard dive), and became frustrated once again when many of the older, classic, and foreign singers were not officially available to embed from YouTube, Vimeo, or other video sources. I did not just want to compile a list of ten female and male vocalists; I wanted to be able to give you something to listen as well. (I know that YouTube is only five years old, but I think it is time that labels and artists start making back catalogues available in this VEVO revolution.) So, instead of compiling my favorite vocalists of all time, I decided on compile my favorite five female and male vocalists who are currently active and relevant to the music scene. Relevant is always the hard part; many older bands are still releasing albums, but how influential are they? Take a band like Depeche Mode; when they release, till today, people listen, both audiences and other musicians, but countless of others do not fall into this category, no matter how much I love the new music.

I want to pay some respect to the classics, which have helped develop my ear and musical taste. Amongst these vocalists are Bobby Darin, Julie London, Peggy Lee, and Dinah Washington – four incredible vocalists whose legacies continue to influence singers today. Not limiting myself to English, I would also like to include Rocio Jurado, the singer of the Spanish Chanson, in this list of classics. Her name and voice is synonymous with traditional Spanish music, full of drama and power, it is impossible not to hang on to her every word. As for the lists that follow, these artists have either established themselves or on the road to do so if they keep their heads screwed on right. Enjoy these vocalists, for they not only prove their abilities as singers, these are artists that continue to define, challenge, and redefine trends, music, and, in some cases, what it means to be great.

Les Chanteuses

Eva Amaral (of Amaral)

The namesake of the Spanish band/duo Amaral, Eva Amaral’s voice has a little of that Rocio Jurado; emotive, dramatic, and mesmerizing. Along side Juan Aguirre, they have composed everything from traditional Latin and Spanish music, dance music, pop rock, and some cutting edge indie rock. Taking most cues from the British and Euro-indie scenes, Eva Amaral, album to album, is able to recreate her vocal style, always leaving you wondering just what will come next.

Here is a live performance of “Concorde” from Amaral’s MySpace Video Page.


Amaral: Concorde en directo.

Amaral | MySpace Music Videos

Corinne Bailey Rae

What I love most about Corinne Bailey Rae is just how hard it is to pigeonhole her as a simple soul singer. With a touch of R&B, a dash of pop, and a pinch of indie rock, she composes and performs music that carries visceral power that is universal and infectious. Her angelic, quite soft, voice wisps through songs with general ease, with each note delivering the conviction of her words.

Here is the video for “Like a Star” from her debut album, from her YouTube Channel: CorinneBaileyRae. The second video is from her recent sophomore album, “The Sea,” called “Paris Nights/New York Mornings” from her MySpace Videos page.




Paris Nights/New York Mornings

Corinne Bailey Rae | MySpace Music Videos

Natasha Khan (Bat for Lashes)

Working under the intriguing moniker Bat for Lashes, Natasha Khan (of Pashtun descent) has one of the most distinct sounds in music; combining threads of dream pop, folk, indie pop, and non-Western elements, her music is ambient, soothing, and introspective. And not just audiences have taken notice of her talent, but also peers, including Matt Bellamy (Muse) and Thom Yorke (Radiohead). Her voice is sheer drama – mirroring the mood of the songs, from anguish to despondency, the only comparison I always come back to when listening to her music is Kate Bush, and that says it all.

Here is the video for “Daniel” from Bat For Lashes MySpace Videos page.


Daniel - Bat For Lashes

Bat For Lashes | MySpace Music Videos

Annie Lennox

There should be no doubt that Annie Lennox is my favorite female vocalist of all time. From glam and punk influenced rock pop band The Tourists to the new wave of the early Eurythmics, from the Motown influenced later Eurythmics to the soul of her solo career, Annie Lennox’s contralto range has proven over and over to ooze as much drama as her ever-changing theatric image. Polymorphic in image as in genre, her voice is perhaps the most distinct female vocalist’s out there, morphing in style as needed for each individual song. And even when being ambiguous, as in “Sweet Dreams (Are Made of These),” there is always this connectivity between her singing and the audience.

The first video is The Tourists’ “I Only Want to Be With You” from the DaveStewartOfficial YouTube Channel. The second Eurythmics signature song, “Sweet Dreams (Are Made of These),” while the third is their video for “Don’t Ask Me Why” from the EurythmicsVEVO YouTube Channel. The last two from her solo career: “Precious” and the amazing The Lover Speaks’ cover “No More ‘I Love You’s’” from the AnnieLennoxVEVO Youtube Channel.

Katie Melua

The Georgian born, British raised Katie Melua has mesmerized me completely recently. I have always loved the sound of her voice, even when originally she sang, “How can you make me fall apart, then break my fall with loving lies?” (“The Closest Thing to Crazy.”) Now she takes a different approach: “I’d love to kill you with a kiss…” (I’d Love To Kill You.”) With complete control of her mezzo-soprano range, she uses the entire range of her voice from beginning to end, including live, which proves the staying power of her voice.

Here are the videos for “Closest Thing to Crazy,” “It’s Only Pain,” and “A Happy Place” (I know I recently posted this one, but it is such a great song and video) from the DramaticoMusic YouTube Channel.

Les Chanteurs

Andy Bell (of Erasure)

In this synthpop revival world, I am amazed that the names Andy Bell and Vincent Clarke, a.k.a. Erasure, have not become household names, considering how they are ripped off left and right. Clarke, the musician, is the quiet presence in the duo; Bell, however, is known for his over-the-top antics on stage, what never gets the credit is his voice. Juggling Erasure with a solo career and Djings, his multi-octave range can get guttural or sing with one of the best, most controlled falsettos, even while prancing around in a dress of the globe.

Here are Erasure’s video for “Chains of Love” and “Always” (amazing background vocals, taken out in the 2009 Mix of the song for some odd reason) from the Erasure MySpace Videos page. Also, his first solo single, “Crazy,” from his MySpace Video page.


Chains Of Love (Video)

Erasure | MySpace Music Videos


Always (Video)

Erasure | MySpace Music Videos


Crazy

Andy Bell | MySpace Music Videos

Matthew Bellamy (of Muse)

When I told a fellow Cure-head that I considered Matthew Bellamy the most talented individual in music, I almost got my head ripped off. But he is the total package: phenomenal songwriter, amazing producer, kick ass performer, talented pianist, rocking guitarist, and astounding singer. Sure the technical aspects of his singing are a bit rough around the edges, he still delivers what is needed from song to song, whether he is singing “Microcuts” or “Map of the Problematique.”

Here is a live performances of “Feeling Good” and “Time Is Running Out” and the video for “Undisclosed Desires” from the Muse MySpace Videos page.


Feeling Good [Live From Wembley Stadium]

MUSE | MySpace Music Videos


Time Is Running Out

MUSE | MySpace Music Videos


Undisclosed Desires

MUSE | MySpace Music Videos

Tom Chaplin (of Keane)

Easily this generation’s best vocalist, Tom Chaplin is simply the bee’s knees. You can tell he must have had a few lessons along the way to control is tenor to perfection, but what really comes across is the sincerity in his voice. As humble as his stage persona, his voice has that empathic quality that helps you relate to the song, regardless if he is waxing poetic or being blunt and to the point; I have caught many Keane-haters singing along to a song and hating themselves for it.

Here are the videos for “Bedshapped,” “Is it Any Wonder?” and “The Lovers are Losing” from the KeaneVEVO YouTube Channel.

Dave Gahan (of Depeche Mode)

Perhaps not the most obvious choice, Dave Gahan (pronounced GAN), has proven his chops as a singer, performer/front man, songwriter, and producer over the last thirty years. And when Depeche Mode releases, the world listens. Of the veteran bands of the British 80s, DM remains the most relevant, and perhaps the most influential (contested only by The Cure in that department). Gahan may not have the vocal range of other singers, but he delivers conviction like none other. Whether singing Vince Clarke’s, Martin Gore’s, Alan Wilder’s, or his own lyrics, he is able to suck you right into his world. From getting you ready to dance or rock, to sway to gospel or chill to lounge, Gahan has proven the versatility of his voice and is only second to Freddie Mercury as a front man.

Here are videos for “Just Can’t Get Enough,” “Never Let Me Down Again,” “It’s No Good,” and “I Feel Loved” from Depeche Mode’s MySpace Videos page. Lastly, a solo single, “Kingdom,” from the Dave Gahan MySpace Videos page.


Just Can't Get Enough

Depeche Mode | MySpace Music Videos


Never Let Me Down Again

Depeche Mode | MySpace Music Videos


It's No Good

Depeche Mode | MySpace Music Videos


Dave Gahan - Kingdom (official music video - album version)

Dave Gahan | MySpace Video

Morrissey

I enjoy this love-hate releationship with (Steven) Morrissey. Introspective, witty, intelligent, and sarcastic, whether with The Smiths or now solo, his songs will either astound you with lyrical savvy, depress the hell out of you, or make you laugh. The dramatic quality of his voice just draws you into his little narratives and vignettes. And nothing is off limits: from smoking in the hopes of an early death to psychotropic drugs, The Smiths brought sophistication to post-punk, while Morrissey continues to bring a twisted, but realistic, outlook on life.

Here is the video for “Ask” (officially The Smith’s MySpace presence, but no page, but here is the direct link). And here is the video for “Something Is Squeezing My Skull” from Morrissey’s MySpace Video page.


Ask

The Smiths | MySpace Music Videos


Morrissey -Something Is Squeezing My Skull

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Videos To Kick Off June

My sincerest apologies for not having had the time to sit down and write… but hopefully by the end of the week, things will return back to normal on my side of things. I have much to write about, from The Unravelling to Marina and the Diamonds – could the range be more eclectic than that? Anyway, to kick off June, here are some videos in the mean time. I hope you enjoy.

The Suzukis' "Built In" from the deltasonicrecords YouTube Channel.



Warpaint’s “Elephants” from TheFaderTeam YouTube Channel.



Veronica Falls’ “Found Love In a Graveyard” from their YouTube Channel: VeronicaFallsTV.



We Are Scientists’ “Nice Guys” from their YouTube Channel: wearescientists.



Muse’s “Neutron Star Collision (Love Is Forever)” from their Youtube Channel: muse.



Funeral Party’s “NYC Moves to the Sound of LA” from their YouTube Channel: FuneralPartyMusic.



The Big Pink’s “Tonight” from the 4ADRecords YouTube Channel.



Chief’s “Your Direction” from the DominoRecords YouTube Channel.

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Muse Live

With a pack of friends, including Mirage and Belladonna, I headed to Madison Square Garden to see Muse live (Friday, 5 March 2010). Now I have seen Muse (Matthew Bellamy, Dominic Howard, and Christopher Wolstenholme) live on various occasions and in different venues/formats, from the CMJ Music Marathon to the Cure’s Curiosa Festival, from the Hammerstein Ballroom to this venue, Madison Square Garden, in the past. I have seen them as a three-man piece without backing tracks, a three-man piece with backing tracks, and now with a fourth touring member (Morgan Nicholls) on keys, and still some backing tracks. And, I have heard the entire buzz about this tour, admittedly seen the YouTube clips, and had friends give me their two cents. The fact of the matter is this: nothing can prepare you for what you experience at this show.



Silversun Pickup was the opening band, and more than once thanked Muse for the opportunity. Moreover, they had more access to the full range of the light show than most opening bands are given. Overall, a good performance, great really, considering the pressure that any artist has to be under knowing they are sharing the stage with Muse.

Then Muse hit the stage, as the three towers (hidden LCD screens) took the form of skyscrapers of sort. The opening imagery during “We Are the World” was a bit disturbing to me. Eventually, within these towers were little figures of people walking up stairs, like if they were being herded, and then they seemed to be jumping and/or falling out of the tower. I am not sure what Muse was thinking, but considering the history of New York City, this was a bit disturbing. This is not to say that I believe that Muse was alluding to the World Trade Center – far from it, considering the band’s politics and history that is something they would never condone – but if anyone else was a bit disturbed, I completely understand. Then they went right into “Uprising,” standing midway through the towers, both extremes of the towers still projected images. And what you realized immediately is that Muse upped the ante from now on! This was not your conventional rock concert: this was a show. Audiences were inundated with imagery and a light show that made any other past visuals I have experienced seem trite and minute. This was a technical masterpiece, but for all the imagery and lighting, the music was always center stage. It is sometimes hard for musicians to put on a “spectacle” and not get lost within it. Muse, however, was never lost; far from it, the visual only enhanced the music.



A+ for Muse not being chatty! They pushed right through “Uprising” and “Resistance,” and when the opening notes of “New Born” started to play, the diehard fans were heard clearly. By this time, the lower half of the “towers” hand sunken, bringing the band to the stage level. The stage was backless, with multiple mic stands scattered around, allowing Bellamy and Wolstenholme to perform while being able to choose what part of the audience they wanted to perform/sing to; Howard’s drum platform revolved as well. The point is even the people behind the stage got more than LCD screens, Muse performed directly to them as well.

Some highlights: “United States of Eurasia” performed with Bellamy at the piano. “Exogenesis: Symphony Part I (The Overture)” ushering in the first encore. The amazing light show for “New Born” and “Undisclosed Desires.” Let me repeat that, the amazing light show for “New Born” and “Undisclosed Desires.” And the crowd being in tune with the band was simply amazing as well. As for the crowd, it was the most diverse audience I have ever had the pleasure to be part of. Racially, age, gender… you name it, it was all there, and this speaks to Muse’s incredible talent to write music that is universal and about shared human experiences. And this cannot be said about all artists.



Now, with all that said, I am going to risk the possibility of having some diehard Muse fans track me down! America is getting shafted! European, Australian, and Asian dates have seen a more varied selection of songs. The set list below pretty much sums up all the songs that Muse has played in the USA thus far, and on this date (like the previous few) not a single song from “Showbiz” made the set list; though maybe Muse may have tired of the songs, we fans have not. Just to see “Cave” performed on a piano would have been worth the entire ticket price! Other than “Cave,” other concerts have seen songs like “Sunburn,” “Bliss,” “Citizen Erased,” and “Butterflies and Hurricanes” – and there seems to be no attempt to rotate these songs – classics! – into the set. Perhaps this occurs because the show is very technical, or maybe because they are playing their first American arena tour very safe, but I would like to have had known that the show I was at was at least partially different than most of the other shows in the USA by the selection of songs.

Nevertheless, though the visuals of the closing song, “Knights of Cydonia,” fell a bit flat compared to the songs of the first set, this was a great concert, an amazing show, and will definitely rank as one of the five best tours I have ever been to. If I have said this once, I have said this countless of times (and will continue to): Matthew Bellamy is the most talented individual in the music industry. And together with the other members of Muse, there yet seems to be no limit to what they can do musically. The best part of it is that they have gotten this far without kissing the arse of conventionality or compromising their craftsmanship or convictions for commercial success. Now I am thinking I have to plan a vacation later this year to catch what Muse is going to pull off at their stadiums shows later this summer in Europe.



Set List:
“We Are the Universe” (intro)
1. Uprising
2. Resistance
3. New Born
4. Map of the Problematique
5. Supermassive Black Hole
6. Guiding Light
7. Interlude / Hysteria
8. Nishe / United States of Eurasia
9. Feeling Good
10. Helsinki Jam / Undisclosed Desires
11. MK Ultra
12. Starlight
13. Plug in Baby
14. Time Is Running Out
15. Unnatural Selection

Encore:
16. Exogenesis: Symphony Part I (Overture)
17. Stockholm Syndrome
18. Man with a Harmonica / Knights of Cydonia

Keep up with Muse at their homepage, MySpace, Facebook, and Twitter. Read more ...

Videos During Yet Another Blizzard

I thought I would sneak on and post some new videos (I know that SDM has been working on “Skins” videos, with one more installment on its way and busily writing a new editorial).

Goldielocks’ “Cold Sweat” from her YouTube Channel: goldielocksmusic.



The Futureheads’ “Heartbeat Song” from their YouTube Channel: TheFutureheadsTV.



Operator Please’s “Logic” from their YouTube Channel: OperatorPleaseAus.



Caribou’s “Odessa” from their YouTube Channel: CaribouVideos.



Muse’s “Resistance” from their YouTube Channel: muse.



Archie Bronson Outfit’s “Shark’s Tooth” on the DominoRecords YouTube Channel.



Wild Beast's "We Still Got The Taste Dancin' On Our Tongues" on the DominoRecords YouTube Channel.

Read more ...

And We're Back to Videos

Managing all of the links on this blog is becoming a bit overwhelming. Therefore, we have decided not to go back and update the past video links. We always provide the YouTube Channel, Vimeo Channel, or MySpace page where the videos come from; if an embed is no longer available, please check out the artist on the official provider's page. Thanks!

And enjoy the videos!

Architects' "Follow the Water" from the CenturyMedia YouTube Channel.



Thursday's "Circuits of Fever" from the EpitaphRecords YouTube Channel.



Boy of Girl's "Hot Chocolate Boy" from their YouTube Channel: boyofgirlofficial.



Fenech-Soler's "Lies" from their YouTube Channel: fenechvideo.



Ellie Goulding's "Under the Sheets" from her YouTube Channel: elliegoulding.



Muse's "Undisclosed Desires" from their MySpace Video Page.


Undisclosed Desires

MUSE | MySpace Video

Rancid's "Up to No Good" from their YouTube Channel: rancidvideo999.

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Thoughts on Summer and Porn... Videos!

Here are some videos that have caught my eyes. Ace!

Supergrass’s “Alright” from their YouTube Channel: supergrassofficial.


LoveHateHero’s “America Underwater” from their YouTube Channel: lhhmerch.



The Hickey Underworld’s “Blonde Fire” from their YouTube Channel: HickeyUnderworld.



Lostprophets’ “It’s Not The End Of The World” from the VisibleNoiseRecords YouTube Channel.



Rammstein’s “Pussy” from their YouTube Channel: rammsteinband.



Muse’s “Uprising” from their MySpace videos.

Uprising
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Muse: "The Resistance"

The first time I heard about Muse when was I dragged to a small show in New York City late in 1998 and I was immediately impressed. But it was their 2001 release, “The Origins of Symmetry,” that blew me away – completely! From the opening notes of “New Born,” to the sophistication of “Bliss,” to “Citizen Erased,” a song that is the mantra of all mantras, I immediately realized that these three guys (Matt Bellamy, Dominic Howard, and Christopher Wolstenholme) were perhaps the most talented musicians of their generation. Then “Absolution” (2003) was released, and that was the clincher for me. Their follow-up to “Absolution” would bring Muse worldwide recognition. And now, 15 September 2009, Muse has released their latest album in the USA, “The Resistance,” and I think I may be the only one sitting in the corner in subtle resistance on this one, but I have no problem with that.

Off the bat, I want to say that it is a good album, with eleven tracks, that draw on a wide range of influences and style. And I know that the album is going to get some heavy rotation on my iPod, solidly better than most of the music out there this year, but this is not a great album, not for Muse at least. Okay, I am guilty of any and all accusations of being tougher on veterans in the music industry than newbies, but I feel that veterans have the experience and the security (financial and in a solid fan base) to produce new music that lives up to any expectations of them. And yes, I would say if any other “new” band released this album, you would probably hear me saying, “Wow, this is amazing.” But this is not any new band; this is Muse, whose first professional release came in early 1998, not last year.

First off, with a title like “The Resistance,” I expected more “Apocalypse Now,” more “Citizen Erased,” more “Take a Bow,” but the album is comfortable in not being very resistant to anything in particular. The lead single and album opener, “Uprising,” immediately showed the potential of what this album had to deliver. This is tongue-in-cheek at it’s best: a popish, new wavish, rock song, which sounds friendly and inviting, until you hear Bellamy sing, “They will not force us, they will stop degrading us, they will not control us, we will be victorious…” This is capped off with a falsetto, “So come on.” (But it does bare an uncanny resemblance to “White Wedding” by Billy Idol.) Immediately followed by the titular track, “The Resistance,” Bellamy croons, “Love is our resistance; they’ll keep us apart and they won’t stop breaking us down. Hold me, our lips must always be sealed.” Shifting pace between verses, bridge, and chorus, the song is catchy, but the moment you start to buy the resistance as love metaphor, Bellamy sings, “We must run…” Run? That is resistance?

This is followed by my favorite track on the album, “Undisclosed Desires.” I am not sure I any longer buy Muse’s assertion that they are not influenced by the Cure and like post-punk bands after hearing this one. From the theme and lyrics (“I want to reconcile the violence in your heart…”) to the music (laced with layered ambient keys, propelled by a steady, repetitious rhythm), Muse definitely takes a new direction for this number, one that is really unexpected. I think that is what makes it the gem on the album. Then the “United States of Eurasia / Collateral Damage” sneaks in. This is perhaps the most derivative song that Muse has ever recorded – think “Lawrence of Arabia” meets “Bohemian Rhapsody.” Musically, perhaps a less exposed teenager might hear the song and be wowed by its air of originality and power, but those who have seen the classic film and heard the classic Queen song know better. (Actually, Queen’s influence is worn on Muse’s collective sleeve for this entire album.) And the “Collateral Damage” part is actually by composer Frederic Chopin, but works really well – hey some teens are finally going to get an education in classical music!

A quick tour to the end… “Guiding Light” goes back to an 80s esque feel. “Unnatural Selection” is the eeriest song on the album but is also the one track that guitar aficionados are going to love. “MK ULTRA” combines the most aggressive elements of new wave with that unique rock edge of Muse. The piano driven “I Belong to You + Mon Coeur S’ouvre A Ta Voix” is a cutesy piano song, sung in both English and French. Then the album comes to a close with “Exogenesis.” The long awaited symphonic song promised years ago. Would it be all orchestrated? Would it have those electronic disco beats we were teased about? Written in three parts – “Overture,” “Cross Pollination,” and “Redemption” – the first part is orchestrated to perfection, as Bellamy singing style mirrors the motions of the first seat violin. “You stole my overture, trapped in God’s program, oh I can’t escape…” Incredible song, incredible execution, but hard to stomach from a man who once sung, “Come ride with me through the veins of history, I’ll show you how God falls asleep on the job.” (“Knights of Cydonia”) The second part, “Cross Pollination” has two major points to fall in love with. Bellamy on the piano and how the “rock” component of the music just barges in and then lightly flutters away. Then the final part, “Redemption” – “It’s our last chance to forgive ourselves.” Emotionally, the most powerful of the three parts; it is hard not to allow your heartstrings to be moved. And while listening to this song for the first time is that I thought, “This album should have been called “Redemption,” not “Resistance,” because there is no resistance going on at the end of it all.”

And that is the thing about the album, there does not seem to be cohesion – is it redemption or resistance? Is it Queen or something new? Each Muse album after the debut had a definitive theme or two running through it, each album had a range of music, often time being experimental, but there was always a sense of listening to an album. And that is where this album, “The Resistance,” falls short – it feels like a compilation, not an album. Perhaps it is the fault of composing music over different time periods, perhaps it is the result of living in an iTunes world where the concept of a cohesive album has been shredded to death, or perhaps, what I do not want to believe, it is because this was a somewhat rushed, under thought recording experience. Does the album get my recommendation? Hell yeah, as I said from the start, this is a good album, better than most of the playing field out there. But did this album live up to my expectations of what Muse is capable of? No, and I know I am only one of thousands who have been waiting faithfully for this release, but I think I have matured enough in my listening and experience of music not to allow anticipation and desire for a new release to taint how I experience a new album. Or, perhaps, I just have higher standards for Muse because I believe that they have it in them to write and produce the greatest album of all time – and I think I will keep waiting for that.

Now, back into the corner of the room, I think I have to listen to “Undisclosed Desires” a few more times.



Track Listing:
1. Uprising
2. Resistance
3. Undisclosed Desires
4. United States of Eurasia (+Collateral Damage)
5. Guiding Light
6. Unnatural Selection
7. MK ULTRA
8. I Belong to You (+Mon Coeur S’ouvre a Ta Voix)
9. Exogenesis: Overture
10. Exogenesis: Cross Pollination
11. Exogenesis: Redemption

Keep up with Muse at their homepage, MySpace, Facebook, and Twitter. Read more ...

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. Read more ...

The Prodigy, Malakai, and The Onlookers

Three reviews… and a little bit of news.

The Prodigy: “Invaders Must Die”

“Invaders Must Die” has been hailed as the comeback album for the Prodigy, the album that would put them smack in the middle of the music nexus, as their third album, “The Fat of the Land,” did in 1997. This is a solid album, their best since 1997, perhaps the best of their career, but there is a level of vitality that is not present – but that is through no fault of the Prodigy themselves. In 1997, years of grunge, Nirvana-wannabes, “Fire Starter” was a fresh, new sound for the musical hype machine to get all excited about on an international level. Their second album, “Music for the Jilted Generation,” entered the UK Charts at #1, but “The Fat of the Land” accomplished #1 not only in the UK, but also Canada, Japan, the United States, and Australia (to name a few countries). The album, and the singles, where released at the right time to get sucked into the hype-machine that was becoming bored with the mundanity of the “standard” post-Nirvana rock bands. Prodigy offered the alternative to what was needed and they filled the void exceedingly well. But this is 2009 now, and the world of music has changed.

This is a great album, and I would argue better composed and produced than anything ever done by Prodigy in the past. The combinations of sounds are not only angry, but also sexy. The layers of sounds are not only seductive, but also sophisticated. It is a five-star from the point of view of breakbeat or electronica. But in the post-Muse world of the Continent or the formulaic musical industry of North America, I do not believe that this album will receive the reception it deserves – and I hope I am wrong. My only criticism of the album is the lyrics. Lyrically you will not be wowed with such lyrics as “I hear thunder but there’s no rain, this kind of thunder breaks window panes….” (“Thunder”), though I do not think one listens to Prodigy for philosophy or profundity. But this is a perfect album to blast at a club or drive really fast too, perhaps even to bring back some raves on country fields or abandoned warehouses. It may not be filling up the hype-machine, but “Invaders Must Die” is an album worth the investment.



Track Listing:
1. Invaders Must Die
2. Omen
3. Thunder
4. Colours
5. Take Me to the Hospital
6. Warrior’s Dance
7. Run with the Wolves
8. Omen Reprise
9. World’s on Fire
10. Prianaha
11. Stand Up

iTunes Bonus Tracks
12. Invaders Must Die – Chase and Status Remix
13. Omen – Edit
14. Track by Track Talk Thrugh

Japanese Edition
12. Black Smoke
13. Fighter Beat

You can keep up with the Prodigy on their homepage or their YouTube Channel: ProdigyChannel.

[Update: embed no longer available.] Here the link for the their video “Omen.”

Malaki: “Ugly Side of Love”

Malaki, from Bristol, consists of Gee Ealey on vocals (who has a fresh, distinctive voice) and Scott Hendy handling the music. (My understanding is that three other members join them on the stage.) Signed to Invada Records (owned by Geoff Barrow, of Portishead fame, who also was the executive producer of the album), this album combines the best elements of trip-hop and sixties rock. (It was released in the UK on 23 February 2009, though available in the US on iTunes as of 11 February 2009.) This is one of the most interesting albums I have heard in years. It is one of those albums that you like, even love, the first time you listen to, but with each subsequent listen, you realize that it is genius.

The album is neither trip-hop nor rock though; the opening track, “Warriors,” with a calm intro interrupted by sirens, breaks into a catchy rhythm, asking, “Who are the warriors?” Instantly, you are confronted with Gee’s unique voice, and trapped by a trippy melody that seems to wrap itself around the vocals. Throughout the album, there is no attempt to keep a constant wall of sound; instead each song concentrates on continuing a mood, as the album slips into more intensity – lyrical themes include violence (“Laydown Stay Down”) to the unwinding of existence (“Fading World”). What never happens is a clutter of sound, nor is there ever a battle between vocals and music as has happened with many duos (i.e., Erasure and Eurythmics). And though an oppressive wall of sound does not weigh you down, the arrangements are anything but simple! Intricate and savvy, this album displays jaw-dropping craftsmanship.



Track Listing:
1. Warriors
2. Shitkickers
3. Snake Charmer
4. Snow Flakes
5. Omega Time
6. Blackbird
7. Moonsurfin
8. Meech’s Theme
9. Only for You
10. Laydown Stay Down
11. Another Sun
12. How Long
13. Fading World
14. Simple Song

Keep up with the band via MySpace or their YouTube Channel: MalakaiBristol. Here is the link for their video for “The Battle” (renamed “Shitkickers” on the album).

The Onlookers: “The Onlookers EP”

One of the things I love about the British music scene is EPs. From Curve to Muse, so many great, groundbreaking bands started by releasing EPs. And I think that the Onlookers are on the same trajectory.

The EP reminds me of the power of early PJ Harvey. It is in your face, up front, but with no attempts of being the hardest sound you heard. Instead there is a solid pop-sensibility in these new composers, who know how to throw infectious rifts and hooks to keep their listeners interested. One of the things I love about these songs is that you never know where they are going: “Mayday” could end up ballet-esque before the beat drops, and “Reverse the Widow” starts with a catchy piano-bar-esque feel, but when the beat drops, the piano disappears and a Spanish feeling electric guitar comes into the forefront of the music. Another thing that I like about the music is that it does not sound derivate; there is no attempt being made to ride the coattails of successful bands of the festival circuit or pop-charts. Instead, the band is creating a unique niche and sound in music

(Photo by Sam Seager)

Track Listing:
1. Painstripper
2. Casino
3. Mayday
4. Reverse the Widow
5. Terraplane

Keep up with the Onlookers on MySpace and their YouTube Channel: OnlookersChannel. Hit this band up; the more fanfare, the more we will hear about them in the future.

Here is a video clip of “Painstripper.”



A little big more news…. Muse, anyone?

NME has posted some information on the new Muse album, pointing to the possibility that there will be a late summer release, as they expect to be touring by the autumn. Bellamy describes the album as a “Classic FM” sound, alluding to the rumor of orchestrated music – as they confirmed a collaboration with an orchestra! Read more ...

NME Shockwave Awards and Tribute Album

If you have not purchased this months issue of NME, you need to get to your local magazine shop and pick it up… immediately.



First off, here are this year’s winners at the NME Awards (videos from the NME Youtube Channel - check it out):

Godlike Genius: The Cure



Best British Band: Oasis

Best International Band: The Killers



Best Solo Artist: Pete Doherty



Best New Band: MGMT



Best Live Band: Muse



Best Album: Kings Of Leon “Only By The Night”

Outstanding Contribution To British Music: Elbow



Best Track: MGMT “Time To Pretend”

Best Video: Last Shadow Puppets “My Mistakes Were Made For You”



Best Live Event: Glastonbury 2008

Best TV: "The Mighty Boosh"

Phillip Hall Radar Award: The Big Pink

Best Dancefloor Filler: Dizzee Rascal featuring Calvin Harris and Chrome – "Dance Wiv Me"



Best DVD: Arctic Monkeys – "Live At The Apollo"

Best Band Blog: Oasis' Noel Gallagher

Best Venue: London Astoria

Best Album Artwork Muse "HAARP"

Hero Of The Year: Barack Obama

Villain Of The Year: George W Bush

Best Dressed: Alexa Chung

Worst Dressed: Amy Winehouse

Worst Album: The Jonas Brothers – "A Little Bit Longer"

Worst Band: the Jonas Brothers

Sexiest Male: Muse's Matt Bellamy

Sexiest Female: Paramore's Hayley Williams

Best Website: YouTube

Here are the set lists played by White Lies, Crystal Castles, Franz Ferdinand, and the Cure at this years NME Big Gig held on 26 February 2009, at London’s O2 Arena.

White Lies: Fairwell to the Fairground, To Lose My Life, A Place to Hide, Unfinished Business, Fifty on our Foreheads, The Price of Love, and Death.

Crystal Castles: Atlantis, Baptism, Courtship Dating, Crimewave, Alice Practise, and Yes No

Franz Ferdinand: The Dark of the Matinee, No You Girls, Do You Want To, Michael, Turn It On, Walk Away, Bite Hard, Take Me Out, Ulysses, What She Came For, Outsiders, and This Fire

The Cure: Underneath the Stars, From the Edge of the Deep Green Sea, The Perfect Boy, The End of the World, Sleep When I’m Dead, A Forest, Three Imaginary Boys, Shake Dog Shake, Maybe Someday, The Only One, Inbetween Days, Just Like Heaven, Primary, Want, The Hungary Ghost, Disintegration, One Hundred Years, and It’s Over. Encore: Boys Don’t Cry, Jumping Someone Else’s Train, Grinding Halt, 10:15 Saturday Night, and Killing an Arab.

Last bit of information – the new NME issue has a free copy of “Pictures of You – A Tribute to the Cure.”

Not all of the covers are brand spanking new (for instance, Dinosaur Jr.’s “Just Like Heaven”), but this compliation might go down as the best tribute to the Cure. The Editors are amazing at “Lullaby” and Alkaline Trio does “Cut Here,” a tribute to Billy MacKenzie of the Associates. This was the most unlikely song to be covered, and perhaps the biggest surprise to be put on the album. But there are more surprises, like Metronomy “rapping” to “Fascination Street” and Mystery Jets and Esser’s cover of “In Between Days.” Get the magazine now; this tribute album is worth the investment!

Track Listing:
1. Robert Smith of the Cure gives an introduction about covering music.
2. Mystery Jets and Esser: In Between Days
3. Lostprophets: Boys Don’t Cry
4. Marmaduke Dude: Friday I’m in Love
5. Dinosaur Jr.: Just Like Heaven
6. The Big Pink: Love Song
7. Editors: Lullaby
8. British Sea Power: A Forest
9. The Dandy Warhols: Primary
10. The Get Up Kids: Close to Me
11. The Futureheads: The Lovecats
12. Art Brut: Catch
13. Metronomy: Fascination Street
14. Alkaline Trio: Cut Here
15. Get Cape. Wear Cape. Fly: In Between Days Read more ...