Band of Horses | Cease to Begin

The opening track of Band of Horses' new release, "Is There a Ghost," was one of the few tracks that I actively sought out after hearing it on the radio. I was immediately hooked on this band's sound, a sound that was familiar but entirely new.

Band of Horses was formed by Ben Bridwell and Mat Brooke in 2004 Seattle. They're currently signed to Sub Pop Records, a Seattle-based independent label which also manages The Shins, Iron & Wine, and The Postal Service. BoH started out opening for Iron & Wine, and on the cusp of their October 2007 release they started playing their own, packed, giant shows.

Their popularity is merited. Cease to Begin is a notable improvement upon their debut Everything All the Time: It is more straightforward, more refined, more likeable. Lead singer Bridwell's voice had me confused upon first listen, thinking I was hearing a new MMJ track, as his voice is sometimes identical to Jim James's (especially in the reverb-soaked stuff James is so well-known for), only less dark and more pop-friendly. They sound like an amalgamation of My Morning Jacket, The Shins, and a little Coldplay. Their myspace bio claimes that "Band of Horses' woodsy, dreamy songs ooze with amorphous tension, longing and hope," and this is very true.

"Is There a Ghost," beginning with slow anticipation, builds into some powerful stuff, while the next three are very beautiful indie-pop songs about loss that are ironically optimistic. I've gotten into the habit of listening only to the first four songs--which are undoubtedly the strongest--but the rest of the album is quite good. The twangier "The General Specific" and the more upbeat "Island on the Coast" would fit perfectly on a Shins album, while "Marry Song" suggests an attempt at singer-songwriter-ism (MMJ, I&W), but suffers from being too repetitive and not seemingly heartfelt. "Cigarettes Wedding Bands" is another rocker, which sports a catchy chorus, and the closer "Windows Blues" is another slow song, which works much better, since they don't play around with harmonies which allows Bridwell's voice to shine through. It's a quick listen, at only 35 minutes, but it's definitely repeat-friendly.

Download "Is There a Ghost" and listen to "No One's Gonna Love You" at their myspace.

"August and Everything After" by the Counting Crows

(The song, not the album). If you didn't know this song existed, you're in for a treat. It's not a song you play in the background. It's a song you listen to, in your chair or in your bed, with your eyes closed. Adam tells you this story in bits and pieces, like a collection of memories, and you feel at the end that you've seen his life through his eyes. It made me realize how many different types and purposes of songs there are out there. It's so long-how does he have the whole thing memorized? It must be autobiographical. Maria is the beginning focal point, who's a staple in much of his songwriting (recall the line from "Mrs. Potter's Lullaby": And there's a piece of Maria in every song that I sing). This song is similar to that one, not only in its length but in its story-form and its incorporation of the mundane and the profound instances and lessons from life. The loudest cheer from the crowd is right after the first time he sings "August and everything after," when the audience realizes that this is the long-lost song that was supposed to be on, and may have been the origin of, their stunning debut.

August and Everything After [Live].mp3
If you have a different version than the one I've posted, please let me know!

Lyrics

They're wakin' up Maria 'cause everybody else has got some place to go
She makes a little motion with her head,
Rolls over,
And she says she's gonna sleep for a couple minutes more
I said "I'm sorry" to Maria for all the cold hearted things that i have done
I've said "I'm sorry", by now, at least once to just about everyone
She says, "I've forgotten what I'm supposed to do today,
And it slips my mind what I'm supposed to say."
We're getting older and older, and older
And always a little further out of the way
You look into her eyes, and it's more than your heart will allow
In August and everything after, you get a little less than you expected, somehow...

I stumbled into Washington Square just as the sun began to rise
And I walked across the lawn to the cathedral
And lay down in the shadow of St. Mary's in the sky
I'm just one of these late-model children waiting for the king
But there ain't no sign of Elvis in San Fransisco
It's just me, and I'm playing this rock and roll thing
And she wants to be just like me
And I want every damn thing I can see.
One day, you're Daddy's little angel,
The next day you're everything he wanted you to be
They dress you up in white satin
And they give you your very own pair of wings
In August and everything after, I'm after everything.

And I said, la la la la la la la.....

Well now I got my reservations, and I got my seven million-dollar home
And I got the number of some girl in New York City
Who's always wide awake so I never have to spend the night alone
I got this nasty little habit of peeking down the shirts
Of all the little girls as they pass me by
And i wonder, if it all catches up to me
I'm finally breaking down, now
Did you think i was gonna cry?
Well, I've already got my disease,
So take your fucking filthy hands off of me
Well I hope you don't expect me to be crucified,
The best that they can do is just to hang me from the nearest tree

'Cause it's midnight in San Francisco
And I'm waiting here for Jesus on my knees
In August and everything after
I want somebody else to bleed for me

I said la la la la.... na na na....

I came down from North Dakota
'Cause I had a confidence in the military mind
And now, everyone I know is turning show girl
And dancing with their shirt off in some Las Vegas hotel line
So I'm going to New York city, because it got a little sleazy here for me
When I find myself alone, I know I'm never going home
You make the changes, the changes that you need
But I no longer know how to pray
I live in a dog-town and it's a dalmation parade
I change my spots, over and over,
But they never seem to fade away
I am the last remaining Indian,
Looking for the place where the buffalo roam
In August and everything after,
Man, them buffalo ain't never coming home
In August and everything after,
Man, them buffalo ain't never coming home

La la la la la.....

Sigur Rós | Hvarf / Heim

Everyone seems to be wondering about Sigur Rós's new release. This double EP, released 11/06/07 is a separate companion to their first live film, Heima, which was released today in North America. Although this collection (11 tracks, two discs, 72 minutes total) doesn't have any new material, most of it hasn't been released before. Hvarf is a collection of studio-recorded rarities, and Heim is a collection of live acoustic favorites. I found the selections on Hvarf to be somewhat repetitive in their sound, although the remake of Von (from their debut) is pretty good. The live material really makes this cd worth buying, however; if you're a fan of Sigur Rós and you haven't seen them live, this is an essential buy. Hearing their material live proves their musical talent: without the help of synthesizers and everything else they still make incredibly beautiful music. These stripped-down versions also confirm the delicacy of their sound, that is, their ability to create emotion-evoking moments without their characteristic 'noise.' The recording quality is perfect, and the familiar songs chosen for Heim take on a new life.

Sigur Rós's official website on the new EP & DVD, including full descriptions of each song:
Hvarf-Heim CD
Heima DVD

Favorite Song #6: "She Says [Live]" by Howie Day

Sometimes I wonder if I love a song because of the song itself, or because of the memories and emotions it evokes. Well, now that I wonder that, I'm pretty sure it's both. I found Howie Day back in 2001 shortly before the Sony re-release of his debut album Australia, on an Aware Records compilation. I quickly realized how talented this guy was, and was happy to see how much popularity he earned. A direct result of this was an increasingly large collection of live show recordings on the internet, which was so nice with Howie because he played twice as much material on the road than he had (or ever did) released in his albums. My junior year of high school I listened to him nonstop, usually while driving around in my car aimlessly.

This is by far my favorite of the 7 versions I have of this song by the American singer-songwriter. Day doesn't use the looping for which he's known; he uses his guitar and the passion in his voice to fill this song out. This version has a sweeping, ethereal quality to it: listen to the first two seconds and you'll know what I mean. This version in particular, especially over the two album versions, has a much more honest feel, like he's singing-wailing-from his heart; beautiful and fervent, this might just make you a fan of Howie if you're not already. Too bad he hasn't released anything in over two years :-/

*Photo: Barry Brecheisen / Rolling Stone*

She Says [Live].mp3

Cat Power | The Covers Record

Since falling in love with The Greatest, I've found it difficult to really enjoy her earlier albums. It seemed to me that they were more avenues for her own catharsis than adequate representations of her talent. The focus-being completely independent the first two albums, and on a rather small label up until her newest release-did not seem to be primarily on the music: her lyricism was good-at times astounding-but her musicianship was only moderately interesting and her voice did not sound like it does today. Although there are a few gems in her back catalogue that truly shine, most of the songs are too raw, hard, or unpolished to create a pleasant listening experience (they seem to work on some level in the background, or if you're really down, but they're difficult to love). The nature of her (past) music makes sense, considering her battles with alcoholism and depression. Here's a relatively recent NY Times article and video in which she explains some personal things.

After taking a couple years off from music after her 1996 album What Would the Community Think, she released a collection of covers she'd played on the road between 1998 and 1999. It's very interesting how much different the sound of this record is from her prior releases, and even You Are Free, which came out three years later. Perhaps the main difference is that there is no evidence of any other musicians: it's only Chan. She mostly plays her guitar, sometimes the piano, which allows her gentle, smokey voice to be heard as it should without detracting from its almost unnverving intimacy. She covers The Rolling Stones (I don't know if I've ever heard a more radically satisfying cover of a song than her version of "(I Can't Get No) Satisfaction"), Lou Reed, her (ex?) boyfriend Bill Callahan of Smog, and even herself, transforming each song into something nobody else ever could. The most similar song on The Greatest would have to be "Where is My Love," but somehow the songs on this album each have a weighty significance, like she inspected each of them with her heart and expects us to (i.e. knows we will) do the same. Chan's "Wild is the Wind" is perhaps the most hauntingly poignant, soul-piercing song I've ever heard. I absolutely love this album. It is a supremely satisfying listen straight through, and is best suited for listening at night, with quiet stillness, disturbed only by Chan's hauntingly beautiful voice.

Look for a song in my upcoming mix.

A Fine Frenzy

A Fine Frenzy has been getting pretty popular recently in the mainstream circle. If you haven't heard of her, Alison Sudol is a 22-year-old self-taught pianist/chanteuse. She's quite talented on the keys and her voice is capable and beautiful. I got the album after hearing "Almost Lover," and liked it upon first listen while playing Scrabble, especially the last track "Borrowed Time." But after I listened to it more closely, I have to say I started to cringe at how cheesy this album is. Allegedly her lyrics are based on a number of fantasy works she's read growing up, so it seems appropriate that this album sounds like a four-year-old's cup of tea. The album's backing orchestral arrangements add to its fantastic feel, and it's exceptionally produced, but this just results in a sound that is way too over the top, like a G-rated computer-animated Disney film. I would like to hear her stripped down, just her and her piano, with some more heartfelt lyrics, rather than these bedtime stories.

Patrick Park | 11/15/2007

Back in February of 2003 I saw David Gray play at a jam-packed Northrup Auditorium, on his pre-New Day at Midnight tour. In front of nearly 5,000 people, out walked his opener, this quiet guy who nobody'd ever seen before. Once he started singing a hush went over the place; he'd grabbed our attention.

I loved his stuff then, when it was in its beginnings, having just released his debut EP Under the Unminding Skies a couple days earlier. I was a ways back in the auditorium, but I remember being sucked in by the earnestness in his voice and how poignant his short set was.

Almost five years later, the Colorado native is back in Minneapolis headlining his own show at the 7th Street Entry, a small, run-down, but intimate joint. Since 2003 he's released two full-length albums, Loneliness Knows My Name and Everyone's in Everyone, and has had a couple singles featured on Fox's The O.C.. I'm guessing he gained considerable popularity when his song "Life Is a Song" was played during the show's final episode. His myspace page shows a little over a half-million plays, so I was really surprised with how few people showed up tonight. This makes me wonder how many good artists I miss out on simply because I haven't heard of them before. They need to be marketed better.

Because Patrick is fucking good. It's just him, his guitar, harmonica, and mic. He stands up there, picking and strumming strongly, singing without holding anything back. His voice is very distinctive: folky, substantial (not airy), and genuine. His lyrics are generally melancholy but all of his songs have either an optimistic or really impassioned feel to them. His music varies and thus doesn't lend itself to boredom: it's not all sad, slow stuff. In short, he's a supremely talented singer-songwriter who plays raw, passionate, beautiful music.

Although it may not be awesome for his paycheck, it's always really cool to be at small shows when you can talk to the performer afterward. I asked Patrick to play my favorite song of his, "Love Is a Bomb," (solely on his debut EP) on his myspace page the night before, and so I was happily surprised when he introduced his second song, saying "this one's for Bryon." Turns out he's a really, really nice guy; getting to know him better makes me want to do all I can to get him out there a little more, so please check out his official website or his myspace.

Favorite Song #5: "Ladies and Gentlemen We Are Floating in Space" ...from Vanilla Sky

"Books, records, films--these things matter! Call me shallow, it's the fucking truth."

Why, you may ask, am I quoting Rob from High Fidelity here? Well, because it's the fucking truth. And they matter, ultimately, ...well, for countless reasons... but perhaps primarily because of how they make you feel. And my favorite songs really make me feel something. Something deeper.

Vanilla Sky is one of my top five all-time favorite movies. A lot of people don't like this film, and frankly I can see why (but I won't go into that). But I love it, because it does what a movie should ideally do: it takes me away from reality, and does a pretty good job of forcing me to examine mine when it's over. But more than that, I feel something when I watch it: a set of thoughts and emotions that seem to arise as such only when I watch this particular film (a consistency that is pretty cool to have). I could try to reduce what goes into making me feel those things (the characters and their ties to people in my life, the images and the memories/fantasies they provoke, and the intuitively-placed music...), but that's not what I'm on here for.

One of my dream jobs (another connection to High Fidelity...) is to be the guy who picks out music for movies. Well, I have to say that the placement of this song on Vanilla Sky is absolutely perfect. At one of the most moving (and enlightening) scenes, this song builds until it perfectly coincides--both lyrically and musically--with the movie (seeing Sophia at David's memorial...).

"All I want in life's a little bit of love to take the pain away
Getting strong today, a giant step each day.

I will love you till I die
And I will love you all the time.
So please put your sweet hand in mine
And float in space and drift in time."

After a quiet voice declares "Ladies and gentlemen we are floating in space," these lyrics slowly repeat, and gradually build on one another, layered among guitars, vocals, and a faint 'beep' which suggests that we are, in fact, floating in space.


I would love this song for the lyrics alone, but the way this song flows really does make you feel like you're floating. It's no wonder they marketed their album of the same title as a drug. The title from this song is allegedly derived from the book Sophie's World, and the music might sound a little familiar if you've ever heard Pachelbel's Canon in D. Philosophy, astronomy and classical music as inspiration = more evidence that the music that makes us feel something really is that important.

Stars with Magnet | 11-03-2007

So Stars really rocks out at their shows. Their albums (under myspace's "melodramatic popular song" genre) have always sounded like somewhat subdued indie rock/pop, so I was surprised by their energy tonight. They started it off with a bang on "Take Me to the Riot," and Campbell's voice sounded really strong. They played most of their new album, In Our Bedroom After the War, and I was a little unsure how I felt about them/the new album, but the show made me a believer. Their style is very cool: each band member (five men, one woman) wore something completely different from the next and they had really exciting stage presence considering their alleged inexperience--at one point, Campbell (co-founder/co-lead vocalist) said that they decided the title of their tour will be called "The 'I can't believe there are so many fucking people here' Tour," haha. Considering there were about 45 people at their last Minnesota show, ten times that is definitely an improvement for this Montreal band. The first few rows also loved how the band would periodically fling countless carnations all over the place (you can see them in Even's photo-->); interesting. Some sound issues still need to be worked out, in my opinion, since half of the time the guitars drowned out Amy Millan's soft vocals. But the encore was excellent, they finished with an amped version of "Calendar Girl," and at the end Campbell was screaming "I'm alive!" at the top of his lungs on and on...that was pretty awesome and the crowd loved it. What a fun show, these guys have a really unique sound. Try out tracks 2 and 5 on their myspace page.


I'm glad I liked Stars, because truthfully I attended the show just to see the opener Magnet. I don't remember exactly how I found this Norwegian singer-songwriter (it may have been off the O.C....) but I've loved his music since his first album, On Your Side, came out in '04, which remains one of my favorite mostly-autumn albums that is heard best while driving or lying somewhere with your headphones on. Most of his songs are completely depressing, so I half-expected him to be the same, but he actually had a fun personality, getting the crowd into his performance and cracking jokes about his ties to J-Lo. Magnet is Even Johansen, and he's so good because his lyrics are emotionally raw, and his music is deep and well-produced. The instrumentation on his albums runs the gamut (guitar-based but with electronic, strings, and percussive infusions), but his voice is what really keeps your attention. That he did tonight, even though it was just him. I'm always impressed with artists who are really good with layering and looping everything themselves, which he did to give his sound a much fuller feel. Seeing him live really made me realize how talented this guy is. He just released his third album, The Simple Life, and you can get it on iTunes.

Magnet's myspace.

David Gray Releases Covers Album

David Gray just released his new greatest hits album, which has two new tracks on it including his current single, "The World to Me," available only on iTunes.

But big fans who already have all his albums will be happy to know that he also just released a live album full of covers on his website. I've been listening to it a lot, and it's very good. All the tracks are pretty low-key, most of them just David and his guitar, some backed by Clune and his band. It seems that this is a collection of the covers that Gray plays for a little change-of-pace at his live shows. The sound of the crowds suggests smaller arenas (which is really all he plays anyway--relative to most musicians of his popularity), and contributes to the intimate feel of these songs.

I've always thought of David Gray as my generation's Bob Dylan, because I consider him the best lyricist since Dylan (if you don't believe me, listen to/read his earlier albums especially). It's fitting, then, that this album's title is named after Bob Dylan's song "One Too Many Mornings." It's also very interesting to see what Gray's influences are, at least to the extent that he covers these artists (three by Dylan and two by Springsteen, among various others).

Download the album here on his website's store.

We Are the Pipettes

Being attractive definitely helps in the music business, for better or worse. I checked out this new girl group because I saw their pictures in one of my latest issues of Spin, which had all these accolades littered around their polka-dot dresses and sexy poses. Good decision! (This wasn't the first time I've found a musician I've liked based on their looks, but hey, you've got to sort through all the music out there somehow, right?)

Anyway The Pipettes are Riot Becki, Gwenno, and Rosay. They are backed by a four-piece band called The Casettes, and hail from the UK. Unfortunately I won't be able to see them in Chicago in a couple weeks, but if you have the chance I hear they put on quite the show, complete with coordinated outfits and dance moves.

Okay, their music. Apparently these girls (who write, sing, and switch off on the keyboards) / the band (led and managed by the guitarist Monster Bobby) thought that the music scene in the UK the last few years sucked (I wonder if the local radios over there are any worse than most of the garbage on ours...), and when Bobby was DJing / promoting all over the place he realized that whenever he put on 60's girl band records people just started dancing, and reacted more enthusiastically than with all the other stuff that he'd play. So they came up with the idea of going back to that sound and putting a modern spin on it. They wanted to go back to a time before the Beatles changed everything.

"We Are the Pipettes is a modern indie pop album, and a classic one at that," raves Pitchfork. The U.S. version of the album (the yellow cover) has two additional songs and has been completely remixed so the tracks sound cleaner. It's a short album, with an average track length of about 2:30, but it's a really fun album to listen to, and the variety throughout is surprising. I suppose with music like this the only drawback would be getting sick of it, but the songs are so damn catchy that they'll be in your head for weeks. The songs' subjects suggest that these girls are very confident, and like Lily Allen show their independence and their disdain for clingy guys, as well as their somewhat insatiable sexuality..."Pull Shapes" is definitely my favorite track, because it just makes you want to dance and be happy (I just want to move / I don't care what the song's about)-and who the hell knows what it means to "pull shapes" anyway? Also check out "Judy," "Because It's Not Love" and the rest, streamed at their official website. This is very fresh, inventive stuff that fills a much-needed niche in one's listening repertoire.

Feist & Broken Social Scene - Lover's Spit

Lover's Spit was always one of my favorite Broken Social Scene tracks, which I first heard on the film Wicker Park. It's so inventive and addictively intoxicating. But this version, found on BSS's Bee Hives (which was rereleased in January), is even better. It's a bit slower (a minute longer than the original off of You Forgot it In People), quieter, and deeper. Whereas their vocals in the original at times compete with and at others blend in with the music and/or noise in the background, Feist's vocals are more pronounced with the stripped down sound of this one. An all-piano intro sets the stage for a touching ballad, which gives way to a low-key groove with the band--Clearly different than the slightly experimental sound of their electro-indie-pop release that garnered their mainstream fame. Feist not only contributes to this alternate version; she (her voice!) completely transforms it.

Lover's Spit (Feist) in iTunes Store

Sæglópur EP - Sigur Rós

I was driving in my car today as the sun was starting to set, the leaves were blowing all over the place, and the air finally felt like fall. Right at this moment the second track on Sæglópur came on and it fit perfectly. That made me think, this is great soundtrack-to-your-life music. Play it when you're driving in your car, especially in the evening, or when you're walking city streets; it works well with motion, because it just flows. It's there in the background, mostly quiet, beautiful, moving. I felt like my life was a movie, it was the coolest thing. God I love this band.

Kate Havnevik - Melankton

If you don't know her already, I'm sure you'll recognize her if you've ever watched Grey's Anatomy. Upon my first listen of this album, I immediately likened her to Imogen Heap and her electronica sound. As it turns out, Havnevik and Heap are friends, and Kate worked with producer Guy Sigsworth, the other half of Frou Frou, and a producer with Madonna and Björk under his belt. But Havnevik has a distinct sound, setting her apart from the rest of the electronica songstresses.

Kate Havnevik is a Norwegian musician who describes Melankton, her first major U.S. release, as a "dramatic, beautiful and euphoric"--I might add, hypnotic--record. She was trained as a classical musician, and I'd have to say that much of the beauty on this record comes from the elaborate orchestral arrangments that back most of the songs. For enlightenment's sake, I'll compare her to Imogen: whereas "Immi" uses a lot more electronic samplings and much more voice manipulation to create light and catchy pop tunes (mostly-we cannot forget her hauntingly beautiful Hide and Seek), Havnevik leaves her voice as-is for the most part, and uses it over longer phrases and heavier, more flowing orchestral mixes. Perhaps the weak point of the album is that her voice tends to sound the same throughout, but it undeniably works on a few standout tracks, such as "Nowhere Warm," "You Again," and the finale "New Day," which is an incredible mixed track suggesting the influence of her part-time vocal borrowers Röyksopp and sounds like a combination of Dntel and Björk. Interestingly enough, Kate is supposedly in the studio working on an acoustic album. If that is as successful as this project, this girl's got major talent.

http://www.myspace.com/katehavnevik

Favorite Song #4: "Dear Chicago"

According to my iTunes library, I've listened to this song twice as many times as any of my other favorite songs. I wonder, why is that? Maybe it's because this song is so short, clocking in at only 2:13; or maybe it's because it's so damn poignant-definitely some of the most depressing lyrics in Adams's repertoire, but-somewhat uncharacteristically-ultimately hopeful...which may be the best part of this song: the irony behind the morose lyrics lightly crooned over an upbeat guitar line.

Dear Chicago is off Demolition, which was released in 2002 between Gold and Rock N Roll (when Adams was only releasing one album per year), and which seems to serve as a musical bridge between his transitioning styles--from Heartbreaker and Gold's country-folk to Rock N Roll's well, rock. It's been an interesting path for him, trying out all these different genres, then reworking everything completely with Love is Hell, which many consider to be either his best or his worst album. Luckily, since that release Adams has seemed to find a comfortable middle ground, mostly amalgamating these various styles into his own.

But Demolition has been overlooked, and underestimated, because it is a good album. From its upbeat beginnings to "Desire," one of Adams's best songs, lyrically and musically, in which he shows off his harmonica skills, and recalls the talents of Dylan and a younger Boss...."Cry on Demand" and "She Wants to Play Hearts" are heartbreaking renditions, that seem to build on each other, before the bluesy/jazzy "Tennessee Sucks" lends a perfect introduction into Adams's shining moment in Dear Chicago. From there, "Tomorrow" and "Chin Up, Cheer Up" attempt at a hopeful future, but the album's closer, "Jesus (Don't Touch my Baby)," the albums darkest track, seems to bring the listener back to reality. But on Dear Chicago, when that first guitar chord hits, and he starts singing to his ex about his life since they broke up...you just feel his heartache, and wonder if the optimism at the end isn't him being true to himself. It's about not being able to fall out of love with someone, and Adams captures such a complicated but important feeling perfectly.


Listen here.


The Lyrics:

Dear Chicago,
You'll never guess
You know the girl you said I'd meet someday?
Well I got something to confess...
She picked me up on friday,
Asked me if she reminded me of you.
I just laughed and lit a cigarette,
Said, "That's impossible to do."
Life's gotten simple since
and it fluctuates so much,
Happy and sad and back again
I'm not crying now too much.

I think about you all the time,
It's strange and hard to deal
I think about you lying there,
and those blankets lie so still.

Nothing breathes here in the cold,
Nothing moves or even smiles,
I've been thinking some of suicide...
but there's bars out here for miles.
Sorry about the every kiss;
Every kiss you wasted bad.
I think the thing you said was true,
I'm gonna die alone and sad.

The wind's feelin' real these days,
yeah and baby it hurts me some...
Never thought I'd feel so blue,
New York City you're almost gone.

I think that I've fallen out of love,
I think I've fallen out of love,
I think I've fallen out of love...with you.

Feist's New Album, "Intuition" Video

It's always nice to see really talented artists get the attention they deserve. Leslie Feist, the Canadian songstress who began by lending her vocals for Broken Social Scene and Kings of Convenience before launching her solo career, certainly has no shortage of exposure right now, with her own iTunes commercial.

The Reminder, Feist's third album (most people don't know about her debut, "Monarch (Lay Your Jeweled Head Down)" released in 1999) is her strongest yet, and has rightly proven to be the most successful. Contributing to this success is its impeccable production, which along with her talent for songwriting, composing, and singing, has made an album of top-notch indie-folk-pop songs that vary considerably but never cease to please.

Whereas Let it Die showed hints of genius, her weaker songs suggested that she was still trying to find her comfort zone. The Reminder is an album full of confidence, in which Leslie (again) bares her soul, but does so in a way that suggests she's moved on, in more ways than one perhaps. Her new songs are beautiful; some are very catchy ("My Moon My Man", "1234"), others are very chill ("The Park"), but they're all spot-on lyrically and melodically.

One thing that I've noticed about the ablum is its perfect song arrangement. Being one whose favorite hobby is to make mix cds, I must say that the order of songs on this album is absolutely perfect, and makes listening to it enjoyable as a whole. It starts out exactly how it should and ends exactly how it should; in the journey from an apology in the first track through the many feelings one feels in and out of love to a realization of oneself, you don't want to miss a beat. All the emotions are here, and all her talents are on display.

Intuition is my favorite track on the album, because it is the most heartfelt and it is the song in which Feist's voice shines through the best. I didn't even know she played guitar on this song, which is amazing, until I saw this video. It's only she and her guitar, recorded live. Seeing her perform it adds so much to it. I can't wait to see her live in Chicago come November. (She recently added some North American tour dates, check out her official site for info).

Favorite Song #3: "Moving Pictures, Silent Films" by Great Lake Swimmers

Great Lake Swimmers is a Canadian indie-folk band fronted by Tony Dekker that is similar in sound to Red House Painters, Nick Drake, and Iron & Wine. Therefore, if you're unfamiliar with these bands, GLS plays mostly soft, lyrical, essentially bare music that embodies the understanding that you don't need many instruments and heavy production to create poignant, heartfelt music.

Their self-titled 2003 debut consists of ten guitar-vocal duets, with the exception of two songs that utilize drums. I read once that the entire album was recorded in an abandoned grain silo with minimal equipment. That's apparent in the echo and especially the ambient noises-such as the crickets and other insects which can be heard throughout this song and the rest of the album-which add an atmospheric and relaxing effect to the music. It's a perfect album for the night, since that seems to be its original auditory and emotional home.

The songs are mostly sad, slow ballads, so obviously you have to be in the right mood to really enjoy this stuff. I love sad music, but if you hate it, you might want to stay away.

This track, the first on the album, is probably one of the happier-sounding songs on the whole album (although its subject matter, may be the most depressing). The guitar line on this song is the prettiest sounding of the ten, and the slight piano accompaniment adds a great deal of melodic depth. But Dekker's voice is best displayed on this track, blending perfectly with the melody and expressed earnestly.

Perhaps the reason why this is one of my favorite songs is because 1. I never get sick of it, listening to it over and over again; and 2. I can never quite determine exactly what this song is about. Dekker has said that it's simply a song about hibernation, but it's impossible to accept that as its meaning simply because of how emotional this song feels. I've heard countless interpretations, but I'll leave it up to you.

Moving Pictures Silent Films.mp3

Here are the lyrics:

Oh wake me please when this is over
Oh when the ice is melted away
And the hunger returns
I will be the same, but older
And maybe twice the bear
That I thought I was

Where have you been,
And what have you done?
I've been under the ground
Eating prayers from this old book I found
Under the ground
Saving it up, and spending it all
On moving pictures
Silent films
Moving pictures
Silent films

Or is this the dream I've been saving?
Oh where the heart beats slower and slower
To almost nothing
Almost nothing
Almost nothing

I took it for love
Or at least something beautiful
Out there in the spotlight
But I turned around suddenly,
Turned around squinting
And saw
That it was headlights
And then the truth, the truth was unbearable
Oh, and imminent
Bearing down on these two shadow animals

Caught painting a dotted line
Caught painting a dotted line
Caught painting a dotted line

Where have you been?
And what have you done?
I've been under the ground
Eating in prayers from this old book I found
Under the ground
Saving it up
And spending it all
On moving pictures
Silent films
Moving pictures
Silent films

Amy Winehouse

I was going to review AW's Back to Black, but I don't have much more to say than Pitchfork; they capture the album's essence almost perfectly, and interestingly enough, compare her to the lovely Miss Allen. It's a good review, so check it out if you're curious. Oh, I should add, I hated "Rehab" when I heard it, and gave the album a chance anyway. I'm really glad I did, because the rest of the album is much better, especially my favorite track "You Know I'm No Good" and tracks 3-8. Its jazzy-pop feel is ideal for parties and get togethers that require a little movement and funk.

The Onion Blasts Pitchfork

This is hilarious, especially since I love Pitchfork. It kinda puts things into perspective; read it and you'll know what I mean.

Pitchfork Gives Music 6.8

CHICAGO—According to the review, the popular medium that predates the written word shows promise but nonetheless "leaves the listener wanting more."

"Alright, Still" ...by Lily Allen

By now I'm sure you've heard of this wit of a Brit. So this review is late on two accounts: it's the perfect summer album. But better late than never.

I was introduced to Lily Allen by her "Smile" single and video which made me chuckle a little, and of course ogle at this adorable vixen. But she's got much more than a cute countenance: the hype around her is actually well-founded, for a change.

Allen has composed (well, I'm not sure how much of that she did, but anyway) a pretty brilliant pop record. She infuses pop, R&B, and hip hop, creating an album that is both fun to listen to and perpetually fresh--i.e. it doesn't get old. Maybe that's because of the variety on the album; I played it start to finish countless times over the summer, because I like each track a lot, and they're all so damn catchy.

LDN is my favorite track, a satirical take on the pleasantries of Allen's hometown of London...which simultaneously shows off Allen's talent for rhyming and coming up with uplifting pop hooks and choruses. In fact, a lot of this album comes across as rather ironic, in its sordid subject matter but pleasant backing melodies.

The subject matter of this album is somewhat bitter, mostly disappointed and angry (i.e. downright mean), and occasionally regretful, centering mostly on failed relationships with inadequate men, and also people who aren't as good as Lily. She's got a big, cocky, forward personality, but she's cute, smart, and talented. And she doesn't give a shit what anyone thinks. You love her or you hate her, apparently, taking into account the attention she's garnered from the media.


But it's gotta be impossible to hate her music. Sure, she continuously comes up with increasingly creative ways to deny and denigrate men, but her wit is so sharp you can't help but appreciate it, or at least laugh and sing along. Her music is so fresh and addicting that it appeals to people who like all sorts of music, which is why, if you haven't already, you should give her a listen.

Try out LDN, Everything's Just Wonderful, and Littlest Things streamed at her official website or her myspace page.

Bloc Party's "A Weekend in the City"

Have you ever listened to a song or an album in which the lyrics seemed to define your life perfectly at that moment? This album is that for me right now.

This British foursome had to follow up on a huge debut success. Silent Alarm broke genre barriers, strengthened the argument that European, specifically British-born music is better than American music, and opened discussion about Bloc Party's potential as the next great rock band. Their first album was innovative, smart, catchy pop-rock that was as fresh as it was influenced.

The second album has a lot of the same elements as their first, but it has a distinctly different sound overall. Kele, the lead singer, has said that in this album they tried to capture the various happenings and feelings of the city, which they've accomplished pretty well (if the music doesn't make you feel like you're in the business of a city, read the lyrics). But in general, the album is much darker in subject, a little less varied in sound, but pretty damn good in its completed composition (they do have a new producer...).

The album kicks off with the beat-driven "Song for Clay," which starts soft and ends in a cacophony. It gets the album off to a good start, and serves as an adequate transition from their last album; I like playing this song when starting a night out. "Hunting for Witches" incorporates mixed up radio and noise samples, along with a repetitive and loud chorus, which gets annoying quickly; this seems to be one of the emptiest tracks on the album. "Waiting For The 7:18" has some pretty touching lyrics about looking back, characterized by chimes, a cool drum beat, and full choruses, but bores me a little simply because the songs at this point have all begun slow/soft and eneded fast/loud.

"The Prayer," their first UK single, is one of the fastest songs on the album. It is reminiscent of "Banquet," with a less melodic verse structure, but with a sweeping chorus that almost saves the song from its less-than-genius verses and almost cringe-worthy bridges.

The fifth track, "Uniform," made me think of Coldplay's X&Y. Here's why: after a few listens of Coldplay's third release, I began to realize that all the songs on the album followed a formula, which goes like this: start slow, build up to a fast/loud/emotional middle, and end slow. I call it the X&Y formula (how clever!). It made me lose a lot of respect for Coldplay, although I have to admit it does work in some songs awfully well, such as "Fix You." But here, "Uniform" follows that pattern, which makes it so predictable! And Bloc Party were never predictable. I still kind of like the song though, so they're not all that bad at it.

Finally, Kele allows his vocals to shine through on the sixth track, "On," which, although the lyrics are less-than-enchanting, the music complements the vocals very well, and sounds more like the Bloc Party most people really seemed to like. Still not one of their stronger tracks, though.

"Where is Home?" is another disappointing track, and everytime I listen to this album now, I skip over it, simply because of the first minute or so. Kele's voice is distorted to a higher...screech almost, with ghoulish croonings hauntingly voiced in the background; clearly a mood is trying to be evoked in this song, but I don't care--it's not fun to listen to. Granted the chorus is kind of cool (this is Bloc Party), but the rest, and the "guitar solo" at the end ruins it.

The last four tracks of this album are why I would ever rate this album moderately high; I love the last four tracks. Despite my somewhat dismal reviews of the preceding tracks, here's the thing about this album: it's much better when listened to front to back than it is when listened to in bits and pieces. It's as if the album follows the day, with the first track representing the morning and the last representing the night. The first track looks back on his life and wonders what if, and if given another chance, what he'd do over...then he's waiting for the bus and asserting his "unstoppable" will, after which he eventually comes down and looks back again, then perhaps makes a conclusion about his life, or at least becomes honest with himself about it.

"Kreuzberg" is where he makes a decision:

"I have decided at 25
That something must change..."

And ruminates over his meaningless social interactions and the loneliness that results:

"After sex the bitter taste
Been fooled again, the search continues
Concerned mothers of the west,
Teach your sons, how to truly love."

For me, this is my favorite type of Bloc Party's music, the "Blue Light," "This Modern Love," and "So Here We Are" Bloc Party--the softer, more melodic, lyric-based stuff. This is where their strengths really shine, in my opinion. Kele really sounds like he's figuring it out in this song, and we begin to feel a shift in the music's mood.

"I Still Remember" is an extension of this mood, lyrically at least. The words focus on regrets about a lost love, but the tempo and the instrumentation are paradoxically upbeat; perhaps, despite the regrets, there lies an optimism.

"Sunday" offers a promise to love her in the morning, after all the shit's that happened. Yeah, there are a lot of things going on that suck, and we've definitely made some mistakes, but when we're together everything can be okay. That's basically the message; the song is very layered, with a good melody under Kele's vocals. After the last, and most important verse,

When I'm with you, I am calm
A pearl in your oyster
Head on my chest a silent smile
A private kind of happiness
You see giant proclamations
Are all very well
But our love is louder than words

The guitar cranks up out of nothing, creating quite the moment and really driving home the passion of his love.

"SRXT" is my favorite song on the album. Although the subject is the most morose of all the tracks--he's basically talking about killing himself the whole time, or at least the death of a phase of his life--it presents the best moment on the entire album.

I've always debated with myself whether the best music is made up of almost transcendent moments that take your breath away, or just really good consistency (that's harder to explain). For example, I love the song "Ants Marching" by DMB, but there isn't really a particular moment that takes hold of me, I just love the whole song, and become energetic and happy when I listen to it. But there's a certain pluck of the guitar in "Untitled #4" that gets me every time, and this song has a similar moment.

The whole song builds up to it; he's talking about how he was telling his friend how he's drowning in his sorrows, recounting memories and the reasons why he's sad and discouraged. Then the band stops, and at 3:01, up comes the guitar into an explosion of the band's full power....

Suddenly, the rest of the album makes sense.

Favorite Song #2: "Untitled #4 / Njósnavélin / The Nothing Song"

I first heard this song (although a slightly different version) at the final scene of the movie Vanilla Sky. "I'm frozen, and you're dead. And I love you." I've always thought this song was beautiful, but I used to think it was atmospheric background music, which I'd play while lighting incense and reading or playing video games. Then at one point, when I was feeling especially sad, I listened to this song, and it absorbed all my feelings--they were simultaneously nonexistent and amplified--the music overcame me and it was like I was in another place.

This song is off Sigur Rós's third album, untitled (), released in 2002, which contains eight untitled tracks, although the band has created working titles through their touring (see the album's story here).

The music builds and moves in such a way that you'd swear you were on a journey. When the guitar peaks, it's as if the clouds open up to let the light in. It's a pretty amazing moment.

Upon first listen, I thought I knew what they were saying in this song, and you might have some ideas yourself. But the band made up their own language for this album, which they call hopelandic, and since it's nonsensical it simply serves as another instrument. But trust me, you do not need words to get into and enjoy this music.

I made a mix of sad songs for a girl once, and she told me this song didn't fit, because she thought it was a happy song. It turns out the band views this as one of their optimistic ones as well. I still hear it as both. Either way, it's definitely an emotional song, especially if you allow the music to surround you and pervade your thoughts.

Njósnavélin.mp3

Bjork - It's Oh So Quiet

Brilliant. Captures the mood of this wonderful song perfectly.

Sia - Colour the Small One

Here's a repost of one of my amazon reviews:
This album is incredible. Let me expand. I, like many others in the U.S., was introduced to Sia by her single "Breathe Me" which blew me away and basically obligated me to buy this album right away. While Breathe Me is still my favorite song on the album, every song on this album is so good that I've been listening to it over and over again every day for months, and with the size of my library, that's extremely rare.

I've enjoyed her contributions on the Zero 7 albums for a long time, and I recently bought her debut solo effort "Healing is Difficult," but both of these projects differ from each other and sound much different than Colour. Her first album is much more beat-oriented, with infusions of R&B and a little jazz influence. Overall, the songs are musically sound and catchy, but her voice does not really get a chance to shine. Her work on Zero 7 accomplishes this better, and comes closer to the sound on Colour, but because it was primarily the work of the other two band members, it wasn't her own work and thus was not a proper representation of her talent.

Colour the Small One is a towering achievement, and deserves attention as one of the best albums to be released of late. Sia's voice is almost surreal in its beauty and range--sometimes a light, airy, but melancholy and seemingly effortless expression, other times a piercing, forceful, fluctuating unique sound that seems to serve a cathartic purpose, and certainly demands attention. It's difficult to describe the overall sound of the album, but perhaps a discussion of the instrumentation will be enlightening: there is an electronic component to the album, but it's by no means a dance album, and fits more into a chill category. The use of acoustic guitar is right on: the music isn't centered on it, but is beautifully accompanied by it. Piano provides a similar backing. Orchestral bits (cello, flute, etc.) only contribute to the overall feel and beauty of the album. Each song sounds different but they all seem to fit so well together. Many of the songs are composed of slower verses, and drawn out and repetitive choruses, but this is not a negative thing, because Sia's voice is all you want to hear, and it really shines in this album.

I don't really know who to compare her to, because her sound is so unique, but Tori Amos, Feist, a little Rachael Yamagata, and of course Zero 7 come to mind. Everyone of my friends who have heard any of her music inevitably ask who it is and love her immediately. Needless to say, I highly recommend this album. It is both sad and refreshingly hopeful at the same time. Breathe Me still blows me away every time I hear it, and I cannot stop listening to the other songs such as Don't Bring Me Down, Moon, The Church of What's Happening Now, and Numb....I also saw her live a few nights ago, and while I wasn't sure what to expect, again I was blown away. Never have I seen an artist have so much fun on stage, but also so in the zone while singing. That supports her talent: Sia is incredible in her songwriting and her execution. The lyrics are deep and meaningful, not superficial poppy stuff, and her execution is of the utmost maturity. You will love this album, it's too varied to be categorized, and too beautiful not to appreciate.

Favorite Song #1: "Album of the Year"

I decided to review a song somewhat periodically so that my favorite bits of music would get the attention they deserve. I chose to make The Good Life's "Album of the Year" my first because every time I listen to this song, I think, that might be the best song I've ever heard.

The frontman of The Good Life, Tim Kasher, is a genius songwriter, telling the stories of lost love and loneliness that progress over the course of a year, encapsulated in the twelve tracks (months) of this album. The opener is April, and like the rhyme "april showers bring may flowers," metaphorically the song presents both the melancholy of loss and hope for the future.

This album has been aptly described as "Catchy, moody, pop rock that fluctuates between the all-ages club and the smoky cabaret, right alongside sing-along crescendos that spin into cinematic bursts," and it's these bursts, like on this track, that make this band so engaging.

Kasher recounts the story of a relationship, from when they met until the last time they saw each other, reminiscing on important little moments, while only hinting at what caused their demise. The key to this song, I believe, is that the music perfectly complements the lyrics, in that the emotional parts of the music follow the emotional parts of the song. It seems that the way he sings this song is exactly how he would sing it if he were simply recalling his ended relationship. If you've ever felt any of the feelings he releases, you'll get into this song and it will seem like it's your own.

Anyway, here's the song (listen to it loudly):

Album of the Year.mp3

...And the lyrics:

The first time that I met her I was throwing up in the ladies room stall. She asked me if I needed anything; I said, “I think I spilled my drink.” And that’s how it started (or so I’d like to believe)...

She took me to her mother’s house outside of town where the stars hang down. She said she’d never seen someone so lost, I said I’d never felt so found – and then I kissed her on the cheek... and so she kissed me on the mouth.

Spring was poppin’ daises up ‘round rusted trucks and busted lawn chairs. We moved into a studio in Council Bluffs to save a couple bucks...Where the mice came out at night, neighbors were screaming all the time. We’d make love in the afternoons to Chelsea Girls and Bachelor No. 2. I’d play for her some songs I wrote, she’d joke and say I’m shooting through the roof, I’d say, “They’re all for you, dear, I’ll write the album of the year.”

And I know she loved me then, I swear to God she did. It's way she’d bite my lower lip and push her hips against my hips and dig her nails so deep into my skin.

The first time that I met her I was convinced I had finally found the one. She was convinced I was under the influence of all those drunken romantics – I was reading Fante at the the time – I had Bukowski on the mind. She got a job at Jacob’s serving cocktails to the local drunks. Against her will I fit the the bill: I perched down at the end of the bar. She Said, “Space is not just a place for stars – I gave you an inch, you want a house with a yard.” And I know she loved me once, but those days are gone. She used to call me everyday from a pay phone on her break for lunch – just to say she can’t wait to come home.

The last time that I saw her she was picking through which records were hers. Her clothes were packed in boxes, with some pots and pans and books and a toaster. Just then a mouse scurried across the floor.....we started laughing ‘til it didn’t hurt...

My Morning Jacket's Masterpiece: At Dawn

When the summer started, and I had bought countless new albums I've been meaning to get, I told myself I would listen to at least one or two a week. I was successful until I listened to At Dawn by My Morning Jacket, which I have since listened to every day, over and over again.

I enjoy music that cannot easily be categorized into a single genre, because the variety of instrumentation, vocalization, and apparent influences makes an album all the more complete. I've always said that I hate country music, and if I hear the K102 radio station I invariably become quite angry and my head starts to hurt. But some really good bands have country influences, and I am not against that at all(recent additions to my favorites include Jenny Lewis, Neko Case, Brandi Carlile, and of course Ryan Adams). When trying to describe MMJ's sound to newcomers, I've said it's a mix between folk, rock, country, and jam band styles.

Ultimately, though, their sound is their own; clearly rock with southern influences, lead singer Jim James utilizes long phrasing and harmonizing, often soaked with reverberation. The songs are decently long, and I was therefore shocked when I first looked up the lyrics to this album and found that there were so few words. But that's the really amazing thing about their music; they don't need a lot of words to get their ideas and their feelings across--it's all in the way that he sings and the way that the band plays.

The first time I listened to this album, I listened to it straight through, and afterward I knew I'd just heard a masterpiece. I just sat there, and said "wow" to myself. Then I started playing it again. But the true genius of the album didn't hit me until I really started to delve deeper into each individual song, examining the possible meanings behind the lyrics, and focusing on the intricacies of the music itself. The songs on this album cover the spectrum of human emotion, and a great deal of relevant experiences, especially with respect to relationships (obviously).

The album starts with the haunting but hopeful "At Dawn" in which he asserts his ability to make it in the music industry despite the admonitions of everyone else, which adequately serves as a metaphor for anyone trying to rise above.

The album picks up on "Lowdown" which centers on the importance of his love for another, and that she doesn't need to worry because she never has to fight with him, she never has to bleed for him, and she's only gotta dance with him.

"The Way that He Sings" has been deemed the "quintessential MMJ song" by one, and this may be true simply because of MMJ's description of their favorite band within the song: "Why does my mind blow to bits every time they play that song? / It's just the way that he sings, / not the words that he says, or the band. / Im in love with this soul, it's a meaning that I understand." There's a point in this song, when Jim James croons "Why's it so great just to wake every day, alive and by your side." that I get really, really happy-every time! The song consists of a number of questions that focus on the injustices of war and the state of the world itself, love, and music--specifically wondering how these things affect us individually.

The next track, "Death Is My Sleezy Pay" is a slow, sad song about longing for someone, how time seems to slow down when you're apart, speed up when you're together, how someone can be so sweet to you you can't stand it, and how death is better than not having that someone.

"Hopefully" is my favorite track on this record. This song is meant to be listened to without distraction, preferably cranked up so you can hear the crickets in the background and allow Jim James's vocals in the chorus to pierce through to your soul. (Can you say cliché!?! haha.) But seriously, that's what it feels like. This song is about a couple who's fallen on hard times, but he knows how much he loves her and he's determined to make it right. It's by far the most emotional song on the album, and when James starts the chorus, you'll know. Everytime this song starts, with James whispering "I'm ready when you are" before the guitar starts, I get sucked in and feel it.

As much as Hopefully sounded like a song you have to listen to at night, I've listened to "Bermuda Highway" in my bed before I go to sleep more than any other song. It has a soothing poetic rhythm to it, telling two short stories about loneliness and concern about being "carved out" from her life, and about her abandoning her dreams. I can't figure out exactly who he's talking about at the end, when he says "Sometimes I wonder why that meek guy got all the fame, / maybe im to blame for his short bitter fucked up life."--whether it's himself, and he's referring to regrets about the man he's become, or someone else... (Actually, the whole song is rather hard to understand exactly--check out the lyrics and tell me if you're not confused by the fourth line) Either way, this song hits you; they do
such a good job of evoking the mood of the lyrics through their music--THAT is their musical genius I've been talking about.

"Honest Man" is one of the true rockers on the album, with twangy guitar solos and screams, which delivers a good change-of-pace from the previous slow songs. It wakes you up. James once again, as if out of the depths of sleep and/or depression, asserts that he's going to try his hardest to be an honest man and to "make it on this earth."

"Xmas Curtain" is wonderful! More upbeat, but not a rocker, actually infuses a bit of reggae in it with metal drums in the bridge, it serves as an interesting switch up. And its subject matter is so obscure that it carries with it somewhat of a carefree attitude, unlike much of the rest of the album. My guess is that the "lawbreakers who never break the law" are men stealing (and behaving badly with) women's hearts.

"Just Because I Do" may be an affirmation of independence, which centers on attempts to help her get better and be her normal self, so he can leave her and/or get over her.

"If It Smashes Down" consists of just Jim James and his banjo, thumping and plucking away, as he slowly recounts "lovely trips" with his lover. His voice echoes and fills wherever he was, and contributes to the feelings of solitude that this song evokes.

"I Needed It Most" is the fourth longest song on the record, and is another acoustic song soaked with reverb. It is perhaps the most poetic, and James utilizes the longest phrasing in the album (not many words, but each line takes a while) which is equally tempo'ed to give it all equal weight. He's looking back on his past, and reflecting on the state of his current relationship with the one he loves. He's telling her that despite their differences, and despite the really hard times that make them feel they'll crumble, all that matters in the end is that they're there for each other, that they've both got someone to hold when they need it most.

"Phone Went West" is a quest for answers, and for something to happen. The pragmatism of the lyrics, "Is there a doctor in the house tonight? / If there's a wrong, he could make it right." contrast with his longing to know what's going on in the uncertainty of his relationship ("Tell me I'm wrong, tell me I'm right. / Tell me there's nobody else in the world."). Not knowing whether or not he gets his answers, we see that he chooses to act, as he repeats "There will be a knock on your back door." at the end of the song. It seems that finally, after everything that's happened, he's chosen to just go see her.

Some people have said that "Strangulation" doesn't belong on this record because of its bits of heavy rock, but I argue that this song is the perfect end to this album. It starts off softly, with the words "strangulation / I don't wanna feel a thing," and covers the heaviest subjects on the album: although living in such despair and apathy that suicide seems to be the best option at times, James comes to the conclusion that despite it all, he believes that someone up there is looking out for us and helping us with the pain. This song serves as the perfect catharsis: sadness for our lost loved ones and our depressing lives, anger for how unfair things have seemed, and finally, knowing that we aren't alone, hope for the future.

Sample these MP3's from their site (right-click "save target as"):
Lowdown.mp3
Bermuda Highway.mp3

Sia - Lady Croissant

Sia's live album was released on April 3, 2007, and here's the product description: Astralwerks is thrilled to release a new mini LP by Sia, Lady Croissant, which was recorded live at Bowery Ballroom in NYC. The recording includes eight songs from both the Zero 7 and Sia catalog. This live performance captures Sia at an incredible height, performing such songs as "Numb", "Don't Bring Me Down", "Distractions" and "Breathe Me". This release also includes a brand new studio track titled "Pictures".

Although the track list isn't long, it definitely includes some of Sia's best songs from both her solo career and her work with Zero 7, showing how well she is able to play material from both of these projects at once, coalescing such different stuff into a streamless, beautiful whole.

Her band plays flawlessly on this release, but by far the most compelling talent is Sia's voice. Live, her voice changes from a soft, airy crooning to a strong, piercing wail that blows you away with its power. The two Zero 7 tracks, "Destiny" and "Distractions" are awesome live, but the real stand outs are her earlier track, "Blow it all Away" off her debut, which gains a much fuller sound live, and my favorite, the amazing "Lentil" which was previously unreleased. Lentil builds from a melancholy reminiscence to an all-out cry for forgiveness. Every time I listen to this song, time seems to stop and my entire being is drawn into her world...something her emotional performance always seems to demand. That's what really good music is all about--you don't hear Sia's music; you feel it.

Get it here.

Haley Bonar

So a week after I did my radio show on women in music I've discovered in the past couple years, I found a musician who rivals them all. I'd just bought a few cds from considerably bigger names--musicians who had some in with popular culture (movies, national publications, etc.)--and here's a cute, quiet 22-year-old playing a college show who just floors me...Her name is Haley Bonar, and her music is incredible. She has a beautiful, soft, and mature voice, and her songwriting is honest, lyrical, and intimate.

Apparently she started playing at bars and clubs around her home town of Sioux Falls, SD, when she was just 15, and she released her first LP, entitled "...The Size of Planets," in 2003 when she was 19. She has since dropped out of the U at Duluth and has been touring extensively, playing alongside some pretty big names (Mason Jennings, Arcade Fire, and many more), and released another album, "Lure the Fox" last year.

She's recorded both of these in the twin cities area, so she plays a lot of shows at the Minneapolis/St. Paul venues. I highly recommend seeing her live; she has this striking ability to pull you in so that it seems like you are the only one she's singing to. Her sound is right on, utilizing two types of guitar, keyboard, and backed by a drummer, and bassist / vocalist. Granted, her music is probably better for some occasions/moods than others, as a friend of mine suggested, but she's just really, really good, and deserves to be checked out.

Go to her official website to see news, tour dates, discography, photos, press links, and most importantly, to hear some of her songs streamed: listen to the beautifully poetic "Hawaii," the twangier "Drinking Again," the longlingly commiserate "Save a Horse Ride a Cowboy," and the haunting, incredible "Car Wreck."

Vienna Skyline

A day in Vienna and I was looking up, originally uploaded by Cilest.

This really makes me want to be in the city, or travel, or travel to big cities. Only a few more months!

Smoke features

Smoke features, originally uploaded by Issi Noho.

This is so cool.

Spirituality

spirituality, originally uploaded by Sara Heinrichs (awfulsara).

Seeing Saul Williams (poet, rapper, speaker, activist, etc.) last night reminded me of this photo. By the way, Saul is INCREDIBLE. If you ever get the chance to see him, don't pass it up, he has some amazingly true and life-changing ideas, and his poems are awesome, to say the least.

Catherine Feeny

I saw Running with Scissors last night (see the trailer here). It was really, really good. It had some of the best usage of music in a film I've ever seen; throughout all the emotional scenes the selections of songs perfectly complemented and enhanced the mood.

One of those songs was "Mr. Blue" by Catherine Feeny...it was so beautiful I could hardly believe it, but believe it I did upon immediately buying her album Hurricane Glass on iTunes (it's also available at cdbaby). Her music has been called "beautiful melancholy," and "intimate but radiant folk-pop." Soft instrumentation pervades, utilizing guitar and light strings, her voice is beautiful and light, and her lyrics are intimate and thoughtful.


Listen to "Mr. Blue" at her myspace page, and check out "Touch Back Down" and "Hush Now" as well. Here's her official website with a nice little bio, news, tour dates, and you can actually stream her entire album under the "music" link! This woman shows a lot of promise and I'm excited to play her on my new radio show.

Dave Matthews Band Live Trax 8 Now Available for Purchase

This show, played on 08.07.2004 at Alpine Valley Music Theatre, East Troy, WI is part of DMB's exclusive online releases of their live shows over the years, which they call "Live Trax." This show was actually my first Alpine experience, and man it was an incredible show. This was the tour they started playing their new songs, some of which would go on Stand Up. For this particular show, they actually covered "Super Freak" in homage to Rick James' passing...but it was an incredibly good setlist, one you fans of DMB won't want to miss, especially if you were there!!! An excerpt from the buying site:

"The Alpine Valley show was a near perfect setlist from the show opener greeting, Hello Again to the encore featuring Typical Situation followed by Warehouse. New song Sugar Will was played as a long jam and another song making its debut that summer, Joyride, was also featured on the setlist. A special highlight of the Alpine night one Live Trax recording is Crazy Easy, never before released live!

A true surprise of the show included Super Freak, DMB’s tribute to the late great Rick James, which sent the crowd into a frenzy! Other highlights included Dave singing parts of #36 on the outro of Everyday, the solemnly beautiful I’ll Back You Up and Bartender, which was dedicated to the troops working hard to keep the world safe for us."

Go here to see the setlist or buy.