One For The Good Days

WTF of the Day: The National and Mad Men's Roger Sterling?

2011-03-08T12:00:00.004-05:00

It takes a real event - or threat of one - to get me to post these days... but my interested has piqued at the random placement of the above three pictures on pitchfork.com.

Is it a new National video? A line of menswear? A random demonstration of what The National are capable of with millions of dollars they now have at their disposal? I've requested comment from Mr. Pitchfork himself, Ryan Schreiber. I await his answer.

YJS

UPDATE: These were screencaps from the new video from The National for their tune "Conversation 16," which has debuted today and can be watched here.

New Sufjan Album 'Age of Adz' Out This October

2010-08-26T09:29:00.003-04:00

As if a 60 minute EP wasn't enough to quell the thirst for new Sufjan, the poet who knows it is set to release his second batch of new material on a full length this October. According to Asthmatic Kitty's release the album "shows an extensive use of electronics... and an obsession with cosmic fantasies." I know, what?

It sounds as if Sufjan might be heading back in the direction of his eclectic "Enjoy Your Rabbit," the album that first demonstrated Mr. Stevens obsessions with thematic elements and electronic music. The new album actually doesn't boast any common leitmotif besides the usual "of love, loss, and the apocalypse," and I am hoping hoping hoping it can help Sufjan break out of the mold his unique vocals casts.

As an aside, this might be the album that the National had hinted to having cameos on... makes it all a little more exciting.

Listen and buy the All Delighted People EP here.

Info on Sufjan's upcoming Fall Tour here.

...and I am back.

2010-08-26T09:28:00.000-04:00

After hearing a number of singles off the new Arcade Fire...

2010-06-14T23:39:00.002-04:00

I think Win is venturing into Morrissey range with his voice and inflections.... and even though they aren't necessarily the most exciting tunes they've done thus far, I think the songs are going to blow people away during their live sets. OFTGD

New Format For Posts...

2010-06-14T23:37:00.001-04:00

I never really have time to dedicate to full posts. Instead I will be embarking on extended tweets here at One For The Good Days... think of them as long streams of thought that are more spontaneous and thereby come straight from my heart/brain. OFTGD

New Yeasayer Streaming On Myspace

2010-02-03T11:37:00.001-05:00

http://www.myspace.com/yeasayer

The band hit NYC sooner and later:

Feb. 8^th – Bowery Ballroom

Feb. 9^th – Music Hall of Williamsburg

May 4^th – Webster Hall

Final Fantasy @ Bowery Ballroom - The Audio

2010-01-29T10:35:00.003-05:00

Thanks to Dan at NYCTAPER for hosting a lossless version of my bootleg on his awesome site.

Direct download of MP3 files (HERE)

PLEASE RESPECT THE LIMITS OF THE NYCTAPER SERVER AND DO NOT REPOST THE DIRECT LINK

Email nyctaper with a request for the download location of the FLAC files.

Firefox users can Down Them All! at once (here).

More about FLAC

Final Fantasy - 2010-01-18 - Bowery Ballroom - New York, NY USA

Digital Audience Master

Recorded from far front and left Balcony

Sony ECM-DS70p > iRiver (Rockbox Firmware) >Adobe Audition (Volume and Compression) > Flac

Recorded and Produced by Jason http://www.oneforthegooddays.com

Hosted by nyctaper

Setlist:
01 - The Man With No Ankles
02 - Keep The Dog Quiet->Mt. Alpentine
03 - The Great Elsewhere
04 - Flare Gun
05 - The Butcher
06 - Dream of Win and Regine
07- That’s When The Audience Died
08 - Many Lives-49 MP
09 - Midnight Directives
10 - Honor The Dead Or Else
11 - Lewis Takes Action
12 - Lews Takes Off His Shirt
13 - CN Tower Belongs To The Dead
14 - This Lamb Sells Condos

If you email nyctaper for access to this recording, we expect that you will PLEASE SUPPORT Owen Pallett, visit his website, and purchase his new album Heartland from the Domino Records website [HERE].

Local Natives Debut New Vid "Airplanes"

2010-01-28T14:54:00.001-05:00

Airplanes

Local Natives | MySpace Music Videos

"Gorilla Manor" is out February 16th. Preorder here.

Review - Owen Pallett - Heartland - 8.9/10.0

2010-01-13T14:45:00.007-05:00

Whereas most artists inhabit a genre, Owen Pallet, nee Final Fantasy, is a genre of his own; for some time consistently churning out some of our generation’s most original compositions and lending his quirky bleeding heart orchestrations to heroes of the 00’s, like Arcade Fire, Grizzly Bear, F*cked Up, as well as older acts like the Pet Shop Boys.

His latest release is a self-proclaimed concept album, but does it really matter? I’ve always thought the majority of concept albums utilized the concept to augment and distract from disjointed musical themes and occasional droughts in originality. But here, you’re distracted from the story by a deluge of polyphony and pomp, Owen’s trademark. It’s not as good thing… it’s a great thing.

Yet, on songs like “Red Sun No. 5,” and “Oh Heartland, Up Yours!,” the artist strips all that away demonstrating a proficiency in simplicity, and it tickles. Using his own voice as an instrument, with little to none of his beloved violin, he manages to play quietly and produce climax in silence.

Of course no record of his would be complete without anthems like album opener “Midnight Directives,” and “Keep the Dog Quiet.” These are not show tunes, they're mired in vagaries like, "My body is a cage/This union is a cage about a cage about a cage," followed shortly by "Mount Alpentine," in which Owen employs dissonance to pluck any doubt on the meaning of his lyrics from your mind.

This album is not extremely different than what Owen has thus far supplied his audience with, and part of that makes me want to lower the rating of this album, but, the album is a return to form from his last two EP’s which were slightly more experimental in nature. Heartland reconnects with fans and reestablishes Owen as an individual deserving of an eventual inclusion in the Pantheon of North American composers and popular musicians.

Edit: You can stream the new album in it's entirety here, and purchase it here.

Dr. Dog, New Album, Extensive Tour

2010-01-12T12:04:00.004-05:00

April 6th will see the release of Dr. Dog's Anti- Records debut, Shame, Shame. The band received mixed but generally great reviews on their last two efforts, and the new album touts "themes of doubt, confusion and unanswered questions" and is overall darker than their horn-filled previous outings.

They go on an extensive world tour, the NY Area Dates are as follows.

January 30 Westcott Theatre Syracuse, NY *
February 1 Mohawk Place Buffalo, NY *

February 13 State Theatre State College, PA *

May 13 Electric Factory Philadelphia, PA **

May 15 Terminal 5 New York, NY **

* With The Growlers
** With Deertick

Plastic Ono Band Reforming

2010-01-11T15:14:00.002-05:00

February 16th, 2010 - Howard Gilman Opera House

Next Year's Big Things: Artists To Watch Out For

2009-12-15T22:44:00.010-05:00

Annually, about now, press releases from artists worldwide with upcoming releases in the new year start trickling into my e-mail inbox. Truth be told, half of them might never make it into my ears, occupying my field of vision for seconds and then wafting off into the abyss. But sometimes... fate steps in, and these same artists make way into my aural personal space and not only impress but change my outlook on music to come. I cannot guarantee these bands will make it big, but I would love to give them a shot.

This years selection all break convention and do so utilizing tricks of the trade that others have employed but couldn't quite make their own. There's a young male/female duo from Copenhagen who, with harmonic acumen, will melt your ears off ; a band from LA that will sneak their catchy hooks into your ears, compelling you to sing along and lose yourself in it all; and a young Canadian man who made a name for himself this year all because he toured with Final Fantasy and did an excellent job doing so. Hope you latch on to these and promote them, they didn't ask me to, and I feel obligated.

- - -

Choir of Young Believers (Copenhagen)
For Fans Of: Fleet Foxes, The Raveonettes, Bon Iver, Iron and Wine.
Sound In a Picture: Snow slowly melts into a fast moving ravine as if to run from the welcome warmth of spring, glimpsing back every now and then only allowing it's pursuer extra time to catch up.
Sound In a Better Picture:

The Local Natives (Los Angeles)
For Fans Of: Manchester Orchestra, White Rabbits, Bat For Lashes.
Sound In A Picture: Getting a glimpse of more than just the hind legs of that Rabbit who mysteriously always runs when you get too close and realizing he's doing it to piss you off.
Sound In a Better Picture:

Thomas (Ontario)

For Fans Of: Nick Drake, Broken Social Scene, Final Fantasy.

Sound In a Picture: There's never enough time to catch your flight, even the taxi driver is in on it. Bumper to bumper, he turns on the radio to pass the time and for the moment your plane will never take off without you.

Sound In a Better Picture:

5th Annual Sephardic Music Festival (December 12th-19th)

2009-12-10T15:56:00.005-05:00

The Sephardic Music Festival which is exactly what it sounds like - Mizrahi, Yemenite and Ladino traditional music artist performances and discussions - and will be happening this coming week. I do recommend you go to any one of these events. Much of the world music influence in some of today's off-kilter indie rock acts can be traced back to the Mediterranean and Middle Eastern sounds which will be showcased extensively. More info here. The events are as follows:

December 12, 2009
Smadar Levi, Sarah Aroeste
& Galeet Dardashti's "The Naming"
92Y Tribeca
200 Hudson Street, Tribeca NY
Doors 8pm | Show 9pm | $15Adv | $20Door
(buy tickets)

December 13, 2009
Rivka Amado & Elie Massias
Spanish and Portuguese synagogue
3 West 70th St. at Central Park West
7pm | $15 adv or $18 door | all ages
212-873-0300 x221

December 14, 2009
Yair Dalal with Asefa and Michelle Webb
Union Hall
702 Union St
Brooklyn, NY 11215
7pm | $10 | 21+

December 14, 2009
Matisyahu with Diwon
Webster Hall
125 E 11th St
7pm | $35 | 18+
New York, NY 10003
(Buy Tickets)

December 15, 2009
Aviva and Dan followed by audience-interactive panel discussion on Sephardic music with filmmaker Lisa Katzman and ethnomusicologist Samuel R. Thomas.
Hosted by The American Sephardi Federation (ASF)
The Center for Jewish History
15 West 16th St, NYC
6:30pm | $15 | $12 ASF members
(Buy Tickets)

December 16, 2009
Pharaoh's Daughter, DeLeon & Levi Mordechai
Knitting Factory
361 Metropolitan Avenue
Brooklyn, NY 11211
7pm | $12 adv | $15 Door

Yeasyer Add Third NYC Show Tickets On Presale Now! (Password)

2009-12-08T08:09:00.004-05:00

After selling out two February dates, the guys will come back for one more at Webster Hall on May 4th.

Tickets on sale this Friday at noon but are currently available through a yeasayer presale right now. (Pass: oddblood)

12.02.09 - Live Review Part 1: Final Fantasy

2009-12-04T01:01:00.010-05:00

Always quite the dramatic, Owen Pallett tried to convince the audience at the Bell House last night that we'd be witnessing some horrific display of half assed proto-music, being that he experienced a disaster the night prior when he dropped a newly purchased electro-acoustic Yamaha piano on his left index finger - a rather important digit for a violinist. Because of the injury, in an ironic twist of fate that would make O. Henry proud, Owen would resort to playing his repertoire of choice on that same piano.

I had seen Owen do an excellent job at keys when he fronted the Philharmonic during his performance at the Brooklyn Academy of Music, so I was pretty confident that it would turn out alright, just different.

As is the case with most great music, the newly arranged tunes held their own even stripped down and flub filled. Owen, as a deflated apologetic perfectionist, only lent to the scene a sense of mystery and intimacy; we were in for something awesome. The setlist was short yet thorough, with selections from his upcoming [masterpiece of an] album Heartland, as well as his classics... and.. ahem, those of others. But I think you have to see this to believe:

The Kenny Loggin's favorite apparently was a cathartic move for Owen, and the last few songs in the set were played light and joyful with Owen sharing quips with casual and professional stagemate, Thomas Gill, who quickly became an audience favorite even at the end of the night, when the crowd ushered him onto the stage for the 2 of the Mountain Goats' closing songs.

Owen will be returning to NYC in just over a month on January 18th for a show at the Bowery Ballroom. I urge you to check it out. Below are two more videos from the performance.

NEXT: Part 2 - The Mountain Goats

The Word (Robert Randolph, Medeski, North Mississippi Allstars) Reunite!

2009-12-02T13:09:00.011-05:00

Paying his dues to those who set him on his way, stellar pedal-steeler Robert Randolph will regroup with his colleagues in The Word, an on-again-off-again super gospel-rock collective who began playing at the turn of the century. They will be playing 3 special dates:

Dec 30 - Philadelphia, PA - Theatre for the Living Arts

Dec 31 - New York, NY - Terminal 5
Jan 1 - Ft. Lauderdale, FL - Culture Room

Tickets on sale now.

Final Fantasy Adds US Tour Dates For "Heartland"

2009-12-02T07:34:00.005-05:00

Always up for exhausting himself out, Owen Pallett, aka Final Fantasy, will be conducting a short North American, UK and Canadian stint in support of the release of Heartland, his newest conceptual album, out January 12th in the US via Domino Records. The U.S. dates are as follows:

Jan 12 Toronto - Mod Club
Jan 14 SAN FRANCISCO - Bottom of the Hill
Jan 16 CHICAGO - Schuba's (Tomorrow Never Knows Festival)
Jan 18 NEW YORK - Bowery Ballroom

Tickets for the US shows will go on sale Friday.

I'd say expect a full band type situation, based on the recent live take of "Heartland" track, Lewis Takes Action, for Tunnelvision, a new feature on Pitchfork.com.

Watch that and an additional performance of lead track, Midnight Directives, below, preorder the album here, download a free MP3 of Lewis... and enter a contest to win the 7" inch here.

Lewis Takes Action - Live on Tunnelvision For Pitchfork.com

Midnight Directives - Live on Tunnelvision for Pitchfork.com

Sigur Ros Frontman Launches New Mystery Website

2009-12-01T10:56:00.005-05:00

UPDATE: Didn't realize clicking on the "J" starts a tune... so... solo album?

Kaki King Will Debut New Songs At December 12th Show

2009-11-24T11:02:00.005-05:00

While Kaki King, the elfin guitar wizard, is still recording the follow-up to Dreaming of Revenge (2008), she'll be debuting songs from the new album at a show at Music Hall of Williamsburg on December 12th.

A Rose Parade - a collaboration between Shannon Funchess (!!!) and Gerard Smith (TV On the Radio) - will open the Brooklyn show.

Tickets.

Review - Animal Collective - Fall Be Kind EP - 9.0/10.0

2009-11-23T19:31:00.008-05:00

When referring to Animal Collective, "forward thinking" is a severe understatement, and at the same time, an foregone conclusion. "Fall Be Kind," eradicates any doubt in my mind that Animal Collective is our generation's Beach Boys. Without straying far from the sound they established on Merriweather Post Pavillion earlier this year, they continue to explore the tangibility of music, survive and prove that you need not vocal perfection nor book musical acumen to pen gorgeous and tight harmonies and music that sounds contrived by some super computer with a wicked sense of humor.

The first track "Graze" starts off as some sort of freakish Broadway show tune but quickly diverges from the path for a polka jig. Avey Tare, singing "Let me begin," could be staking claim to a new sound, just asking permission like a kid deprived of play time. "What Would I Want? Sky", a ripe jam starts off with repetitive beats that crash like waves onto a shore of yelps, and after one too many turns, blends into the tune, which meets the early waves with lyrics that are like self-help without the answers all the while tinged in beach freak. Which fits very nicely with the villianesque vocals that begin the dark tune that is "Bleed."

There's a level of regret that can send one into a deep depression, but here, with only a handful of lyrics, shame only leads to revelation and a hope that there's a way out through enlightenment. It's only befitting that the next tune, "On a Highway," evokes a trip through how you cope with the mistakes you've made. "I took a mental picture/Of a place that I knew/Now it's living in me," acknowledging that the sadness often accompanying our errs is only a mean to a bright end.

Up until this tune, there is a lack of Panda Bear, Noah Lennox, but sure enough, where there's a 7-minute-plus track, there's usually a little or a lot of Panda to be had. His mantra-like delivery is a welcome change of pace. Tribal drums and heavy yelped rounds every now and then give way to some tinkling ivories and then it all comes back all that much more bass heavy. The tune sustains the self-reflection theme while begging the audience with a simple question, "What's nice about staying on the same things?," as if acceding that the band have found a "sound" that they are comfortable with.

Amensiac to it's Kid A, Fall Be Kind competently echoes it's predecessor's beauty and genius adequately. As long as the band can keep delivering songs that appear fresh and never rehashed, they are doing a great justice or their fans. You can buy the album in MP3 form HERE.

Paste Mag List 20 Best Live Acts Of Decade

2009-11-23T14:11:00.003-05:00

The list, which reflects much of the indie-pop sentiment in the blogosphere, can be read here.

Live Review - J. Tillman - Bell House - 11.16.09

2009-11-19T07:37:00.008-05:00

Like a moth flapping nervously at your beating heart, occasionally replaced by a jackhammer pounding in similar fashion, such were the sounds of the line-up at the Bell House on November 16th, 2009. A silent and respectful audience half filled the small South Slope venue, interesting because Tillman only recently gained greater notoriety as 1/5th of Fleet Foxes, another northern pacific band, who would not have had an issue filling the venue for a 5 night residency.

This was difficult to forget with one opener and band member waxing parenthetical, adding "(of fleet foxes)" every time the headliner was mentioned or thanked. And though it became a running joke, self assured the music did a good job of shining a light on Tillman's raw talent and energy; allowing no shadow to fall on him except maybe those cast by the meager lighting on stage .

He delved into a surprisingly deep catalog - 7 or 8 albums in the past 5 years with a 7" inch on the way - mostly reserved and quiet, though others, like Howling Light could easily have held up in a much larger venue.

"All That I See/When I Light Your Darkened Door"

Although many artists can't carry a full length show by themselves - usually overstaying their welcome, fluffing a set with covers, and ultimately coming off appearing entitled - I could have sat there for hours listening to Mr. Tillman's voice - think the timbre of Sam Beam (Iron and Wine) but the range of someone slightly older. An instrument in and of itself, the vocals along with the guitar, bass drums and emotive lap steel, were relatively spare, with lots of chatty/jammy moments between instruments, which, during one 3-song stretch, also included bell cymbals, a gong and some sort of flute.

"Barter Blues"

I can confidently say that everyone leaving that evening felt as if they were participants in something rare and special. Stay tuned for coverage of the opening acts along with audio and video... including a spectacular tribute to Michael Jackson with an interesting take on "Billy Jean."

Live Review - Weezer @ Hammerstein Ballroom

2009-11-05T11:47:00.004-05:00

The almighty gives each and every one of us a choice few years in which our angst, no matter how inane and misdirected, when channeled into any art medium will gain favor in someone's eyes. For Rivers Cuomo, these years have long past.

During Saturday nights show, the classics held their own and will do so for years to come, but the new material falls short of capturing the zeitgeist of their predecessors because Cuomo and Co. are trying to embody something they no longer are.

Nothing exemplifies this "never grow up" attitude as much as cameos by a Gossip Girl Star and a Disney band members during the same song, as if their inclusion brings the average age of the

those on stage down, granting them admittance into the hearts of a new generation of fans. Sorta like when your parents try to use slang.

I am all for the "whatever floats your boat" policy when it comes

the musical tastes of others, but I feel the need to make this one request: Rivers... I think it's time to start growing old with your music, because it's all getting old, fast.

I taped a number of songs from the night's performance and will be posting them later this evening in their own post.

Review - Monsters of Folk - 7/10

2009-10-28T23:58:00.003-04:00

If there’s one thing I hate more than Jimmy Buffet, it’s songs that remind me of Jimmy Buffet. For that one reason, Yim Yames, formerly Jim James of arena rock outfit My Morning Jacket falls to last place on the totem of talent that is Monsters of Folk.

While a grand idea in concept – bringing together Mr. Yames along with M. Ward, Mike Mogis and Conor Oberst – the band clearly were in over their collective heads. Each individual performer comes across trying too hard to impress not the audience, but their fellow musicians, all of whom have had success in the arena of folkified rock and pop.

Supergroups are often experiments in amalgamation that present an opportunity to see what's same and what's different, what blends in and who plays sore thumb, and most importantly, distinguishes the haves from the have-nots. Usually these curious projects often result in some of the most entertaining and simultaneously patience testing musical creations. No one has done it quite right.

There are instances on this record - I'm looking at you Oberst – through which the competitive feel results a musical concentrate of awesome, while others, mainly the too-soon-stagnant yelp of Yim Yames, plant a seed of doubt, leaving you thinking that the well has run dry.

Criticisms aside, the highlights of the album are twofold; stripped-down introspective numbers like "Temazcal," on which Conor Oberst sounds all grown up, a man possibly burnt one too many times and isn't sure at all if love exists, the other picks are authentic tributes to the days of folk‘yore.’ This brings me to the case for true underdog of this album, M. Ward.

On all of his contributions, Mr. Ward allows us to hear him croon as usual, but then taking us past that billowy delivery on "Whole Lotta Losin’" which would easily fit on a CD of unreleased Roy Orbison material, and “Say Please,” which hits you with enough pessimism and a Mike Mogis guitar solo, it would make Graham Coxon proud.

Falling short of interesting and coming way to close to boring, Y(j)im Y(j)ames gives us little change, sneaking his trademark falsetto train whistle of a note on the above mentioned "Temazcal," and submitting some selections that echo the Island Escapism of *ahem* Jimmy Buffet. The problem here is that Jim James is used to carefully scripting songs and solos meant for the big stage. Those tunes ultimately present an opportunity for the show to be stolen by his outrageous vocals. It’s just not welcome on this record.

Mike Mogis, who doesn’t lend any discernible vocals to the mix, is at home, playing director and producer as his day job often allows.

After seeing the band play once on network television there is little doubt that there is a technical acumen shared among the four main players, and great capacity for delivering sultry harmonies and playing off of each others ideas, I just wish the ideas themselves were more fruitful.

Review - Why? - Eskimo Snow - 9.0/10.0

2009-10-21T11:24:00.004-04:00

Eskimo Snow is that album. The deviation, the one that fans will question but ultimately overall still love, albeit for very different reasons.

I won't spend any time rehashing and reprinting the many quotes from Why? frontman, Yoni Wolf, about how different and not hip hop this album is. I refrain from doing so because I had the unique opportunity to experience this band discography backwards, only exposed just recently to "This Blackest Purse," the lead single off of Eskimo Snow. After countless hours of listening to their back catalog I believe that Yoni Wolf et al have specific intentions with every album, the only danger alienation of a fanbase lured in by Yoni's early morose and psycho-syllabic stylings, which on this album have become slightly less obvious.

Eskimo Snow goes where no prior Why? album has. It yields to a sadness that never comes off as emo or angry and feels sincere doing so. Rather than harp on death as an escapists ultimate desire, songs like "Even the Good Wood Gone," the title track and "January Twenty-Something," visit the "nearly there" pre-middle-age rhetoric of "what will my legacy be after I leave this world?" Death is not the only concept to return in their repertoire, sexual deviancy ("Into the Shadows of My Embrace") self-image ("One Rose"), and fear of failure ("On Rose Walk, Insomniac") pop up at numerous junctures.

Alright, bottom-line, so the banging beats, abrasive language and angst have been replaced with lush harmonies, organic sounds, oblique and poetic references to the afterlife and curses stuttered into self-censorship, can we blame them? It has been clear from the very beginning that this was a band that couldn't sit still. In a way we're growing old with Yoni as a lyricist and the rest of the band as active contributors. Although the majority of the album is cloaked in simile and metaphor, I started to relate immediately.

Why? @ Le Poisson Rouge Teaser

2009-09-27T13:04:00.002-04:00

Music, More Video and a Review To Come Tuesday! Meanwhile enjoy the first of 3 vids from the performance:

Matisyahu Plans Last Minute Show In NYC Tonight!

2009-09-07T10:43:00.003-04:00

The Hasidic Reggae rocker will be playing Rockwood Musichall tonight from 11pm to 1am. 1 drink minimum.

OFTGD

A Track For The Good Days: Why? & Themselves - Canada

2009-08-31T16:32:00.001-04:00

Check it:

http://www.anticon.com/anthill/Canada.mp3

Dirty Projectors Add Two More NY Shows

2009-08-27T12:40:00.002-04:00

Dates are such:

11/18 - The Bowery Ballroom (sold out)

11/19 - Music Hall of Williamsburg (sold out)

11/21 - Music Hall of Williamsburg - on sale 12pm 8/28

11/22 - The Bowery Ballroom - on sale 12pm 8/28

Tickets On Sale For Dead Man's Bone LPR Show

2009-08-24T11:10:00.001-04:00

Ryan Gosling's haunted children's choir project comes to New York on October 12th. Tickets here, info on the band here.

The show will feature a talentshow opener as well as a local children's choir.

Merkin Concert Hall 2010: Bon Iver and Chaplin; Nico Muhly Premiere

2009-07-21T14:05:00.005-04:00

Amongst the plethora of events going on at the Merkin Concert Hall in the coming season, two performances piqued this blogger's interest.

Justin Vernon (aka Bon Iver) will be participating in the 2010 NY Guitar Festival, though he will be doing so as accompaniment to Charlie Chaplin's "Gold Rush." The event is happening on Thursday, January 21st, at 8p.m. Tickets and more info here.

And for those Nico Muhly lovers who ALSO like to plan your outings almost a year in advance, the Manhattan-based composer will be debuting a new work on May 27th, played by Signal, lead by conductor Brad Lubman. More info on that event here.

Sufjan Stevens' BQE To See CD/DVD Release

2009-07-21T11:09:00.002-04:00

I always thought myself kind of lucky to have experienced "The BQE", a performance piece by Sufjan Stevens, commissioned for the Brooklyn Academy of Music. Well now others will be able to benefit from Stevens' talent.

"Two years later, Sufjan found inspiration to mix the music, edit the video and expand the project to include photographs, liner notes, a comic book, and a stereoscopic image reel—a multi-media package that attempts to render this much-loathed urban expressway into a conscionable work of art."

The release date is set for October 20, 2009. The double-disc album will include the original film on DVD, the original soundtrack on CD, a 40-page booklet (with photos and liner notes), and a stereoscopic image reel (aka View-Master®), created by illustrator Stephen Halker.

More info here.

Watch the trailer here.

Ramona Falls - 'Russia'

2009-07-15T10:53:00.003-04:00

Ramona Falls, aka yet another side project from the Menomena family (Brent Knopf) will be releasing a new album Intuit on August 18th on Barsuk Records who have so generously made available a track from that album entitled 'Russia' through their website here. The band will be making appearances at Pianos in NYC and a yet to be decided venue in Brooklyn on the 17th and 18th of September respectively.

The Tracklisting is suchly:

1. melectric
2.i say fever
3. clover
4. russia
5. going once, going twice
6. salt sack
7. boy ant
8. always right
9. the darkest day
10. bellyfulla
11. diamond shovel

A Time Foe Music Blogging

2009-07-14T12:49:00.001-04:00

Trying to find time to blog has been difficult lately so firstly I'd like to apologize to those publicist awaiting album reviews and whatnot. I will be posting more often beginning with a few music reviews long coming.

Stand by.

Good Things To Come...

2009-05-20T14:48:00.003-04:00

Concert Coverage:

Phoenix @ Music Hall of Williamsburg
Handsome Furs @ Bowery Ballroom

Album Releases:

Grizzly Bear - Veckatimest
Phoenix - Wolfgang Amadeus Mozart
Iron and Wine - Around the Well
St. Vincent - Actor
The Dirty Projectors - Bitte Orca

Grizzly Bear To Perform Live On WNYC Tomorrow May 21st

2009-05-20T14:02:00.004-04:00

"It may be that music is where the American melting pot has brewed its most delicious blends. As varied cultural backgrounds and influences meet and mingle in music, they combine and transform into rich and individualistic new musical flavors."

The 69th Annual American Music Festival, this year concentrating on artists from abroad who make America their creative home, starts tomorrow evening with a performance by Grizzly Bear...

I'll be on the inside to cover the behind the scenes.

Info here.

OFTGD

Dan Deacon Bringing Bromst "Ensemble" to NYU This Thursday

2009-03-31T13:12:00.002-04:00

Nerd. Genius. Both. Whatever you call him, Dan Deacon has gained great notoriety over the past 2 years for his compositional acumen and powerful live performances. Dan will be bringing that energy to the Kimmel Center for Performing Arts this Thursday, April 2nd, 2009. Opening for the MAN, will be Future Islands, Teeth Mountain and Miracles of Modern Science.

Doors open at 8pm. Tickets on sale Thursday, 3/26 at Ticket Central (60 Washington Square South, Room 206)

Tickets are $6 with NYU and $10 with gov't issued ID. Must have NYU ID to purchase advance tickets at Ticket Central. Limit 2 advanced tickets per NYU ID

2 Reviews For The Good Days

2009-03-27T16:12:00.014-04:00

The Papercuts - You Can Have What You Want
7.0/10.0
A band held tightly captive by their own work. Delicate, disaffected, and monotonous dirge-y dreampop. The first 4 songs are unintentional rehashed versions of older material, though a dim light shines on the short and sweet title track and on 5th track "Jet Plane." Better off buying their SUHWEET 2007 album "Can't Go Back" album here.

Benjy Ferree - Come Back to the Five and Dime Bobby Dee
8.5/10.0
Custom designed and purposefully deconstructed rockabilly for Generation "P" (as in Paranoia). Where other songwriters attempt to fashion music for the masses, Mr. Ferree is an artist forcing you down a path of his own whim, the whole while proclaiming his word "the gospel truth." You want to believe and more importantly, you're apt to follow. Highlights are "Fear" and "Iris Flowers." Purchase at insound.

Interview For the Good Days:

2009-03-25T10:08:00.003-04:00

Menomena, The Walkmen, Deerhoof... Not only are these names of bands who have worked hard to earn tremendous followings and indie cred, they are also a handful of artists booking appearances on "Juan's Basement," a live performance program that emerged from obscurity a few years ago.

I've always been a fan and recently asked creator Juan P., about the show and where it's going.

How did you start Juan's Basement?
I snuck into the production department at PlumTV, a small local TV network, and since I lived in a basement/recording studio, I thought it might make sense to pitch a music show to Plum. They liked it, and it had essentially no budget so we figured out creative ways to make each episode look good.

And how were your original acts courted/chosen?
At first, it was just reaching out to a lot of publicists/managers/labels/bands and asking if they'd want to get involved. After I booked the first one with the Willowz, it got easier and easier to book. Getting Menomena was great, they were just getting big at that time.

When did Pitchfork approach you to work with them? Was that a thrill?
Since Menomena was hot in the world of Pitchfork and other blogs when we shot that episode, they ended up posting clips from it. That got the show on Ryan's (the head of Pitchfork) radar, and since he was thinking of starting an online music tv site, it made sense for Pitchfork to acquire the show.

Any upcoming acts that you'd care to tell us about?
Well, I know we're trying to get Fever Ray (from The Knife), and I'd love to do one with Of Montreal, Grizzly Bear, Crystal Castles, and Animal Collective. We'll see who wants to do it....

The setup has glammed up through the last 2 years and interviews have been added... what other modifications do you see in the future to the set and how it's run?
Actually we always had interviews but those only got online when Pitchfork started doing the show. I don't want to change the show too much, it's nice to set limitations, like: We have to shoot this in THIS tiny space, always. We're trying some new shit out with the Blitzen Trapper episode, which will be up soon.

Will those past interviews ever see the light of day?

All the interviews have seen the light of day. the pitchfork ones are all on the site, and the ones pre-pitchfork aired on PlumTV nationally but not online.

How does it feel to know you're a destination that talented artists are more than happy to arrive and play at?
It's just fun to meet the bands and make these little live music videos. It's cool to see how good bands can sound in our small space through our mic's and our EQ's etc., a super rewarding production experiment.

Will you ever consider adding an audience to these performances?
We often have a few people sitting around, they're not always seen in shots though. Also, there's no space! With 4-5 cameras, a bunch of musicians with amps and pedals and drums, there's barely enough space to put up lights......if we ever move the show to a fake basement on a sound stage, then we'll have an audience.....it happened to Wayne's World....

You can watch a number of Ep's on Pitchfork TV here.

A Response For the Good Days:

2009-03-16T12:51:00.004-04:00

In the past few months I have been approached and messaged by quite a few individuals who want to know whether or not I will be releasing any of my recent bootlegs in full and lossless format. I have taken some time to think about this request and can now safely say I cannot do so.

The reason I tape shows, which I might have stated prior, is to retain a memento of the experience. In my first concerts I would take photos to capture some essence in the same, and bootlegs do a much much better job.

Now, I know I could get into hot water - and have - with certain PR and record company representatives, but I prefer doing what I do, how I do it, and intend to continue to do so. I won't go off on a large tangent about how utterly hypocritical it is when some management companies have asked for copies of my bootlegs for their own listening and promise me tickets to shows if I wanted to record, and then others from that same collective reject my request for press passes or promo copies of CD's for review. What I do is promotion... I promote artists and their live sets; motivating others to support musicians by buying a ticket to their shows.

Let's face it, scalping today has gotten out of control. Certain companies are virtually supporting the practice of ticket price inflation through the allotment of tickets to brokers prior to ticket sales. The result? Less and less fans are able to experience their favorite artist in concert without shelling out massive amounts of cash they don't have. Companies could, if they wanted to, record their live shows and do it well, and, as seen with artists like Pearl Jam, fans will likely purchase those recordings, especially if they took part in them.

This being said, I would never sell my recordings, nor would I risk that chance that someone in possession of my recordings do the same. I will continue to record shows if I feel I can without being caught, and will post only a selection of songs, usually favoring newer and rare material. I hope that people appreciate what i do, and understand.

Discussion for the Good Days:

2009-03-11T23:58:00.006-04:00

Now and then I'd love to get reader feedback into emerging trends in music and how they feel when it becomes increasingly clear that the times they are a-changin'. Today:

Auto-tune and the Death of Talent Driven Music

Maybe we'll never know who's to blame. Who ruined it? Cher? Britney? Mr. Autotune his-self T-Pain? Or does the blame sadly fall on the shoulders of Daft Punk, champions of bot vox, and the positively raverific vocals on "One More Time"and "Harder, Better, Faster, Stronger."

Whatever the case, my position is that Auto-tune, along with other production methods which render the art of composition a fools game, will eventually enable a market flood of biblical proportions; mindless drivel warping the perception and definition of music for generations to come. It's a sad state of affairs, when American Idol, purporting to be a mecca for unfound talent and natural popstar qualities, lets a guest like Kanye West through their hallowed gates. As John Madden might say, "here's a man who sounds even worse with Autotune."

What do YOU think?

Interview For The Good Days:

2009-03-08T13:51:00.014-04:00

The past few weeks have been something of a rollercoaster ride for the members of Grizzly Bear... and their fans. Days after their highly anticipated sold-out performance with the Brooklyn Philharmonic, their album, Veckatimest, out this May on Warp Records, was leaked to the public in less than optimal quality. I had the opportunity to chat with Mr. Droste about the leak, touring, making their newest record, and how he digests the critical opinions people have of their music.

The interview after the jump.
First off, let’s get this out of the way. I know you’ve said you’re okay with the leak of the record, but what’s the sentiment regarding the fact that “The Leak” is now part and parcel of an album’s release… and an imminent occurrence?

I'm upset it happened this early; even though the same people who are listening now would go and download it in a month had it leaked later. I mean I'm guilty of listening to leaks and I do the same thing, if I like it I will go out and support it by buying the album and going to shows, so fundamentally I'm more excited that there is even interest in a leak then disappointed.

That said, there is something disheartening about working on an album for ages and ages and ages and then a low quality rip comes out, and everyone jumps on it and suddenly everyone is quick to give their verdicts, good or bad on a sub par recording that took over a year to make. That's the nature of the beast of course, but when I look at it that way I do get a little bummed. Also, we keep learning more and more about the source of the leak and the more we learn the more "shady" the whole story is. Can't say anything but it's less than pleasing. Oh well, forward ahoy!

Can you see any way to remedy this dysfunction or is “resistance futile?”

We can take down download links and ask people to pre-order. Other than that, the "internet fans" will own it already it. Most people, believe it or not still don't know about leaks and download music that way, very small group of people do, of course the ratio of our fanbase that falls in that group is rather high, but perhaps this time around it'll be less so.

Whether it's because of the failing economy or illegal downloads, the record industry is suffering with respect to CD sales. Touring is turning into a main source of revenue for a lot of acts on "indie" labels. Will you be stepping it up with regards to touring? More stops? Longer sets? Tour EPs? Any other ways we might see a change?

As much as we can yes. I mean I personally believe 1hr to 1hr 15 minutes is the perfect set time. If we were Radiohead, or some epic band that's been around for decades longer is of course better, but generally around an hour is where people's attention span lies. We'll bring out lots of pretty vinyl and 7 inches this tour, new T shirts, perhaps even a tour EP (although we haven't discussed that). Also first editions of the CD/Vinyl will be really nice so there's incentive to get those if you like album art still (I do!)

Speaking of touring, was there any special reason for performing certain songs in the set without the help of the philharmonic at Brooklyn Academy of Music?

You only get a certain amount of rehearsal time with the orchestra not to mention stage time so we used all we could and felt it was too short and wanted to play some additional songs. In the end it felt like a nice mix, added some dynamics!

There was a rumor you guys were taping the show for a live release care to tell us more?

It's taped it's just insanely expensive to buy off of BAM unfortunately so I'm not sure the "fate" of that recording.

The day after the performance, there was some backlash from unscrupulous individuals that not enough of the familiar show staples appeared at BAM. Is Knife your “Creep;” are you growing wary/tired of any particular songs or live arrangements?

I didn't see that backlash. This was a special show, meant to be about playing songs that we DON'T get to normally play and utilizing the orchestra to its fullest. I just feel (and we all did) that doing an orchestra version of Knife would be a bit MUSAK.

You have a great track record of picking spectacular opening acts, some of whom have gone onto great success and recognition, any ideas on who you want your next touring buddies to be?

We do know who it's going to be but we can't say yet!

First there was Horns of Plenty, which was experimental and avante garde, - a find your way sort of thing - then Yellow House, which had a very nostalgic/summer days of yore feel, and then there was Friend EP, which was possibly your “let’s do something fun and different before we have to settle down to the business of the next record.” Is there a specific emotion that you’re trying to evoke in people with Veckatimest?

I think Veckatimest is a much more dynamic album with more variety and feelings. YH to me has a solitary semi-depressive feel to it, where I think there are moments of joy AND sadness on the new one.

About how many songs were recorded for the album and are we going to hear what didn’t make the cut?

This is most of the songs, but there are some things that will find their way to the surface, too early to tell now though.

What happened to Final Round/Spring Break, a fan favorite frequently played throughout your last tour? I do see a similarity between the drums in Final Round and the drums in Ready, Able.

Final Round was a great tour song we did for the TVOTR tour waaaaaay back in fall 2006. It was our attempt at trying to "rock out" when opening for a "rock band". Ultimately some members of the band just didn't think it was strong enough, who knows maybe we'll revisit it again someday.

There’s a substantial amount less reverb on your vocals on this album, are you more comfortable with your voice now?

Yes, definitely. I think this was a conscious choice to clear things up. Some people may miss the haze of Yellow House, but I think this new album reflects more confidence in all respects. Vocals, drumming, song writing. In many ways reverb or a billllion textures can sometimes feel like a way of hiding things you aren't 100 percent sure of, this album we are 100 percent sure of.

What did Gareth Jones bring to the final mix of Veckatimest and was it hard to let someone from the outside in to scrutinize your work?

He added a very important fresh set of ears to an album we had labored over for a long time

Was it easier writing this album as opposed to Yellow House on which you guys were still learning the collaborative ropes? And on Veckatimest, did you just wing it when it came to songwriting duties and let things be how they may?

It was DIFFERENT, not easier. It was new. We wrote this album much more collaboratively and tried a lot of different writing techniques which was both exciting and scary. I still don't think to this day we have a "formula" for writing music we just keep trying out different avenues and seeing what feels right for what time.

Finally, how much do you take to heart when it comes to album reviews, and will negative/positive critiquing have much of an effect on the next album?

I've gotten a lot better. I mean I'll always be bummed if we get trashed somewhere. I've learned though that the bigger you get the more people you expose yourself to, the chances are higher someone in the mix is going to hate you. Even though I think Veckatimest is awesome and I'm really proud of it, someone will probably hate it somewhere for some reason. I think at this point, now I don't really care as much for their reasoning because if you listen too closely it could alter your creative spark.

Surviving Beatles To Perform In NYC

2009-03-04T15:02:00.000-05:00

Full story here.

Woah.

Grizzly Bear Start Adding Dates For Spring Tour

2009-03-03T20:58:00.002-05:00

Their site is listing a dates on the 28th and 29th of May at Town Hall NYC, the same venue they played at opening for Feist. On sale on Ticketmaster this Friday at Noon. Excellent choice fellas.

UPDATE: Zip File Of FF & GB Tracks

2009-03-03T00:36:00.002-05:00

The tracks I made available yesterday as part of the FF/GB show review can be found here, nicely zipped.

J

Part 2: Grizzy Bear and Final Fantasy @ BAM: Final Fantasy

2009-03-01T21:54:00.004-05:00

Owen Pallett is just a little more than a drama queen... and if not for two things, I probably would have been turned off by him at first exposure a number of years ago, then an opening act for the Arcade Fire.

Firstly, all that drama? It's in his music. It migh even be a muse of sorts. When the man talks it is with such an air of humility and timidness, that you almost question whether or not he suffers from some multiple personality/fugue state psychosis.

Second, he's really really good at everything he puts to paper. His lyrics, though kind of graphic and sometimes bordering on perverse, all paint beautiful pictures, almost fairytale like; full of caricatures and allegories for ideas taboo even in recent memory.

His appearance at BAM as one of the two "indie ensembles," bolstered some of his strongest original arrangements, was a study in humility. Usually found playing his violin like some mysterious fifth limb, Owen took to the piano and Wurlitzer, showing chops far beyond anyone could imagine. Songs like "Horsetail Feathers" and "Arctic Circle" stayed true to their original recorded form, while "None of You Will Ever See a Penny" was punctuation by bouts dissonant clapping and perhaps the musical equivalent of kitchenware falling to the floor. At one point, a song required that Owen "do something silly with a piece of tape," and the small piece of adhesive ended up working itself into the arrangement as live pastiche, more avante garde than indie rock.

I've included four tunes below off my bootleg of the evening, including two new songs Owen played for the first time. Please credit my blog via link if you do plan to share on your own blog/website.

Horsetail Feathers
Arctic Circle
Midnight Directives/The End Of Time
Tryst With Mephistopheles

Part 1: Grizzy Bear and Final Fantasy @ BAM - Grizzly Bear

2009-03-01T17:09:00.008-05:00

Driving back home from experiencing this otherworldy event with my wife, my beloved, my better half, I came to a realization. I was mulling for some time over how to describe Grizzly Bear's music to those who haven't heard any of it without succumbing to derivative observations. In a single moment of clarity I figured out that I would have to present these potential fans with an image, one that would instantly force their minds to the place these songs take you.

In that same moment I came up with that image. Superman scooping Lois up in his arms, jetting off in flight together for the first time, careening through the air, free as two birds gazing at Metropolis below inhabited by ant-like beings who in reality are so much bigger. The majority of Grizzly Bear's catalogue is filled with songs that express themselves in this fashion; if you look at the bigger picture, then all the small things that get us worked up and stressed out in life, become increasingly smaller.

For the approximate 2 hours me and my wife sat in BAM's Howard Gilman Opera House, our problems indeed melted away and we were able to suffuse our minds with the bliss conducted on stage. Sure the members of both Grizzly Bear and Owen Pallett a.k.a. Final Fantasy were nervous, but the music went the distance and hopefully distracted the audience as well as it did I.

As promised, the band played the most tracks they have ever played that have never been performed live before. "Campfire," had life breathed back into it, and the new tunes like "Dory," and "Foreground," strengthened the confidence that I have had for this band since discovering them back in 2005.

I've included a number of tracks from last night off a bootleg I recorded. If you wish to download and post them on your site I ask that you do so only if you can pay credit to this blog.

Easier
Central and Remote
Ready, Able
Colorado
Dory
Foreground

Review - Sufjan Stevens - The Lonely Man Of Winter

2009-02-26T14:01:00.011-05:00

Thanks to fellow blogger Mimi, I was hip to a unique once-in-a-lifetime listening party experience. In a nutshell, Alec Duffy won a contest last year that in turn gave him ownership rights of a new never before heard Sufjan Stevens song, entitled "Lonely Man of Winter." You can read his story in full here.

In deciding what to do with his new found treasure, Duffy entertained simply uploading it to the Sufjan fan site so everyone could have it for free. He also debated selling it in some capacity and even fashioning a stage show around the tune. In the end, in an attempt to repair the social ineptitude caused by the Internet and aptly named "social" networking sites, and the over-availability of music on the net, he decided to invite total strangers - 4 at a time - to partake in an intimate affair aimed at not only allowing fans to experience the tune in a semblance of emotional seclusion, but to rehabilitate and reestablish real life connections between those with similar musical tastes.

I was one of those people. yay! My review after the jump.

Arriving at the apartment, I was greeted by Mr. Duffy and David Molloy, musical director for their theater group, Hoi Polloi, and was offered tea, cookies and a comfy seat on a couch next to the other attendees. We talked for a bit about how we got into Sufjan and music in general as well as who were are. As one of the guests mentioned, after saying how she and her friend were tight on time and had to leave soon, no one had expected this event to actually be fun in and of itself. Rather, we'd enter, listen, and leave. But you did feel a sense of belonging, and at the end of the night I think we were all a little hesitant to leave. But you, reader, care not for these warm and fuzzy details. What about the TUNE?

In one word: Blissful.

Well... I think I can give you more than one. Though a winter themed tune, the song actually has an autumn like feel. This leads me to think that the context of the song is that first night of winter chill, when crisp autumn frosts and the crunchy leaves of October are quickly a memory, replaced by December's gloom and slush.

I promised our hosts I wouldn't write any lyrics and will only tell you that the song is filled to the brim with question after question, and even though there are instances of lyrical suppositions, you're left feeling the need for another song to follow with all the answers.

The tune begins in book Sufjan fashion and never strays, only in that Sufjan himself sings a number of harmonic backing vocals, a rarity if my memory of his catalogue serves me correct. A solo piano steps into frame and is quickly joined by a pair of lovely "Casimir Pulaski/The Predatory Wasp..." styled acoustic guitars. Like dancers the instruments spin around one another fashioning a net for Sufjan's erudite and wordy poetry we've all become acquainted with. The song continues to dense up and subsequently loosen itself in cycles, with vocals, guitar and piano trading stereo field positions, like snowflakes slaloming to the ground.The song concludes with a beautiful solo piano outro, a chance for Sufjan to show off the fact that he is not only a prolific lyricist but also a competent and talented composer/musician.

Maybe only due to my familiarity with his material, the melody sometimes ventures into thematic areas similar to his earlier works. This only makes it difficult to pinpoint at which point in time Sufjan wrote this delightful ditty.

As Mimi pointed out, as to prevent fans from thinking that Sufjan tossed a fan a song destined for the junk pile, it should be stated outright that this tune can and will stand up to the rest of his catalogue, easily surpassing many to take up a comfortable place in my Top 5.

Kudos Alec and David for allowing me the privilege to experience this.

Laura Barret To Release Victory Garden on February 24th

2009-02-19T14:33:00.013-05:00

"Victory Garden refers to two things: the general concept of a garden describes the rich symphonic mixture of sounds created by this more communal gathering of musicians, with the cover art illustrating that it is a more collective enterprise than my solo efforts.

Also, the title refers to the victory gardens of wartime, as we are seeing a move toward small-scale, more sustainable farming and agriculture, and we also see a world still embroiled in war and conflict that dedicates resources toward death and not life. The Victory Garden is a hopeful act, but carries with it cynicism about humanity's development." - Laura Barrett

Every time I find myself over at a certain relatives house I am inevitably pulled to a small instrument the size of my hand, which however many times I play it, I cannot master. This is one of many reasons I have respect and admiration for Laura Barrett, the coolest thumb pianist this side of the western hemisphere.

On February 24th, Ms. Barrett will be releasing Victory Gardens, her first full length album. Until now only hearing her older material, I was under the impression that Laura was the musical equivalent of Jackson Pollack; her songs meticulously spattered with droplets of tone that when viewed from afar work in tandem to form a hammock of sorts to her plaintive and innocent vocals, which are usually laced with enough cynism to kill a horse.

I am a little scared by the term "symphonic majesty," used in the press release. I just hope that the fragility and genuine respect for the art her voice usually brings to the mix isn't lost amongst everything else. You can listen to a track from the album, "Bluebird," below.

Laura Barrett - Blue Bird

TV on the Radio to Rock Summerstage 2009?

2009-02-18T22:21:00.007-05:00

I usually believe what i read, especially when when found on the bands own website. In this case TV on the Radio's myspace has a June 5th date at Central Park Summerstage listed... pretty effing awesome. The official summer stage page isn't up just yet but I cannot wait to see who shares the bill... hope it isn't Dragons of Zynth, for the crowd's sake.

UPDATE: Not sure if it already happened and is sold out, but there was a presale for tickets to their tour dates including this date here.

UPDATE 2: brooklynvegan is saying the presale starts this Friday.

Beirut Live at the Howard Gilman Opera House

2009-02-11T08:55:00.004-05:00

There was a buzz running through the packed house in BAM's Howard Gilman Auditorium. So much so, that with the completion of each song by opener (and stunner) Kaki King, the applause got louder, and I think it was all building anticipation.

Whether calling it quits due to both bouts of exhaustion or a need to recollect musically, Zach Condon has experienced as much of the bad sides of the music biz as he has the good. The accolades have never stopped, it has only built up to the point where this 22-year old wunderkind could sell out the 2,100 seat historic venue.

Zach had chosen Eastern European music as his inspiration for his first release Gulag Orkestar, which mixed your average teenage 4-track musings with strong hints of maturity. In between albums he released the Lon Gisland EP, proving he indeed could strip down his songs, released or otherwise, and breath new life and authenticity into them. Next was, The Flying Cup Club, a study of French Basque country music and hurdy gurdy, leading most to assume Condon either had an older French man hidden in his studio for reference or he was a genius. Songs from his next venture March of the Zapotec, tracks from which I am sure can be found at several generous locations on the web, is inspired by the music of Mexico, switching croissants for quesadillas and berets for gaucho hats. The difference between the two? Not much. The horns are slightly more intense and centric to the music, much like many of the mariachi bands that are so synonymous with the Mexican culture.

The show, was in truth not the best Beirut show I experienced. Certain bands today thrive on a sense of intimacy to entertain and enthrall. I felt like I was watching a filmed concert sitting up in the Balcony. Zach, also feeling a certain disconnect, asked that people get out of their seats and approach the stage, many were obliged.

The set was split into two parts: the band solo, and the band with the Vassar Orchestra. Although BAM has a strict no taping policy... I couldn't let that hinder me. I needed to show those who got shut out of this event by scalpers how AWESOME it was. Below are two songs, an oldie, "La Llorona," and a new one dubbed "East Harlem." Hope you enjoy!

Beirut - 02.07.09 - La Llorona
Beirut - 02.07.09 - East Harlem

Warchild Announces Heroes Tracklisting

2009-01-12T16:19:00.001-05:00

TRACKLISTING

1. Beck (Bob Dylan - "Leopard-Skin Pill-Box Hat")

2. The Kooks (The Kinks - "Victoria")

3. The Hold Steady (Bruce Springsteen - "Atlantic City")

4. Hot Chip (Joy Division - "Transmission")

5. Lily Allen feat. Mick Jones (The Clash - "Straight To Hell")

6. Yeah Yeah Yeahs (The Ramones - "Sheena Is A Punk Rocker")

7. Franz Ferdinand (Blondie - "Call Me")

8. Duffy (Paul McCartney - "Live And Let Die")

9. Estelle (Stevie Wonder - "Superstition")

10. Rufus Wainwright (Brian Wilson -" Wonderful & Song For Children")

11. Scissor Sisters (Roxy Music - "Do The Strand")

12. Peaches (Iggy Pop - "Search And Destroy")

13. Adam Cohen (Leonard Cohen - "Take This Waltz")

14. Elbow (U2 - "Running To Stand Still")

15. The Like (Elvis Costello - "You Belong To Me")

16. TV On The Radio (David Bowie - "Heroes")

Heroes is to be released February 24th, 2009 on Astralwerks records.

Grizzly Bear: Coveted #2?

2009-01-08T01:04:00.002-05:00

There is a hidden subtext to the current debate as to whether or not even now, in January, Animal Collective's Merriweather Post Pavillion is the #1 release of 2009 (review to follow). The question is: if the #1 album is so darn clear cut... who's gonna get #2?

The candidates are a veritable "who's who" of the Brooklyn indie rock scene, but having heard little of any of these possible gems, I can only think of one band, who, with two albums and an EP under their belt, have securely stolen the hearts of many: Grizzly Bear.

I've tired many a time to correspond with these kind and talented melancholic bliss mongers. Alas, I don't think I am too realize that small dream. This has not diminished my respect for their craft.

Their upcoming as of yet untitled album has been peeking out from the bushes in the form of new live material. Preserving their infectious 60's dream-pop melodies is a hope of fans worldwide, and the new tunes fail to disappoint. unlike any other band in recent years, the band has opted to appear on national television and play a song only a choice few concert goers may have heard. Taking a risk played, he band played "Two Weeks" on The Late Show with David Letterman; the tune, a nostalgic romp through sunny high grass, probably located right outside their Yellow House.

Another, "While you Wait For The Others," is filled to the brim with emo scorn; an angst filled crush unfulfilled, admirer sitting idly by while the object of his affection runs to greener grass. Even if not deviating much musically, these lyrics demonstrate the influence the group's other song writers are having on the compositional and lyrical content. Guitarist Daniel Rossen riding on the heels of Yellow House's success, released a CD under the name Department of Eagles, an outfit which existed some time before joining Grizzly Bear. His brand of rootsy, yes, beatlesque rock bled onto Yellow House in the form of "On a Neck, On a Spit," the folkiest of songs on the CD.

At a recent show at the Museum of Fine Arts in Boston, the band played four new songs all of which can be heard on the bootleg I taped a link to which can be found below. I can let you decide for yourself if this band has not only proven they have staying power, but also, whether or not they are true contenders for the #2 spot this year.

Grizzly Bear - 08.14.08 - Boston MFA

A Quickie For The Good Days

2008-12-08T22:41:00.004-05:00

Moon and Moon (La-Soc Recordings)

The music on this 7 act disc will haunt you long after you've listened to it. The unlikely amalgam of Industrial rock, musical pastiche and theatrics results in chilling, relevant and sometimes disturbing tales of a king, his followers and the turbulence of a monarchy and loyalty during war. Ignore the obvious current events subtext and you're still left with sense that we can learn so much more from our past then we could ever attempt to forecast our future. Lead vocalist Will Lemon delivers menacing vocals that would not be out of place on the Wall along those of Roger Waters. Though a grower, a definite keeper. (8.5/10.0)

About My Absence...

2008-12-08T22:34:00.001-05:00

I became a father... nuff said!

Posts to come soon!

Fleet Foxes - The Grand Ballroom (Too Grand?)

2008-10-06T12:33:00.004-04:00

A heartfelt congratulations to Robin Pecknold: 1) for putting on a spectacular show, demonstrating how strong a band Fleet Foxes really is, and 2) for getting over that cold he was seemingly suffering from for months.

The Fleet Foxes stormed back into NY and into the hearts of everyone in attendance at their long awaited Grand Ballroom concert. The band commented on the size of the venue, saying that they were unaccustomed to the largess. There are differing opinions on this, but between you and me, they did far better a job than some of my other favorite bands who have had their chance to play to large crowds.

I was standing next to a number of individuals who were hardly familiar with the band's material but had made it out based on the raves of their acquaintances. One individual I spoke to shortly after said that he witnessed "genuine talent" for the first time in a while and rated this amongst his favorite shows.

Mr. Pecknold made the announcement that this was his first show in NY where he wasn't sick, even though months ago he proved his performance didn't suffer noticeably when he was under the weather. The band treated us to both new material (see my video below) as well as an unplugged segment (a portion of which I filmed, also below). The band was high on banter, and some of the heckling (friendly, really) resulted in some of the cutest band behavior I've seen.

Great, great show. I'll be posting songs from the show tomorrow but for now enjoy these two videos.

Review: TV on the Radio - Dear Science,

2008-09-26T13:52:00.006-04:00

9.0/10.0

- - - - - - - - - - -

Much time has passed since TV on the Radio’s initial underground debut on the Bedford-avenue-indie-hipster scene, and they find themselves at a most irresolute moment in their career: the major label debut.

More often than not, a major label debut causes even the most loyal fan to emerge kicking and screaming, claiming the band is selling out and ditching their ingenuity and talent for something more approachable and popular. On the first (through fortieth) listen to Dear Science, this is anything but the truth. TV on the Radio has made one thing clear, they wish to have full control over their artistic direction, and have that written into their contract. They are on a musical journey, straying here and there from their comfort zone and need to preserve their artistic integrity if they are to enjoy pushing boundaries. Dear Science, picks up where Return to Cookie Mountain left off, but this time, it’s all horny. Though, I’ll probably lose you if I don’t explain.

Cookie Mountain was a spastic study in percussion, the only other focus being Dave Sitek’s 5 o'clock shadow guitars. On songs like “Let the Devil In” and “A Method,” street player drums were allowed to go their own for almost the entirety of the tunes, the only tonal anchors originating in the swirling vocals of duo Tunde Adepimbe and Guitarist Kyp Malone. On Dear Science, the horns play a dominating roll; the songs are wrapped in a cozy cocoon of crazy sax chirps and tooting trumpets courtesy of longtime TVOTR recording brethren, the Antibalas Afrobeat Orchestra.

Nowhere is this funk more evident than on “Red Dress,” which adopts the common apathetic/can’t-be-bothered attitude that individuals succumb to after watching too much of the Nightly News. On “Dance Choose,” the horns rap in cadence with Tunde’s stop-stutter delivery, adding a twitchy level of anxiety, as if being forced to watch this “newspaper man” lead his life by way of popular opinion and trend is too painful and we want out.

Vocal duties on the album are split evenly resulting in more of Mr. Malone than we had heard on earlier releases. His vocals are slightly more dynamic and expressive than Adepimbe, who usually switches between an evangelical preacher’s yelp and stark yet casual hum. On “Stork and Owl” a new level of emotion is evident thanks to Kyp’s vocals, and, assisted by a solid string arrangement and twittering beats, the song elicits feelings of hope and freedom via dialogue between mythical figures that might represent love and love lost.

It is refreshing when a band is confident in their music and not afraid to challenge themselves and their listeners. The music here is different, there is no doubt about that, but it is also more alive. The mix here bleeds out into your ears, the horns and vocals puncturing that fine line between musician and spectator. Instead of having you appreciate it, as you may a fine painting, you are meant to experience it.

I do see a consistent message underlying this album. The album is a letter to science, or, that which we have relinquished our freedom of choice to. Statistics and empirical studies have long been proven wrong then right then wrong again, and we let these numbers and figures guide us towards the destiny that should be wholly ours. It’s a cliché but it should be repeated, horns and all.

Low Debut New Christmas Tune @ Mercury Lounge

2008-09-23T18:20:00.005-04:00

The last time I got to experience Low it was as the opening for Radiohead at Madison Square Garden in 2003. An arena rock band they are not, so it was no surprise that the intimacy associated with the tunes played by the Duluth natives failed to reach the audience.

Last night the Slow-Core trio came to Mercury Lounge, hell yes. The experience was everything that MSG wasn't. The band was in top form, joking between songs about the dirge-like quality of most of their music; Mimi pointing out that the bands version of Dragonfly that night should have been called Draggingfly... bravo, Mimi, bravo. I didn't notice, cuz I was hypnotized.

The show was a rare chance to see the band perform an extended set (split by an intermission) of both newer and older material, satisfying everyone. (These "evenings" with Low are sans opener, allowing for more stage time than usual.) For a change, bassist Steve Garrington was on upright for the evening and was able to fill his space well, switching between a bowed and plucked attack. As mentioned above, the band was in high spirits, for Low, which means intra-band banter and some audience exchanges.

A definite highlight of the evening was a performance of "Santa's Coming Over" which is to appear on the band's Christmas 7" coming out this November. The tune got quite a few laughs because of it's anal retentive desperate voicing done justice by Alan - the voice up until now rarely seen live. I've included three links to an MP3 of the audience fave from my bootleg of the show.

LINK 1

LINK 2

LINK 3

Wilco and Fleet Foxes Collab On New Track - Free Download

2008-09-23T15:39:00.003-04:00

Add this to your dream team collaboration.

Get the details here and the track, "I Shall Be Released" here!

Sunset Rubdown Want Pictures Taken Of Themselves... Let Them...

2008-09-09T23:00:00.003-04:00

Not too long ago, before the announced demise of Polaroid film, photographer David Hurvitz decided to express his love for the medium by requesting that xiu xiu and sunset rubdown concert goers bring the said film to a show and following the show, David would send the individual copies of those photos... it's happening again... but with disposable cameras this time...

As David says... it's "really simply stated" and in big letters here.

I for one will be participating and will post my pics that I receive whenever I do.

Sorry for the lack of posts... call it a summer lull. I will have a few goodies in the coming weeks. Smile... it's Autumn.

Miles Benjamin Anthony Robinson - Joe's Pub - 08.19.08

2008-08-20T10:27:00.006-04:00

Never having been to Joe's Pub for a concert before, I was sort of disappointed by both it's ambiance and acoustics. Lesson: Don't put a lounge joint meant for mellow and quite music over a freaking train station... it detracts from everything. This on top of their two drink minimum.

Miles Benjamin Anthony Robinson (hence and thus far, MBAR) opened up his show by mentioning it was the first time he and his bandmates were playing an official live set. He also promised that they may "f*ck up." How charming. The set was short, clocking in at just over an hour and consisted of a mesh of tunes from what MBAR was happy to say 3 albums he wrote.

More often than not, arrogance and cocky self-confidence have no place on stage, especially when you might be the only one who has your sh*t together. When did it become passe to be humble about your own raw talent?

The rest of the band, while adorable and awkward, were constantly looking to each other in order to remember when they would be coming in to sing their off-pitch harmonies. They floundered every time MBAR decided he wanted to revise a tune to allow for a small jam, and there were quite a few of those.

This show didn't thrill me, though it didn't turn me off on the idea of ever seeing MBAR perform again. Maybe with some time and a healthy dose of reality, the band will polish and perfect their live act, play a venue worth visiting and entertain their fans as much as they think they do.

TV on the Radio's Tunde Adebimpe Starring Alongside Anne Hathaway in New Film

2008-08-05T10:07:00.002-04:00

With a large, bright, spotlight on TV on the Radio's new album "Dear Science,"(,) expected for release in September, it seems another story almost got under the radar.

When TVOTR first appeared on the indie music scene a portion of their press packet was dedicated to lauding lead singer Tunde Adebimpe for his indie actor roles. This aspect of Tunde's artistic mode of expression has taken a back seat as the band has enjoyed much success with their music.

But as I was perusing some up and coming releases, the trailer below caught my eye. Yes, that is indeed Tunde cuddling up with a blushing bride-to-be as "Sydney"... thank you IMDB. I don't like reading into trailers, since all too often it seems as if their cut to amplify the sentiment of the movie. Here's to hoping that he has a speaking line or two, even though it seems from the trailer that Tunde is playing a grinning mute.

TVOTR has dates up for their September-November tour. Dates and the track listing for their new album after the jump!

OCTOBER
10 Electric Factory, Philadelphia PA+
11 Lupos, Providence, RI+
13 Wilbur Theatre, Boston MA+
14 Masonic Temple, Brooklyn NY+
15 Masonic Temple, Brooklyn NY
18 Bogarts, Cincinnati OH+
19 Vogue Theatre, Indianapolis IN+
20 First Ave, Minneapolis MN+
21 First Ave, Minneapolis MN+
22 Riviera, Chicago IL+
24 Voodoo Festival, New Orleans LA+
25 Tabernacle, Atlanta GA+
26 Bijou Theatre, Knoxville TN+
28 Lakewood Theatre, Dallas TX+
30 Stubbs, Austin TX+
31 Diamond Ballroom, Oklahoma City OK+

NOVEMBER
06 Wiltern, Los Angeles CA+
08 4th and B, San Diego CA [KBZT Birthday Show]+

* Miles Benjamin Anthony Robinson to open
+ The Dirtbombs to open

Belated Fleet Foxes Union Hall Review and Bootleg MP3's

2008-07-27T11:14:00.002-04:00

It’s July 10th, it’s hot and Fleet Foxes have a lot to deal with; the impatient and sometimes (sarcastically) discourteous crowd, having to play two sets in one evening while under the weather, and getting a concentrated pick of representative material off 3 releases just right to satisfy both the consummate fan and the newcomer.

Nothing can be off or else people will notice, and if you ask them, they don’t deserve the accolades or titles bestowed on them thus far. They’ve been widely quoted as both tremendously critical of their performances and sincerely bewildered by their own success.

The night before they set out to play Union Hall, one of the smallest venues in New York City, they played the Bowery Ballroom, arguably the most acoustically sound venue in “Liberty City” as the band refer to NYC in their tour agenda on MySpace.

The next day blogs abound saying that lead singer Robin Pecknold was fighting a horrible flu-like ailment and it took 5 or 6 songs for him to warm up. Even though I don’t always believe what I read, I was worried that in the 91 capacity venue that night, these imperfections would be that much more evident to those in attendance.

For me this show has been an unexpected shining beacon in the distance. Originally I had avoided listening to Fleet Foxes eponymous “debut,” but my self-restraint wasn’t meant to be. Upon hearing the first lines on Sun Rises I was a changed man. Here was a band that, like a chosen few shortly before them, met their hype head on.

The record is a rolling wave, a mellow celebration of cylindrical guitars and meandering vocals that would rather continue to play in the grass then settle on the picnic of melody set. Although mainly homogenous in sound, there is a spattering of tips and tricks that surprise as they occur which prove that the unspoken influences strewn across the album are just the tip of an iceberg.

I was still entirely skeptical of any chance that the live presentation of these songs would pair up to the performances on record and in a cautious act avoided listening to too many audience recordings or internet radio sessions.

The last time I had felt this strongly of a band was Grizzly Bear, and the probability of two bands being able to stay true to form and deliver their material bringing just enough refreshment to the mix to entertain the audience was slim.

I arrived for the opening act, The Duchess and the Duke, and was disheartened by the fact that they seem to be struck by the same ailment earlier spoken of. Their music put me at ease; a mix of Dylan’s rudimentary songwriting and the Stone’s sense of rockabilly rhythm. (To which an acquaintance of mine was prompted to say, “So… they were like a rolling stone?”)

After they had finished, we waited, made conversation, and waited some more. Every now and then a band member would approach the stage and plug in an instrument to tune it, and then leave as if to say “still works!” Finally at 10:30, Mr. Pecknold took the stage, sat down in his high stool, 8 bottles of water at his feet and a towel to his side, the band followed and soon after we plunged into perfection.

Immediately, you knew Robin’s voice had healed, or the previous reports were muchly exaggerated. The voices blended together and kept to form, reproducing if not perfecting on the studio recordings. The only song sorely missed from the setlist was “Ragged Wood” possibly my favorite track of theirs, but I was happy with what I got. Highlights are included below; 4 MP3’s of a bootleg I taped that night; archived at 4 locations for your downloading pleasure:

http://www.sendspace.com/file/b9z73c
http://www.sendspace.com/file/a71vva
http://www.sendspace.com/file/9ujcis
http://www.sendspace.com/file/0oonh8

One Liners For The Good Old Days: Musical Thoughts

2008-07-13T23:36:00.003-04:00

1) Beck's new album is what we've all been waiting for: a new Beta Band album!
2) I really wish they'd dump the "Broken Social Scene Presents" prefix... it's getting boring. IF these artists need to use the BSS moniker to promote their own work, maybe they should rethink their work?
3)When are Pedro the Lion going to reunite?
4)The idea of Radiohead working on new material on tour makes me GIDDY.
5)Brian Wilson might have run out of ideas with "Going Home," but nothing beats free when the opportunity arises to see a living legend, and not on PBS.

One Year Later: Interpol - Our Love To Admire

2008-06-30T18:18:00.004-04:00

What critics were saying at release time:

Uncut Mag: "It’s a majestic, grandiose, machine-tooled album, subtly orchestrated with gothic pianos and doomy organs."

Entertainment Weekly: "The outcome is akin to an artistic explosion."

Billboard: "The New York quartet retains its flair for dramatic images and ominous guitar lines..."

On contemplating the maturation of this album I realized something very important about Interpol: they’re a band. Let me explain.

The sentiment amongst musicians is that the quality of any given song is in its root simplicity. Many guitarists will say that the best – although intricate and overdub filled – songs can be played on a single instrument. With Interpol this approach is put to a strong test. Interpol is an intricate group, and absent of even one component, the songs on Our Love to Admire lose a lot of substance. The primary reason being that with every album each of the band members are entrusted with only a small piece of the musical puzzle, as if they were the "Priori of Sion" in the DaVinci Code, splintered and assimilated to ensure that no one individual could give away the secret.

Many of the songs, like "Scale" and "All Fired Up," exploit the infamous rhythm section of Bassist, Carlos D, and Drummer, Sam Fogarino in new and creepy ways, yet the tonal core of the band, Guitarist Daniel Kessler and lead singer Paul Banks veer just slightly away from their contributions found on the first two albums. They tend to act in a tag team fashion so reliant on one another to make any musical sense.

In a nutshell, this album was a return to form for a band that never really left. Though to their benefit, taking up a position in the comfort zone works for them. Case in point: the biggest departure - "Lighthouse" starts off sounding more like a rejected Walkmen song, takes a whopping four minutes equals forever to grab you, and is the weakest song on the album after "Heimlich Maneuver," a bland stab at a single.

Where this album does differ from their first attempts is that Mr. Banks' lyrics while still cloaked in metaphor and allegory are definitely more aggressive and at points will frighten those individuals with strong morals. My brain cringed at hearing, "And the seven aging daddies you may want to know" in "Mammoth" and "...but it's that sleaze in a park; you women you have no self-control" in "Pace is the Trick."

One year later, Our Love to Admire still thrills and entertains, which is quite a feat being it is utilizing a simple neu wave formula. I give it: 7.0/10.0

Recording: Sigur Ros - Live @ The Grand Ballroom, NYC

2008-06-28T21:41:00.008-04:00

So it's been some time since I registered a full posting on this blog.

As promised in the last post here is my recording of the Sigur Ros show at the Manhattan Center's Grand Ballroom.

The show was surprising in that the band only played 3 tunes from their lastest release. The set showcased songs from the bands entire career and as you can hear during the majestic Viõrar Vel Til Loftárasa, the NYC audience was uncharacteristically attentive and respectful. All in all it was a terrific experience for long time fans who have stuck with the guys through thick and ( ) and also an great opportunity to turn on any new fans who were there just because of the hype surrounding the event.

I didn't get a chance to stay for the encore and regret it but what I did get is the entire first set. I want to say a special thanks to Dan at NYC Taper who was gracious enough to host this recording and allow me to post a link here to it.

Will be back soon with the rest of my promised pieces.

Sigur Rós
2008-06-16
Manhattan Center Grand Ballroom
New York, NY USA

Digital Master Recording
Recorded from FOB

Sony ECM > i-River (Rockbox) > 16bit 44.1kHz wav > Soundforge (set fades, slight level adjustment) > CD Wave > Flac Frontend (level 7, align sector boundaries) > flac

Premiere Download offered Simultaneously at
http://www.oneforthegooddays.com/
http://www.nyctaper.com

Recorded by deadbirds
Produced by nyctaper
2008-06-28

Setlist
[total time 1:36:19]
01 Svefn-g-Englar
02 Glósóli
03 Sé Lest
04 Ny Batteri
05 Við Spilum Endalaust
06 Hoppipola/Með Blóðnasir
07 Heysatan
08 Viõrar Vel Til Loftárasa
09 Sæglópur
10 Olsen Olsen
11 Hafsol
12 Inní Mér Syngur Vitleysingur
13 Gobbledigook
Encore:Popplagið (not recorded)

Information: txt file
Verification: md5 file

Coming Soon....!

2008-06-25T18:10:00.002-04:00

Reviews
One Year Later
Sigur Ros Live @ The Grand Ballroom Bootleg and Video

!!!

Rosewood Thieves - New Album, Tour Dates - Indie Rock Launch

2008-05-30T13:27:00.004-04:00

Rosewood Thieves have a new Album. Rise and Shine is available now by mail order through their website/myspace and iTunes. The band will be joining Blowup Hollywood, Sam Bisbee, Kirsten DeHaan, The Nillaz, Discrete Encounter, and DJLP at SirLady Records' New York Indie Rock Launch on June 12th at 8pm in Galapagos Art Space. Details of that show at the bottom of this post. The Rosewood Thieves are on tour:

June 12th Galapagos - Brooklyn, NY
June 30th The Middle East - Boston, MA
July 1st M Room - Philadelphia, PA
July 2nd Wilbert's - Cleveland, OH
Sept. 14th Monolith @ Red Rocks - Morrison, CO

- - - - -

Live: Birdmonster @ The Mercury Lounge

2008-05-29T14:52:00.006-04:00

Having been originally of the same opinion as Pitchfork when it came to Birdmonster - last year's blogger fave, I begrudgingly took advantage of the free ticket offer they put out for a show at the Mercury Lounge, one of NYC's most intimate of venues.

Arriving, I was surprised at the turnout. It could have been the early 7pm start or their hold on bloggers hearts and minds was weakening without new material or shows for some time, the place wasn't packed... FREE SHOW people... come on. Whatever the case, regardless of attendance, at about 7:05pm took to the stage and changed my mind, for the time being.

The band tore through a 45 minute/11 Song setlist and didn't look back. Besides for a song or two in the mellow vain, the tunes were fast, smart, loud, and tight. The crowd? Was quite the opposite. But I am NOT going to stoop to calling out the talkers and hipster wannabes... oops, just did.

The guys played almost the entirety of the new album with the exception of "Concrete Lights," and "The Iditarod." Based on what I heard , the new album will indeed show, as their press release stated, "signs of maturity in the form of subtlety, detail and delicacy," with the rythym section picking up some slack and adding new textures to the mix. Hopefully this will help critics abandon thinking of Birdmonster as a "jangly Everclear."

The tracklisting for the new album From the Mountain to the Sea (out on August 5th):

TRACK LISTING
01) My Love For You
02) Lost At Sea
03) New Country
04) Born To Be Your Man
05) Concrete Lights
06) Greenland Sound
07) The Iditarod
08) The Only One
09) Our Ashes
10) Heart Of The Dead
11) Residue
12) I Might Have Guessed

(Photo Credits: michael gruen)

Band of the Day: Frightened Rabbit

2008-05-13T07:55:00.004-04:00

Is: the Scottish Mountain Goats

Latest Release For Purchase: The Midnight Organ Fight

Genre: Fun and Frenetic Four-to-the-Floor meets Folk

Lead Singer Sounds Like:

John Darnielle +

Adam Durwitz +

Chris Martin +

Stellastarr* = (But really good)

Their next NYC centered show(s):

May 27 2008 - 8:00P -Pianos -New York

- - - - - - - - - - -

Frightened Rabbit on MYSPACE

Creepy New KT Tunstall Video From The Vapour Brothers

2008-05-13T07:50:00.002-04:00

I hate saying this... but not only is the video inventive, I actually like this song. Don't hate me.

Insound.com to fans: "Give More, Get More"

2008-05-08T15:02:00.002-04:00

We all know that people have been forecasting the death of the physical album, and they might be right. On top of that, How many times have you heard this treasure of a gripe:

"I don't buy CD's because: 1) they're overpriced, and 2) the record company gets all the money, and the artist gets gypped."

Well, all you complainers, Insound is giving you a good reason to actually buy the music - even digital - your favorite artists make and support them in the process. According to an informative release on their site:

"Every time you buy an MP3 album from Insound (not EPs or singles), Insound will donate $.25 of our take to a touring band. We choose 6 lucky bands that we like, but you get to select the actual artist to earmark your quarter to..."

...and in exchange, for every purchase you make on insound they will offer each customer:

"a free monthly sampler of 10-15 tracks, hand-selected by us as a free MP3 download at checkout."

With a new mixtape each month, you're actually getting 2 albums worth of songs for the price of one.

Kudos, Insound, for not only catering to the indie elite with lower prices but also pacifying some of the indie elite who find it beneath them to buy the music they snob about.

Review - Wolf Parade - At Mount Zoomer

2008-05-06T11:53:00.006-04:00

8.5/10.0

- - - - - - - - - - - -

Let's get right into it:

Wolf Parade's "Apologies to the Queen Mary" was equal parts rush job and canuck kids just having fun. Roughly half of that album was initially prepared in a three week span by founders Spencer Krug and Dan Boeckner as live material for an Arcade Fire support spot. Now as a musician myself, I have observed and experienced a phenomenon whereby material is pressured for completion in an extremely short period of time, and for some reason ends up emerging more genuine and heartfelt than material plotted and thought out for months or years.

The Wolf Parade of "Apologies..." was a band unsure if it had permission to establish a niche amongst the plethora of "Canadian/Indie" acts spilling forth from our neighbor to the north, though, in the end, they burrowed quite deep into the collective hearts of anyone who'd listen.

Lest you forget... that was 3 years ago.

"At Mount Zoomer," named after the studio in which the album was primarily recorded, arrives all polished, neat, and produced; a far cry from the spontaneity, raunchiness and dirt on "Apologies..."

On first listen, the most distinctive aspect of "Mount Zoomer" is the clear division between the styles Dan and Spencer bring to the table. Both have had relative success in side-projects (Dan, Handsome Furs, and Spencer, Sunset Rubdown and Swan Lake) and while this album is released under the Wolf Parade moniker, it comes off sounding more like a Handsome Furs/Sunset Rubdown Split EP.

On that note, Spencer Krug nearly lost me. All of his songs (with the exception of Call it a Ritual), are studies in atonal modal changes coupled with the typical warbling Spencer vocals. When these tunes are played alongside Dan's fresh brand of Canadian "Americana," they sound more like demos that need a few more hours to cook in the studio. They are all fun none-the-less and giving credit where credit is due though, Spencer does deliver the most refreshing hook on the album, "And I think I might have heard you on the radio/But the radio waves were like snow," on California Dreamer - a definite ode to the Mamas and Papas California Dreamin' with corresponding lyrics of preachers and themes of winter.

That being said, while listening to “At Mount Zoomer,” you might be tempted to declare Dan as the new Up; trading his darker emo grit for tunes bursting with bright and happy. Ultimately, the lyrics don’t tread far from his past work and even reference earlier song content; dropping the word “city” more than a few times, talking about leaving places in a hurry and referring to iron flowing hearts.

My primary criticism of Mr. Boeckner is his use of the one-verse-with-solo-vocal-the-next-with-doubled-vocal-coupled-with-a-howl-or-harmony ad nausea. We do get to hear a slightly different Dan for a nano-verse in “Soldier’s Grin,” when during the breakdown he puts the howl down for a while issuing a very sobering “And I rode/Horse shapen fire, draggin' stereo wire.” His harmonies are consistently tight, extremely hard to peel apart from one another and his emotion seems - on the surface - raw at all times.

A Side Note: I chortled when I first heard Fine Young Cannibals, because it was as if instead of Wolf Parade, Dan had enlisted Rob Crow and Zach Smith of Pinback to pen the math rockish intro. I beg you to differ.

"At Mount Zoomer" is a definite "grower" and deserves the repeated listens. Those unfamiliar with the sounds of Spencer Krug may need many turns until they find themselves tempted to sing-along, but given enough time, they will. Though the album is not nearly as refreshing as their debut, the band is experimenting with their musical boundaries, making sure not to stray too far as to end up somewhere entirely different.

Standout Track(s): Soldier’s Grin, California Dreamer, and Bang Your Drum

Ex Mars Volta Drummer Looking For Project

2008-05-05T15:26:00.001-04:00

http://newyork.craigslist.org/brk/muc/668835745.html

"I've played empty bars, sold out arena tours and pretty much everywhere in-between."

I really get a kick out of these ads. I don't know why.

Grizzly Bear Add Non-Radiohead Supporting Dates

2008-05-02T08:36:00.002-04:00

In addition to landing the deal of a lifetime, opening for Radiohead, Grizzly Bear done gone and gave their fans the chance to experience their lush and dreamy soundscape in smaller more intimate settings along the tour route. All dates below:

Jun 25, 2008 - Calgary, AB - Sled Island Festival
Jul 31, 2008 - Nashville, TN - Mercy Lounge
Aug 01, 2008 - Chicago, IL - Lollapalooza
Aug 02, 2008 - Louisville, KY - 930 Listening Room
Aug 03, 2008 - Noblesville, IN - Verizon Wireless Music Center #
Aug 04, 2008 - Cuyahoga Falls, OH - Blossom Music Center #
Aug 06, 2008 - Montréal, QC - Parc Jean Drapeau #
Aug 07, 2008 - Northampton, MA - Calvin Theater $
Aug 08, 2008 - Jersey City, NJ - Liberty State Park*
Aug 11, 2008 - Washington, DC - Sixth & I Historic Synagogue
Aug 12, 2008 - Camden, NJ - Susquehanna Bank Center #
Aug 13, 2008 - Mansfield, MA - Tweeter Center for the Performing Arts #
Aug 14 - Boston, MA - Museum of Fine Arts, Boston
Aug 15 - Toronto, ON -Molson Amphitheatre #

* All Points West Festival
# w/radiohead
$ w/new pornographers

A presale for a number of these dates will begin on Monday May 5th at 3pm. Tickets will go on general sale Friday May 9th.

Purchase Grizzly Bear's Friend EP at Insound.

Brooklyn Indie Market Launches Saturday With "Indie Fest" - Pete Golub Among Guests

2008-05-01T22:03:00.004-04:00

I would suggest you get down the Brooklyn Indie Market at some point this Summer. Everyone else does.

It's not only a place to check out some really cool ware, but also a really wonderful way to support local artists and designers. I mean seriously, who WOULDN'T want a onesie with an SKULL on it... even if you don't have children. Okay... that might be weird.

Oh and in honor of this year's launch, the founders promise music to shop by from "unplugged indie artists." I was able to pin down one such artist and suggest you check him out; Pete Galub.

As I mentioned in the subject header the grand opening will be this Saturday from 11am until 7pm. You can find the market under the red and white striped tent on Smith and Union Street, in Carroll Gardens, Brooklyn. peace.

The... New... Wolf... Parade...

2008-04-30T00:27:00.002-04:00

Has leaked...

let's compose ourselves.

*freaks out*

You're all resourceful 'nuff to find it yourselves. :)

Weeds Season 3 Soundtrack Set For Digital -Only Release June 3

2008-04-29T13:19:00.003-04:00

Boasting an ecclectic mix of artists from Ween to Page France... and Kevin Nealon? The soundtrack for Season 3 of Weeds is set for a digital release on June 3, followed by a limited CD sale on SHO.com and a wide release... shortly thereafter. Sound familiar?

Tracklisting below

01. Randy Newman - 'Little Boxes'
02. Page France - 'Chariot'
03. That 1 Guy - 'Buttmachine'
04. Beirut - 'Scenic World'
05. The Dresden Dolls - 'Girl Anachronism'
06. Ween - 'You F**ked Up'
07. Oh No! Oh My! - 'Walk in the Park'
08. Illinois - 'Nosebleed'
09. Great Lake Swimmers - 'Your Rocky Spine'
10. Mr. Smolin - 'The Earth Keeps Turning On'
11. Kevin Nealon - 'Just Like the Superdome'
12. State Radio - 'Keep Sake'
13. Eleni Mandell - 'Let's Drive Away'

Former Shapes Co-Lead Looking For New Band

2008-04-16T15:10:00.003-04:00

Citing influences like: U2, interpol, stellastarr, nada surf, explosions in the sky, etc., one of the two singers in the short lived indie band The Shapes is looking for band members in order to move on... using craigslist.

Got what it takes? The ad is here.

Good Luck!

One Year After: Arcade Fire - "Neon Bible"

2008-04-15T23:01:00.008-04:00

When Neon Bible emerged from the darkness of the church-cum-studio Arcade Fire chose as their recording space, it had already been for months the most anticipated album of 2007. That being said, upon its release, critics were found trying to explain the deviation from the fire and ice on their debut release, the indie-rock phenom "Funeral," rather than lambasting them for failure to deliver similar material. Let me explain why this was so uncharacteristic and how I think Arcade Fire successfully pulled the wool over the eyes of critics.

It is overwhelmingly common for bloggers and columnists alike to beat down artists who attempt to drift from the norm. We can be likened to small children whose first exposure to any single "traumatic" stimulus - in this case an authentic and original indie/rock record - will cloud our perception and institute a benchmark for future similar experiences. Should, God forbid, a band deviate from what has been established, critics will likely jump on them for straying and deem them a passing fad.

For some reason, "Neon Bible," though a surprisingly mature record from such a young band, failed to match, on any level, the energy and emotion found on their debut.

The critics? They lapped it up, seemingly making excuses for the band:

Blender Mag: "You can only discover fire once, though, so instead of a revolutionary blueprint, Neon Bible makes a triumphant clamor that's nearly as cathartic."
Filter Mag: "Truly, there isn't anything here that comes close to achieving the anthemic, stomp-along, bombast of Funeral's best works. But this is a different album, and a different Arcade Fire playing to their biggest strength: emoting."
NY Times: "Arcade Fire mines classic U2 and Bruce Springsteen far better than the Killers recently did. And Arcade Fire didn’t lose its own voice in an attempt to sound bigger and grander."
MSN: "They thud rather than thunder. But what a loud and joyous thud it is."
Lost at Sea: "Neon Bible may be a bold departure from the beloved Funeral, but the divergence is as inspired as the music itself."

I'm sorry, what? After reading these thoughts, I lamented the passing of the haters and wondered how this band had done the impossible in the era of indie elite. My answer? Derivative... done exceedingly well.

- - - - -

A year later, Neon Bible still somehow delivers on familiarity and yet still deceived listeners by being entirely different but the same from the album that preceded it. Put simply, Arcade Fire did things the right way, the way it should always be done. Prove that you've got the talent; show us your chops; undress your soul.

Once all of this had been accomplished, Arcade Fire delivered an album whose soundscape was on of influential origins. From Bowie ("Black Mirror"), to Leonard Cohen ("My Body is a Cage), to Springstein (almost everything else), Neon Bible was a collage of Arcade Fire's artistic development.

To illustrate let me use the example closest to my heart: Radiohead. When it was rumored that Thom & Co. would be covering songs for one of their winter webcasts, people got excited. But wait... Radiohead had JUST released an album of BRAND NEW material and even with the new album at their heels, both rabid and casual fans alike drooled at the thought a great band lending their talents and ears to songs we hold near and dear. Why? Because we knew that they'd deliver.

Think of Neon Bible as just that, a great band covering or reinterpreting an old song for a new generation in their own special way. In this vein, Arcade Fire is still Arcade Fire, but the material, calling on a variety of sounds from the past, could be handled with less anality and concern because they wouldn't be required to sustaine the fresh sound introduced with Funeral. The band would be able to loosen up and sound less freshman-like, and sound more like the heroes they held in esteem, and the passion, not the bravado would shine through.

A year later I give Neon Bible: 8.0/10.0

Negative One For The Good Days: Cut Copy's "In Ghost Colors"...

2008-04-15T22:27:00.006-04:00

1) Cut Copy makes me feel every bit as uncomfortable as REO Speedwagon.

2) Cut Copy's "In Ghost Colours" makes me feel really old.

3) The cheesy synth store called... they want their cheesy synths back.

4) Apparently, I can't dance.

5) If you like Cut Copy... you'll love black licorice.

5.0/10.0

Get Into the Yacht/Star Like Fleas Show For 7 Bucks!

2008-04-14T16:36:00.001-04:00

WEDS. APRIL 16
STUDIO B
Brooklyn, NY
8:00 PM / 18+
$10 Advance / $12 Day of Show

Just do the following
1) Send an email to fotpstudiob@gmail.com
2) Put Yacht in the subject line!
3) Include all the names you want on the list!
4) Show up on Wednesday and come blow it out!

Interpol's Fogarino To DJ Other Music At Other Music

2008-04-14T14:21:00.001-04:00

Look out for a new CD and instore performance from Magnetic Morning, a side project of Sam Fogarino (Interpol) and Adam Franklin (Swervedriver).

Their debut self-titled EP arrives in stores this Saturday, the 19th of April, and to celebrate both it's release and record store day, Mr. Fogarino will appear - sans drumkit - to perform DJ duties at Manhattan's Other Music starting at 5pm EST.

More about the band here.

OFTGD

One Year After - Explained

2008-03-26T08:14:00.000-04:00

One for the Good Days was started in order to put out no bones objective music reviews. Unavoidably how I feel and what the music evokes within me will slip into a concert or album release critique/write-up, but one thing is for sure: How I perceive an album usually changes over time.

For this reason I have started this section, where I will review an album approximately one year after it's release, and register a new outlook on it. This way if an album grows on me, the small amount of advertising we get out through this site will give the album second wind. If the album has decreased in listenability, and the whole "familiarity breeds contempt" starts ringing true, I hope to dissuade people who might be looking for something new to them... and point them in the right direction. Hope you like it.

NEXT UP: One Year After: Neon Bible

REVIEW - A Silver Mount Zion - 13 Blues For 13 Moons

2008-03-18T07:59:00.000-04:00

6.5/10
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Reserving the first 12 tracks of "13 Blues"for later use with a white noise place holder, the new A Silver Mt. Zion will first freak out anyone who hasn't heard them before and then, according to many fans, lose those who have come to cherish the quirky/politico stylings of Efrim and the gang due to, and I quote, "too many guitars."

It's true that the last few ASMZ albums have been focused on the dissonance created by their string section and accenting that dissonance, bringing it to a more tonal/tuneful place with post-punk guitar work and "melodies."

Let's face it, Efrim Menuck hasn't gained notoriety for his ability to keep a note. Rather, one of the reasons A Silver Mt. Zion is so appealing is the presence of many forms of dissonance. In usual ASMZ fashion, and "13 Blues" is no exception, Efrim is usually joined slowly by the cooler, calmer and steadier voices of his bandmates. They provide a cushioning for the listeners ears, and transform his warblings making them more accessible, and at the same time, can make it all too clear how exceptionally bad he is at singing. This being said... I usually love every second of it.

I must say that I try not to listen in hopes of getting or recognizing their message. I mean, they're Canadian... that's... north of New York, right?

I am an American, and have come to the realization that every country outside these great United States, (including those touching us) have something - usually a lot - to say about how wrong this country has become. I am also a musician and can appreciate the labor and patience these individuals have in order to create pieces that retain their themes and don't lose me over a 15 minute residence, and that's why I listen.

I won't be picking apart each tune, due in part to the only really dissapointing quality of this CD: The song remainds the same. I am hearing less of the innovative force found even on their most recent album "Horses in the Sky." I feel the message is taking over and hope that this band's success isn't a victim in the end.

STANDOUT TRACK: "BlindBlindBlind"

Pemberton Musical Festival - July 25-27 - Pemberton, BC

2008-03-18T07:50:00.000-04:00

It seems as if every festival this year is either a madhouse attempt at getting every genre and aesthetic into one place over a 3 day period, or just a condensed version of those three day madhouses.

This is the latter... I think. Here's my take on who you should be seeing:

Nine inch Nails
Jay-Z
Interpol
My Morning Jacket
Metric
MGMT.
Mates of State

Lotsa M's.

See the rest of the lineup here.

Kraftwerk Announce 4 US Dates

2008-03-12T11:25:00.001-04:00

See the kracky krauts here:

Sat 4/19 Minneapolis, MN @ Myth

Sun 4/20 Milwaukee, WI @ Eagles Ballroom

Wed 4/23 Denver, CO @ The Fillmore Auditorium

Sat 4/26 Coachella, CA @ Coachella Music Festival

Zach Galifianakis' Absolut Vodka ad featuring Tim & Eric

2008-03-12T08:42:00.000-04:00

Zach Galifianakis' Absolut Vodka ad featuring Tim & Eric

Add to My Profile | More Videos

Prediction:

2008-03-12T08:11:00.000-04:00

My Morning Jacket's "Highly Suspicious" will be this years sexiest track after anything off Portishead's "Third"

Band of the Day: Rademacher

2008-03-12T07:33:00.000-04:00

Sounds Like: Hold Steady + Broken Social Scene

Hails From: Fresno, CA

Invokes In This Blogger: "I want to have whatever they're having"

Website: http://www.radradrad.com/

2008-03-10T11:30:00.000-04:00

Chicagoan Devin Davis appeared seemingly out of the blue. Arriving in March 2005 with the perfectionisticly (yes, I made a word) polished "Lonely People of the World, Unite!" he could be credited with heralding in a sincere DIY ethic for "indie" music. His sound combined familiar Americana (i.e. Wilco) with epic prog/playground ideals (i.e. Pink Floyd/New Pornographers).

Pitchforkmedia.com said the album was an “ode to loneliness.” That isn’t far from the truth when you take into account that Devin made the most of his own musicianship, playing on as many instruments as you can spot in a live Arcade Fire show. To render matters more predestined, Mr. Davis was extremely lucky in obtaining the opportunity to present his work to the masses since without a chance stint at the ACME Recording Studios in Chicago this album might never have seen the light of day.

After recently rediscovering this forgotten gem and realizing how long it had been since anyone had heard from Devin, I contacted him to find out what he’s up to and how optimistic he is about a sophomore follow-up to “Lonely People.”
- - - - - -

OFTGD: It’s been three whole years since “Lonely People” debuted. Are you taking your time with the next album purposefully due to the whole "freshman vs. sophomore" quality of content worries?

Devin Davis: Well I always take my time with EVERYTHING it seems. It's not something I'm necessarily proud of, although I do think it pays off in the end. I worked on "Lonely People" for quite a while, and I feel like I worked out a lot of the kinks by the end. I felt like, at least personally that is, that it played from beginning to end fairly well… which is what I'm trying to do with this album. That is, to make an album listenable from start to finish, as a singular piece.

OFTGD: Any potentially release schedule yet? Song or album titles you're ruminating over?

Devin Davis: Well, I don't really know if I can answer the first part. Hopefully by summer/fall I would have it ready to put out. I'd like to hold off on divulging song and album titles until it's really "done" as they tend to change until the last minute. I don't know who - if anyone - is going to put it out yet. Maybe I'll do it again myself.

OFTGD: How is the recording process this time around different from the recording you did for “Lonely People?”

DD: Not really that much different, although I am recording everything to on the computer first this time. I recorded everything to tape first last time and then had to assemble everything "by hand" if you will in pro tools later, it was a NIGHTMARE; greatly laborious and a huge time killer.

I'm going to run everything onto tape and back eventually so the "sound" will be fairly similar to "Lonely People" but this new approach allows me to go from studio to studio and friend's house to friend's house and just take my computer and little rack of mics, pre-amps and compressors along.

OFTGD: Are there any differences on this album influentially and arrangement speaking?

DD: I think it's definitely a companion piece to "Lonely People." It's still basically the same instruments although some are featured more prominently (the Theremin for example); more synthesizers here and there as well. I'm also trying very hard to have some parts that are very bare (note I said I’m trying very hard as I have a very strong tendency to start adding on the layers!). I'm trying, as I did before, to "script" the songs out in order first to make sure that they all flow into each other in an effective way. Some are abrupt changes, and some are in complimentary keys to make it flow kind of like "one big song", there are also some new rhythms I am playing around with.

I guess the one big aesthetic change is the 7 minute medley song towards the end, the "climax" of the album if you will, which is something I had always wanted to try; linking a number of super short song snippets together to form a "big song" (i.e. bohemian rhapsody, paranoid android, etc). I am very proud of that song and worked on it a lot so that it has its own kind of roller coaster quality to it (which I kind of think make longer songs "work" better in the long run).

OFTGD: Has the exposure afforded by "Lonely People" and its success made the recording process easier or difficult and how?

DD: Well, I'm glad you consider "Lonely People" a success. I'm not so sure what constitutes a "success" these days. Anything that happened with "Lonely People" has had pretty much no impact whatsoever with the current recording process logistically. I'm still recording by myself without a producer or engineer or label.

I suppose I have created a little bit of a challenge personally to come away with something that I feel as strongly about as "Lonely People". I was, personally, pretty happy with the way that it turned out, and was very gung ho about the whole "lonely people of the world, unite!" concept from its inception. I feel now that when the new album is finished (the way I am conceiving it in my head) that it will be better than "lonely people," but that's just my opinion.. I, of course, have no idea what other people will think.

OFTGD: Still sticking to the DIY approach? Or are you bringing any guests into the mix for collaboration?

DD: I really want to bring in a lot of people eventually to play stuff on some of the more orchestrated parts and have some friends now that I am really hoping to have on the album; folks in the bands Roommate, the 1900's, Offic e, and Stanley Ross to name a few, but it's really speculative this early in the stages.

I was part of The Blue Ribbon Glee Club for a while (an a capella chorus that did indie-rock covers), and am hoping to have some of them come by for some gang chorus type stuff, and I really want to get my friends in White/Light (Chicago drone band) to come by on some noisier parts as well… that would be really fun.

OFTGD: If you could collaborate with one artist alive today who would it be and why?

DD: As far as one artist alive today I'd like to work with, in an alternate universe I would love to do something with Jon Brion. I saw him perform a while ago and he is hands down the most amazing musician I have ever seen. His choices of notes are so right on; absolutely spectacular, and his genius in composing or orchestrating, of course, is well established.

OFTGD: If you didn’t have the option to make music, what would you be doing?

DD: That's a tough one. I would like to be a host on Globe Trekker… or maybe a jet pilot? A "real" X-Files FBI agent? I have a secret burning desire to direct films. I don't know what I would be doing if I wasn't working on music.

OFTGD: What are your current favorite audio releases new or old and why?

DD: I actually bought a double CD of Beethoven's 5th, 6th, and 9th Symphonies recently. I know it's fairly passé, but I have been listening to the 9th quite a bit, trying to "learn it." I've never really done that close of an examination of any complete symphonic pieces until now, except, of course, the soundtracks to Star Wars and Indiana Jones movies - oh, and also the soundtrack to Star Trek 2, which is one of my favorites.

Leonard Cohen's "Songs of Love and Hate" and "New Skin for the Old Ceremony" have been in heavy rotation and lots of Tom Waits, especially "Small Change" and "Rain Dogs". That's what I've been listening to the most lately I suppose.

OFTGD: Any touring plans?

DD: God, I’d love to tour again. I am kind of bummed, that we didn't get to play more shows for "Lonely People," but that's just kind of the way things played out. When the new album is done, touring will be my absolute number one priority. That is something I am definitely looking very much forward to.

New Silver Jews Album - June 17th, 2008

2008-03-04T18:08:00.000-05:00

"Lookout Mountain, Lookout Sea," the Silver Jews' all-new sixth album and first since the 2005 release "Tanglewood Numbers," was played by touring band -- David and Cassie Berman, Tony Crow, Brian Kotzur, Peyton Pinkerton and William Tyler.

Released via Drag City Records on June 17th, 2008.

Tracklisting:

1. What Is Not But Could Be If
2. Aloysius, Bluegrass Drummer
3. Suffering Jukebox
4. My Pillow is The Threshold
5. Strange Victory, Strange Defeat
6. Open Field
7. San Francisco B.C.
8. Candy Jail
9. Party Barge
10. We Could Be Looking For The Same Thing

Injuries Postponing Tours... The New Stolen Gear?

2008-03-04T13:53:00.000-05:00

So last year it seemed as if it was the cool thing to have your gear stolen if you were in an indie act. Now it seems as if tour postponements due to injury/sickness are all the rave - indie or not! I've left out the tours canceled to the loss of a relative because that's just not nice...

A list of artists (in no particular order) who have cited illness or injury for tour postponement reasons in the past year or so... and yes for some reason I had to use spell check to spell postponement right:

Van Halen
Dolly Parton
The Constantines
Lenny Kravitz
Vampire Weekend
Pela
Pogues
The Decemberists
White Stripes
Sufjan Stevens
Morrissey
Crystal Castles

Got any more?

OFTGD

John Vanderslice Opening For Stephen Malkmus in NYC

2008-02-27T12:26:00.000-05:00

4-track tape machine's bets friend John Vanderslice is on tour and will be opening for all of Stephen Malkmus' NYC dates. Life get's better.

Dates are as follows:

Tue 02/26 - Barcelona ES @ la [2] de Apolo
Thu 02/28 - Huesca ES @ Centro Cultural del Matadero
Sat 03/01 - Vila Nova PT @ Casa des Artes
Sun 03/02 - Lleida ES @ Cafè del Teatre
Tue 03/04 - Paris @ Fleche D'Or
Wed 03/05 - Dublin IR @ Crawdaddy
Thu 03/06 - London UK @ Windmill
03/07 Liege BE @ Le Tipi
03/08 -Hoogstraten BE @ Cahier de Brouillon
Sun 03/09 - Amsterdam NL @ Paradiso

On tour with Stephen Malkmus & the Jicks:

Wed 03/19 - Minneapolis MN @ First Avenue
Thu 03/20 - Milwaukee WI @ Pabst Theater
Fri 03/21 - Chicago IL @ Vic Theatre
Sat 03/22 - Indianapolis IN @ The Vogue
Sun 03/23 - Newport KY @ Southgate House
Tue 03/25 - Nashville TN @ Mercy Lounge
Wed 03/26 - Atlanta GA @ Variety Playhouse
Fri 03/28 - Washington DC @ The 9:30 Club
Sat 03/29 - Philadelphia PA @ The Fillmore
Sun 03/30 - New York NY @ Mercury Lounge
Mon 03/31 - New York NY @ Bowery Ballroom
Tue 04/01 - New York NY @ Bowery Ballroom
Wed 04/02 - Brooklyn NY @ Music Hall of Williamsburg
Thu 04/03 - Boston MA @ Paradise Rock Club
Fri 04/04 - North Adams MA @ MASS MoCA

Headlining dates:

Sat 04/05 - Hanover NH @ Dartmouth - Rocket Fuel Club
Mon 04/07 - Medford MA @ Tufts University - Oxfam Café
Wed 04/09 - Lancaster PA @ Chameleon Club
Thu 04/10 - State College PA @ Chronic Town
Fri 04/11 - Pittsburgh PA @ The Andy Warhol Museum
Sat 04/12 - Athens OH @ Ohio University - the Union Bar
Sun 04/13 - Columbus OH @ Skully's
Tue 04/15 - Springfield MO @ The Randy Bacon Gallery
Wed 04/16 - St. Louis MO @ Biliken Club
Thu 04/17 - Champaign-Urbana IL @ The Canopy Club
Fri 04/18 - Madison WI @ University of Wisconsin - Club 770
Sat 04/19 - Grinnell IA @ Grinnell College - Gardner Lounge

Elbow Tour Date? NYC

2008-02-27T07:46:00.000-05:00

Just got an e-mail which informs me that Elbow will be playing Webster Hall (Booooo!) on April 26th, of this year. Now while I think this venue could actually be a worse decision for Elbow than their stint way back at the Hiro Ballroom, I can't muster up enough anger... since I'll be out of town.

So far the only other date that I can find is one at the Avalon in California on May 9th. With a new CD "Seldom Seen Kid" out on March 18th (preorder it at Amazon as an import pfft) you'd think they'd invest a little more time with their friends in the U.S. Or is this just another sign of their record label's imminent destruction. Still, I expect more dates with time.

Tickets are on sale today @ Noon: HERE.

Band Designed T-shirts for Charity! (Wolf Parade, My Brightest Diamond and More...)

2008-02-21T08:05:00.001-05:00

Got an e-mail this morning from the guys over at the Yellow Bird Project asking if I'd be so kind as to feature them on my lil ol' blog. After visiting the site and putting it through my altruism meter, it seems as if they are: 1) Legit, and 2) Pretty awesome (a 9.0 on my altruism meter).

Here's what they be doing: They ask bands to contribute an original design, and then print their design on t-shirts sold to raise money for a charity of the band's choice. So far they've rounded up quite the roster included but not limited to the aforementioned bands as well as Rilo Kiley (Free Arts for Abused Children), Devendra Banhart (Teenager Cancer Trust), and Clap You hands Say Yeah (Art for Change).

Now I am not usually one to promote a business outright, and maybe, just maybe, I can get a free tee out of this posting (what?), but the philosophy these guys abide by just sound so freakin' cute!

"Some people are just unlucky. We think it’s really important that these people be given better opportunities than they have. So, if you’re luckier than they are, there’s always something you can do to help." And they're not talking solely of their artist contributors... GET IT?

So head on over and pick up a tee, and in the same moment you'll be supporting the band you love and their favorite charity.

OFTGD

All Of Music For Sale?

2008-02-19T08:50:00.000-05:00

This guy is purportedly selling a whole mess of CD's and Vinyls - valued at $50,000,000 for a measly $3,000,000. What a steal!

Wolf Parade Album - Spring 2008

2008-02-15T10:50:00.000-05:00

It's Official! Sub Pop, Wolf Parade's wonderful record label is as not in the know as the rest of us. Right now all the label will acknowledge is that the guys are indeed in the studio finishing up their followup to 2005's Apologies to the Queen Mary.

As this might be the most anticipated album on my list for 2008, every little bit of news is gold. According to a Sub Pop representative, the band is still looking to release the album sometime in spring of 2008, stating, "We don't have an album title (there's a lot of fake ones online, but nothing has been set) and likewise we don’t have a track listing for the album either." The lack of album title is slightly surprising following lead vocalist Dan Boeckner's blurb in Blender magazine - August of 2007 - in which he alluded to a title of Pardon my Blues - which now has it's own wiki entry.

No tracklisting? Don't fear! Tracklistings are often not decided upon until after the mastering process has been completed. The same subpop rep said "They are finishing up in the studio as we speak, so it won’t be until March or later that we will know much more."

Here's to waiting.

OFTGD

Amplive's Mad Radiohead Remixes to Be Released One Trackz At A Time? (Who cares anymore)

2008-02-13T07:45:00.000-05:00

"While Amp acknowledges that he probably should have contacted Radiohead (who were not involved in the project) to seek approval prior to making his interpretations publicly available, an agreement has been reached between all involved parties and Amplive has been granted permission to release Rainydayz Remixes for free to the general public. And guess what -- it's available now. Effective immediately, the eight-track record will be available for download in zip format at the below address:

ALBUM:http://www.onesevensevensix.com/amplive/index.html"

Now, not to be a ninny... but, after having heard one or two of these remixes some time ago when the project was initially announced to "drop," I would like to put my realistic spin on this whole debacle.

"Amp" set out to remix what might be Radiohead's best work to date, and did so without asking permission. His zealousness over the release of this project might have caused him to lose all capacity for logical and cogent thought, but DUDE, does everything today have to be remixed?

While it's cool to hear a vet like Del tha Funky Homosapian spin some new material, I wish this guy would go the route of U.N.K.L.E. and present it in a fashion that showcases Mr. Live's originality simultaneously, which, from listening to his own material, isn't about to happen.

Above all, Radiohead have shown that they know who to pick when it comes to remixing their own material (i.e., Fortet's chilling "Sktterbrn") and will solicit you if they feel that you are competent to do so. That did not happen here. This was nothing but a huge publicity stunt designed to bring attention to a project not deserving of any, and in the end even the quality takes are tarnished and tainted.

OFTGD

New Band Buzz!

2008-01-29T18:22:00.000-05:00

"These United States is the new DC - a wide-eyed amalgamation of psyche-folk and the punk rock ethic, a band of merry pranksters spinning something fiercely, unapologetically positive out of the sinking reality of an empire gone Titanic."

Rarely in NYC do you get the opportunity to experience a band with potential prior to their hype. On February 23rd, 2008 the aural commune that is These United States will be visiting Brooklyn, NY at the Union Pool. After hearing the scant few tunes available throughout various links on the intranet, I think I can say that this is not a show to miss.

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

Band Members: Jesse Elliott w/others

Album: A Picture of the Three of Us at the Gate to the Garden of Eden (3/2008)

Sounds like: Iron and Wine + Robot Ate Me + Wilco