The new Bomb the Music Industry! album Scrambles is a great piece of music . I mean that not only in the “you need to hear this if you love punk/great music,” but because this band makes me feel good about life in general*. With a true DIY ethic, donated on-line music, make your own merch, and cheap all-age shows; Jeff Rosenstock and crew rock it for the kids.
Rosenstock is the ringleader and originally the sole musician. The electronic elements on tracks like “It Shits!!!” and “Saddr Wierdr” remind you just what a bored kid with a computer can do (think Adam and his Package). The change came 07’ when he got a full band to record and tour with, a change that has ultimately bettered his brainchild. The bands hardcore elements continue to be threaded into broader songs, but stays true on “Gang of Four Meets the Stooges (But Boring).” Bomb the Music's lyrics have always been drunk with humor and self- deprecating insight. On “(Shut) Up The Punx!!!” he screams “ The last thing I want to be / Is another negative asshole / Like God speaks through my acoustic guitar / and I have a perfect set of morals!”
What makes this gem stand out is the songwriting on anthems like “24,000,000” and “Sort of Like Being Pumped.” There is an emotional tenor driven by the decked out band that parallels Rosenstocks lyric conviction, for all that it's worth. Bomb the Music Industry! has always been comically vulnerable, on Scrambles they can unabashedly say they got it right.
*Others included in this category are classics like PB & J and Joe Paterno.
Monday, April 20, 2009
Monday, April 13, 2009
More Open Road Please
This past week the sun has decided to represent for a bit before inevitably retreating until mid June. The rising temperature has stirred my desire for making an escape.
Vulture Whale hail from Alabama but remind me of the Violet Femmes (Milwaukee, MI) amongst others, and even rock a little “the boys are back in town” groove on “Tote It to Cleveland, AL.” Their self-titled* album is with out a doubt a willin’ road trip I would leave blaring out the car windows.
They play with guitar twang inspired by spare change, and kick ass on the rockabilly “Guillotine." On songs like “Head Turner,” their opening lyrical humor is both cynical and disarming; “You look good / for a woman you age / I’ll let you know / when you need old lady shoes.” For those who initially perceived this as just another indie band who captured a hip band name without any substance will be surprised.
The album opens and closes with an electronica blip, the humor continues on “Sum Yung Scientist,” but laughs alone on tracks like “Sugar” and “What Do.” On their second album Vulture Whale captures how to smile at the rust gathering around the engine block and chase the sunset.
* I think Vulture Whale has two albums out, and both are self-titled.
Vulture Whale hail from Alabama but remind me of the Violet Femmes (Milwaukee, MI) amongst others, and even rock a little “the boys are back in town” groove on “Tote It to Cleveland, AL.” Their self-titled* album is with out a doubt a willin’ road trip I would leave blaring out the car windows.
They play with guitar twang inspired by spare change, and kick ass on the rockabilly “Guillotine." On songs like “Head Turner,” their opening lyrical humor is both cynical and disarming; “You look good / for a woman you age / I’ll let you know / when you need old lady shoes.” For those who initially perceived this as just another indie band who captured a hip band name without any substance will be surprised.
The album opens and closes with an electronica blip, the humor continues on “Sum Yung Scientist,” but laughs alone on tracks like “Sugar” and “What Do.” On their second album Vulture Whale captures how to smile at the rust gathering around the engine block and chase the sunset.
* I think Vulture Whale has two albums out, and both are self-titled.
Sunday, March 22, 2009
Award Tour
So I’ve been listening to K’naan’s Troubadour. “America,” feat. Mos Def and Chali 2NA has been on non-stop rotation over the past week and is one of my favorite tracks so far this year. Mos Def takes the award for best verse after all the dust has cleared when he rhymes, “make that cake / hook that trick / lick my swagger / and suck my shit.” I haven’t really been down with Jurassic 5 over the past couple years, but Chali 2NA shows he’s still the lyrical Frankenstein that I grew to love so much, and his voice is a breath of fresh air in comparison to the other MC’s on the track.
Give respect where it’s due. In the end Troubadour belongs to K’naan. His bio begins in Somalia, moves to Canada, then America. Some times he rhymes in Somali and I have no idea what he is saying, but has a delivery that sounds a bit more familiar than a lot of foreign Hip-Hop artists. On “I Come Prepared,” feat. Damien Marley, he rhymes, “And Africans love them / Some B.I.G. / But 2Pac is official / Ed N.I.C.” Whether you agree with the assertion or not, he isn’t naive to the achievements and conflicts that preceded him.
As Hip-Hop grows more and more global I think new voices, in particular new languages, will provide vast roads of unexplored territory. K’naan’s Somali accent adds a subtle inflection to his delivery, and I find myself singing along to the words that I don’t understand. On “People Like Me” he rhymes “And we both liked American rap rhymes / Even though we didn’t understand one line.” I know how he feels.
On the downside, I’m not really about Troubadour’s dance hall feel, adding another unfamiliar theme for my American sensibilities. I am impressed, but also totally confused with headliners like Adam Levine of Maroon 5 and Kirk Hammett of Metallica stop by for cameo roles. This is Hip-Hop 2009, you reap what you sow, and we all have to eat. Check out Troubadour if this sounds like your taste.
Give respect where it’s due. In the end Troubadour belongs to K’naan. His bio begins in Somalia, moves to Canada, then America. Some times he rhymes in Somali and I have no idea what he is saying, but has a delivery that sounds a bit more familiar than a lot of foreign Hip-Hop artists. On “I Come Prepared,” feat. Damien Marley, he rhymes, “And Africans love them / Some B.I.G. / But 2Pac is official / Ed N.I.C.” Whether you agree with the assertion or not, he isn’t naive to the achievements and conflicts that preceded him.
As Hip-Hop grows more and more global I think new voices, in particular new languages, will provide vast roads of unexplored territory. K’naan’s Somali accent adds a subtle inflection to his delivery, and I find myself singing along to the words that I don’t understand. On “People Like Me” he rhymes “And we both liked American rap rhymes / Even though we didn’t understand one line.” I know how he feels.
On the downside, I’m not really about Troubadour’s dance hall feel, adding another unfamiliar theme for my American sensibilities. I am impressed, but also totally confused with headliners like Adam Levine of Maroon 5 and Kirk Hammett of Metallica stop by for cameo roles. This is Hip-Hop 2009, you reap what you sow, and we all have to eat. Check out Troubadour if this sounds like your taste.
Thursday, March 19, 2009
For They Know Not What They Do
Fact #1: Euronymous was one of the founding members of black metal legends Mayhem.
Fact #2: He also dug electronica.
I bring this up on the midst of listening to Wardruna’s Runaljod - Gap Var Ginnunga. The album isn’t old school black metal, it’s ancestral. But rather than get into discussing the cast of characters, or describing how awesome a goat horn sounds bellowing through a rainstorm; I want to talk about the survival, and future direction of black metal.
In the early nineties electronica had just started making a mainstream presence in America, a full decade after most European countries. This is the very time that black metal, a genre that once prided itself on barren distorition, is spreading over the Scandanavian countryside, while countries like France, Brazil, and America are getting into the act. Today it seems that electronica is the dominant counterpoint for all genres to experiment in, which is what I love about the offering by Wardruna. Runaljod is pure and simple, but carved out of acoustic wood work.
Black metal has been engrossed in the electronic possibilities for some time. From Dimmu Borgir, Blut Aus Nord, and Prurient, what is there really left to cover? I think that this album deserves notice on a micro-scale, a reminder that division is never dead, but born anew.
Fact #2: He also dug electronica.
I bring this up on the midst of listening to Wardruna’s Runaljod - Gap Var Ginnunga. The album isn’t old school black metal, it’s ancestral. But rather than get into discussing the cast of characters, or describing how awesome a goat horn sounds bellowing through a rainstorm; I want to talk about the survival, and future direction of black metal.
In the early nineties electronica had just started making a mainstream presence in America, a full decade after most European countries. This is the very time that black metal, a genre that once prided itself on barren distorition, is spreading over the Scandanavian countryside, while countries like France, Brazil, and America are getting into the act. Today it seems that electronica is the dominant counterpoint for all genres to experiment in, which is what I love about the offering by Wardruna. Runaljod is pure and simple, but carved out of acoustic wood work.
Black metal has been engrossed in the electronic possibilities for some time. From Dimmu Borgir, Blut Aus Nord, and Prurient, what is there really left to cover? I think that this album deserves notice on a micro-scale, a reminder that division is never dead, but born anew.
Tuesday, January 13, 2009
In Review 08'
Lets get right into it:
Jamie Lidell – Jim
“Another Day” captures gospel glow, “Figure Me Out” is a chunky piece of neo-soul, and “All I Wanna Do” is the slow dance you waited all night for. This album got tons of rotation.
Paavoharju – Laulu Laakson Kukista
Remember to put Paavoharju, and Fonal Records on your radar.
Diesto – Isle of Marauder
One of the true surprises this year. The huge riffs in the last minutes of “Marauder” and barbaque-quitar-break at the end of “Mind Eraser” have a return value that competes with some of my favorite moments this year.
Christine Fellows – Nevertheless
Technically this is a Canadian release from last year, but Vampire Weekend is making every indie list this year, when their album leaked some twenty months ago. Nevertheless deserves just as much online clamor, if not more.
Oddisee – 101
This is another album that no one is talking about. Oddisee will teach you soon.
Ceremony – Still You Feel Nothing
In other proletariat awards:
Paint it Black “Shell Game Redux” = best song
Vitamin X @ Satyricon Portland, OR = best show*
The Donkeys – Living on the Other Side
What makes the Donkeys different from other folk, indie, and other label mates are their bluesy lyrics and instrumental-grassroots-high on tracks like "Downtown Jenny" and "Dolphin Center." If you own Birkenstocks; kick a hippie, and ride with the Donkeys.
Scarface – Emeritus
What hasn’t already been said? I’ll say it again. Respect.
Ponytail – Ice Cream Spiritual
This album is crazy blur of Pop fun, like MTV played backwards in double time, but in a good way.
Prostitute Disfigurement – Decedents of Depravity
Roel’s lead guitar work on this album stands up to anyone within the genre. Previously, Dave Suzuki of Vital Remains blew me away with his lead work on Icons of Evil, and after listening to Decedents I believe the Roel is just as talented . The solos on “Concealed Insanity” and “Life Depraved” are perfectly balanced between melody and prowess.
Crystal Castles – Crystal Castles
Good music. Bad humans. Hate to Love.
I might write an Honorable Mention crew…
*w/ the glorious thrash-a-puss! Basically, a giant inflatable octopus was throne into the pit.
Jamie Lidell – Jim
“Another Day” captures gospel glow, “Figure Me Out” is a chunky piece of neo-soul, and “All I Wanna Do” is the slow dance you waited all night for. This album got tons of rotation.
Paavoharju – Laulu Laakson Kukista
Remember to put Paavoharju, and Fonal Records on your radar.
Diesto – Isle of Marauder
One of the true surprises this year. The huge riffs in the last minutes of “Marauder” and barbaque-quitar-break at the end of “Mind Eraser” have a return value that competes with some of my favorite moments this year.
Christine Fellows – Nevertheless
Technically this is a Canadian release from last year, but Vampire Weekend is making every indie list this year, when their album leaked some twenty months ago. Nevertheless deserves just as much online clamor, if not more.
Oddisee – 101
This is another album that no one is talking about. Oddisee will teach you soon.
Ceremony – Still You Feel Nothing
In other proletariat awards:
Paint it Black “Shell Game Redux” = best song
Vitamin X @ Satyricon Portland, OR = best show*
The Donkeys – Living on the Other Side
What makes the Donkeys different from other folk, indie, and other label mates are their bluesy lyrics and instrumental-grassroots-high on tracks like "Downtown Jenny" and "Dolphin Center." If you own Birkenstocks; kick a hippie, and ride with the Donkeys.
Scarface – Emeritus
What hasn’t already been said? I’ll say it again. Respect.
Ponytail – Ice Cream Spiritual
This album is crazy blur of Pop fun, like MTV played backwards in double time, but in a good way.
Prostitute Disfigurement – Decedents of Depravity
Roel’s lead guitar work on this album stands up to anyone within the genre. Previously, Dave Suzuki of Vital Remains blew me away with his lead work on Icons of Evil, and after listening to Decedents I believe the Roel is just as talented . The solos on “Concealed Insanity” and “Life Depraved” are perfectly balanced between melody and prowess.
Crystal Castles – Crystal Castles
Good music. Bad humans. Hate to Love.
I might write an Honorable Mention crew…
*w/ the glorious thrash-a-puss! Basically, a giant inflatable octopus was throne into the pit.
Saturday, December 27, 2008
If You Don't Know
In case you haven’t heard, Scarface has announced his retirement. Artists make these proclamations in the sand; Chinese Democracy owns that title, but Emeritus truly deserves your praise and respect. At the other end of the tunnel, Oddisee released the album I was hoping for like a fresh pair of Air Jordans.
Scarface is one of a few reigning champions from mafia era in Hip-Hop. While LA and NYC will always be remembered as the dominant forces, Scarface is half 2Pac, half Nas, all south-side Houston, TX. He never was huge on the Billboard charts or a poster-turnstile-god; but he owns respect in the neighborhood he rose from while his lyrics mastered the trials and brought “the code to the game” for nearly two decades. One lyrical grail that I think is often passed over is the Christian imagery that bleeds its way onto thug-scripture with every Scarface release. On "Can't Get Right (ft. Bilal)," Scarface ryhmes "America the Beautiful / there's a funeral on every day of the month / tryin to get our knees up / what we want / is another chance under these circumstances / My people ain't advancin, but if we pray / Maybe we'll get to live our lives in the sun 'stead of livin on the blocks dyin young." While the relationship between sin and survival isn’t new, there are few who own a reputation as real as their poetic skill. Emeritus is raw-cut Scarface, criminal confessions burning up in the Texas heat. Do your homework and educate yourself on one of the greatest MC’s still around today.
Oddisee declares on “iRap,” “Wayne say he the greatest rapper alive / Guess that make me the greatest rapper/producer alive/ Dilla rest in peace.” I was sold. Lil’ Wayne and Kanye West are the new era right? What about the great new releases by Ice-Cube and Q-Tip? Don’t they deserve the same respect? Class, take your seats, this is Oddisee 101.
Most criticism in recent memory has tried to divide Hip-Hop, including yours truly, into configuring an economic direction during an era of inflation. 101 voices a challenge to the machine from the inside out, flawlessly aware of his place and responsibility. His sly delivery matches the production skills, a definitive statement that he isn't confined to being just another producer who dabbles being the mic. Oddisee has learned to rhyme for the K.O, take a breath, and let his opponents suck for wind during the hook.
On 101 he takes his time, laying out his conflicts with presicion and insight. Delving into Black vs. Black vs. Brown conflict in a America vs. Islam world on “Camera,” a path to the top on his own terms on “A Song for That,” respect for the sex he loves on “Delusional (ft. Little Brother)” , and adding Flying Lotus to create some dream-funk on “The Perch (feat. Phonte, Tor);” Oddisee is challenging convention with nuclear purpose.
This is the album I have been waiting on, and am still waiting to get it in hardcopy. One of my 08' favorites.
Scarface is one of a few reigning champions from mafia era in Hip-Hop. While LA and NYC will always be remembered as the dominant forces, Scarface is half 2Pac, half Nas, all south-side Houston, TX. He never was huge on the Billboard charts or a poster-turnstile-god; but he owns respect in the neighborhood he rose from while his lyrics mastered the trials and brought “the code to the game” for nearly two decades. One lyrical grail that I think is often passed over is the Christian imagery that bleeds its way onto thug-scripture with every Scarface release. On "Can't Get Right (ft. Bilal)," Scarface ryhmes "America the Beautiful / there's a funeral on every day of the month / tryin to get our knees up / what we want / is another chance under these circumstances / My people ain't advancin, but if we pray / Maybe we'll get to live our lives in the sun 'stead of livin on the blocks dyin young." While the relationship between sin and survival isn’t new, there are few who own a reputation as real as their poetic skill. Emeritus is raw-cut Scarface, criminal confessions burning up in the Texas heat. Do your homework and educate yourself on one of the greatest MC’s still around today.
Oddisee declares on “iRap,” “Wayne say he the greatest rapper alive / Guess that make me the greatest rapper/producer alive/ Dilla rest in peace.” I was sold. Lil’ Wayne and Kanye West are the new era right? What about the great new releases by Ice-Cube and Q-Tip? Don’t they deserve the same respect? Class, take your seats, this is Oddisee 101.
Most criticism in recent memory has tried to divide Hip-Hop, including yours truly, into configuring an economic direction during an era of inflation. 101 voices a challenge to the machine from the inside out, flawlessly aware of his place and responsibility. His sly delivery matches the production skills, a definitive statement that he isn't confined to being just another producer who dabbles being the mic. Oddisee has learned to rhyme for the K.O, take a breath, and let his opponents suck for wind during the hook.
On 101 he takes his time, laying out his conflicts with presicion and insight. Delving into Black vs. Black vs. Brown conflict in a America vs. Islam world on “Camera,” a path to the top on his own terms on “A Song for That,” respect for the sex he loves on “Delusional (ft. Little Brother)” , and adding Flying Lotus to create some dream-funk on “The Perch (feat. Phonte, Tor);” Oddisee is challenging convention with nuclear purpose.
This is the album I have been waiting on, and am still waiting to get it in hardcopy. One of my 08' favorites.
Monday, December 8, 2008
In Broken Light Shades
This might be my favorite album of 08’.
Paavoharju’s Laulu Laakson Kukista sounds like a Sigur Rós album shipwrecked on a secret island, grasped by wild vines, and venturing into the mist . Every track on this album is coming from the same environment, the same spell, which is why Laulu has wound me up. This years "top" picks will be labored over scrawl spaces in the coming days and weeks, but I am sure that every time I listen to this album, it will remain both familiar and enchanting.
Paavoharju are from Finland, the Netherlands, and other places where godly carpenters of sound are birthed. The opener, "Pimeänkarkelo” is nothing surprising to an ambient music fiend prepared for the long haul, but the next track “Kevätrumpu,” rolls through like an electronica-dance-kicker. The whole body of work is wound tightly enough that severing a single reaching limb would be a fatal loss. This is Laulu Laakson Kukista’s strength, it’s weakness, it’s story; and there are plenty limbs to choose from if you’re counting. “Kirkonväki” is a haunting martial procession; "Uskallan" a well of Beirut-style-levity, and “Tyttö Tanssii” an acoustic lullaby that brings the magic to a quilted decent. The album doesn't loose pace with bridges like "Alania" and "Salainen Huone," serving a greater purpose. So what’s to hate?
In the end, my biggest complaint is that the album is too short at barely over thirty-five minutes long. Next time I would like to see Paavoharju stretch to greater lengths, but until then, I'm addicted. The year is drawing to a close, and Laulu Laakson Kukista is one to remember.
Paavoharju’s Laulu Laakson Kukista sounds like a Sigur Rós album shipwrecked on a secret island, grasped by wild vines, and venturing into the mist . Every track on this album is coming from the same environment, the same spell, which is why Laulu has wound me up. This years "top" picks will be labored over scrawl spaces in the coming days and weeks, but I am sure that every time I listen to this album, it will remain both familiar and enchanting.
Paavoharju are from Finland, the Netherlands, and other places where godly carpenters of sound are birthed. The opener, "Pimeänkarkelo” is nothing surprising to an ambient music fiend prepared for the long haul, but the next track “Kevätrumpu,” rolls through like an electronica-dance-kicker. The whole body of work is wound tightly enough that severing a single reaching limb would be a fatal loss. This is Laulu Laakson Kukista’s strength, it’s weakness, it’s story; and there are plenty limbs to choose from if you’re counting. “Kirkonväki” is a haunting martial procession; "Uskallan" a well of Beirut-style-levity, and “Tyttö Tanssii” an acoustic lullaby that brings the magic to a quilted decent. The album doesn't loose pace with bridges like "Alania" and "Salainen Huone," serving a greater purpose. So what’s to hate?
In the end, my biggest complaint is that the album is too short at barely over thirty-five minutes long. Next time I would like to see Paavoharju stretch to greater lengths, but until then, I'm addicted. The year is drawing to a close, and Laulu Laakson Kukista is one to remember.
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