Archive for March, 2009

T.I. Going to Prison // Tries to 1-Up Lil’ Wayne

Friday, March 27th, 2009

Looks like for the next year give or take a day, T.I. won’t be able to “Live His Life” like he wants to as he’s being sent to jail for trying to acquire machine guns and silencers. Really, machine guns?! I’ve always thought T.I. looks about as intimidating as Flavor Flav, so maybe he needed some of them for his image, but I have to ask one more time, machine guns?!

In related news, MTV has given the go ahead for a T.I. reality show entitled “T.I.’s Road to Redemption: 45 Days to Go” chronicling how Mr. Clifford Harris was able to get his sentence reduced through a blitzkrieg of community service prior to his courtroom appearance. You know how the saying goes, nothing says remorse quite like making money off your own reality show before you go to prison!

Well here’s to you T.I. and to the inevitable prison release album that’s sure to sell millions!

T.I. // You Ain’t Missin’ Nothing

Can’t Get Enough Of… // Matt & Kim

Friday, March 27th, 2009

What is there to say about Matt & Kim that isn’t already told by drummer Kim Schifino enormous smile and keyboardist Matt Johnsons Red Bull fueled playing? From the onset of one of their live shows, you know you are in for a special treat. Even with no released material, Matt & Kim were able to amass a following with some legendary Brooklyn house shows back in 2005 which propelled them to “blogosphere” fame.

I was able to catch one of their first SXSW shows back in 2007 from a perch looking over a fence into the venue because the crowd was at capacity and the wait line was too long. Even from a vantage point so far away, their spunky performance was one of the best concerts I’ve seen. You would think years later and the demands of constant touring would put a hamper on their cheerful attitudes, but no, they keep on doing it day-in and day-out. Always glowing and oozing genuineness at every stop, Matt & Kim certainly are the type of band people not only want to listen to but hang out with.

Well the duo now has a quality sophomore album in Grand which not only brings out the intensity of their live set but also show that there is a musical side to the group. Although Grand is a more “advanced” recording compared with their self-titled debut, there are still tinges of DIY surrounding the album. Recorded at Matt’s parent’s house in Vermont in a couple of months, you can tell that the thirty-minute album has a lot more thought put into it than its predecessor.
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Covers Bonanza! // SXSW Edition

Thursday, March 26th, 2009

After scouring the winding passageways of Youtube’s search and indie music sites, I’ve come across a handful of cover songs performed at SXSW this year. Ranging from absolutely horrendous to spectacular, here are the six videos to show the full spectrum:

Oh my god, stop the fingernail scratching on the blackboard:
Vivian Girls // So Bored (Wavves Cover)

Not much better, but at least it sounds like some effort was put into it:
Miles Benjamin Anthony Robinson // Sitting on the Dock of the Bay (Otis Redding Cover)
Via Lullabyes.net

OK, I’m sort of feeling this:
Amanda Diva // Karma Police (Radiohead Cover)

I’m a sucker for any Radiohead cover:
Amanda Palmer // Creep (Radiohead Cover)

Wow, this is a pretty interesting take on a classic:
Emily Wells // Juicy (Notorious B.I.G. Cover)

Now THIS is a cover song gone right:
Other Lives // The Partisan (Leonard Cohen Cover)

Scott Walker // Tilt Reissue

Wednesday, March 25th, 2009


So it seems that Mr. Scott Walker has given his OK for four of his past LPs (three during The Walker Brothers era and then whatever era you want to call Tilt as) and it got me thinking more about how Scott Walker has influenced music. I’ve only recently seen the 2006 documentary of him aptly entitled Scott Walker: 30 Century Man and was amazed at the thought process behind creating his more experimental albums. More methodical than improvised, Walker certainly takes his time with every new release. Anyways, the following is an excerpt from the column that you can read in its entirety here:

It seems that there have been a large number of album reissues this past month that are worth the attention of any self-described “die-hard music fan”. Among the noteworthy re-releases are Spiritualized’s 1997 euphoric space-rock album appropriately entitled Ladies and Gentlemen We Are Floating in Space”, the Beastie Boys’ Check Your Head (a follow up to the much heralded Paul’s Boutique), and the entire catalogue of Nick Cave and the Bad Seeds. However, the remastered collection that caught my eye the most was a quartet of LPs by experimental art-rock legend Scott Walker.

The four albums chosen – Boy Child 67-70, Classics & Collectibles, Sings Jacques Brel, and most importantly Tilt – do a good job of spanning the career of one of music’s most enigmatic artists, chronicling almost everything from his 60s pop-rock origins to whatever genre you call beating the shit out of a huge slab of meat for 30 seconds. I was first introduced to the music of Walker through his most recent 4AD released LP The Drift which, for anyone who has heard the album, isn’t the best of ways to gather a good first impression of his diverse discography. Tension filled melodies composed from chords containing both harmonic and dissonant elements puts the listener at a discomfort throughout, and Walker’s vibrato baritone voice does nothing to alleviate the uneasiness. The Drift as well as its predecessor Tilt are highly demanding albums to listen to, about the auditory equivalent of the Iron Man competition. Only after understanding the back story of Walker’s life and the drastic transformation his music has made over the decades can one fully understand how groundbreaking his most recent albums are.

Scott Walker // Tilt

Jay Reatard // Munich // March 23, 2009

Monday, March 23rd, 2009


When it comes choosing the “best of” garage rock, Jay Reatard should be at the top of any respectable list. His music is like an assault on tempo – regularly going over the 100 beats-per-minute mark, his live set is relentless going continuous for forty-five minutes to an hour without coming up for air once, and his personality can best described as “keeping it real”. I was fortunate enough to catch a recent show of his at 59:1 in Munich, Germany.

Opening for the night was Munich’s own Mondo Ray which, if you recall from previous shows, proved to be a nice set-up to the Wavves show a while back. Although 59:1 is small, it definitely isn’t as small as the coffee shop sized Kafe Kult where they performed last. This provided a not-so welcoming atmosphere for them as the dreaded European force-field extended about ten-feet from the stage providing an awkward buffer from the crowd to the band. Regardless of the weird dynamic, Mondo Ray put on a hell of a show with their high energy garage rock/punk that would have fit in nicely with anyone’s SXSW line-up had they been there. Oh yeah, and the drummer is ridiculous, beating out hard-driving tempos and slamming downbeats like there was no tomorrow.

After they left, it was only a couple of minutes before Jay and the crew (bassist Stephen Pope and drummer Billy Hayes) took the stage for a non-stop fifty minute set where even switches between instrumentations were filled with heavy noise guitar providing absolutely no relief. The antithesis of banter-filled bands, Jay Reatard only spoke (or more like shouted) the names of each track prior to playing them. And play them did he ever…

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Bat for Lashes // “Daniel”

Sunday, March 15th, 2009

My replaying of Bat for Lashes’ new single “Daniel” off their forthcoming Two Suns release has avalanched out of control lately and in about three days time is set to become the only thing I’ll be listening to. Well now it has a creepy video featuring bizarre figures with black balloons attached to their clothes dancing around the charred remains of a house. So yeah, a typical Bat for Lashes video concept.

Bat for Lashes // Daniel

Site Slowdown

Sunday, March 15th, 2009

Well, I think I finally reached the point in my Masters studies that I get to say the phrase “I have no free time”. I’m in the process of finishing up my thesis and I’ll need to be working long hours the next month and a half to get it completed. As a result, the frequency of updates on PTM will be changing from daily to a handful a week in order to accommodate my new schedule. However, once May roles around and I’m done defending, I’ll be sure to get back to the daily routines and implement some improvements I’ve been thinking about for a while. So until then, be sure to check out my weekly column for The Llano Idea and I look forward to the summertime!

Animal Collective // Summertime Clothes

SXSW Preview #9 // BLK JKS

Thursday, March 12th, 2009

Africa always seems to be the neglected continent, so it is not surprising that the popularity of native musicians it is certainly muted on a global scale. Sure there are some acts that get noticed, most notably from the west African nations of Mali (Amadou & Miriam, Ali Farka Touré, and Toumani Diabaté) and Nigeria (Fela Anikulapo Kuti and Femi Kuti), but most bands are left high and dry when it comes to catching the ears of an international audience.

Well the South African group BLK JKS are trying to change this. Breaking onto the scene in 2007 and already having a Fader Magazine cover and feature to their credit, the BLK JKS certainly don’t have an issue with getting noticed. In fact, it seems like NPR has fallen head-over-heels for the band and are going to feature them in their stacked SXSW concert coverage.

Armed with a new Secretly Canadian released EP entitled Mystery, the BLK JKS are ready to take Austin by storm. Their sound, described by the erudite music writers at the New York Times as “more TV on the Radio than Ladysmith Black Mambazo”, is a complete 180 from the more popular “traditional” (I cringe) African bands.

“Lakeside” opens up with a calm sea-breeze guitar line before barreling head first into a more art-rock type of syncopation championed by the rhythmic swells of the percussion that turns your peaceful day at the beach into one caught inside a storm surge. The title track follows in similar psychedelic fashion of beginning slow before abruptly shifting into a whirlwind of guitar noise and verbal fulminations around the two minute mark. “Tinstaa”, the most interesting track of the lot, opens with an appeasement to typical world music fans by highlighting bluesy lines made from local instrumentation before *BAM* reverbed guitar enters the seemingly improvised jam session to annihilate the ear drums of the listener. While most might think this as a bastardization of the “world music” brand, I view it as progress ― the BLK JKS are breaking all preconceived notions of what “world music” is supposed to be and are thus freeing themselves of the inherent restrictions of being labeled an “African band”.

Let me pause for a second to get off my soapbox…

Well anyways, you can check out some of their songs below or, if you are one of the lucky ones, check them out at their only scheduled showcase at the Mohawk Patio March 19 at 10:30 pm. No doubt they will be very busy playing free day shows during the entirety of the festival, so look for them there as well!

BLK JKS // Lakeside

BLK JKS // Tinstaa

Time Wasters // Keyboard Sample Pad

Thursday, March 12th, 2009

It seems like mini keyboard sample pads have been cropping up recently that are meant more for the bored music fan to pass the time in a job they hate than to actually come up with worthwhile beats. So if you are need of finding a way to finish out those last thirty minutes at your cubicle job, then check out these two musical time wasters:

Not sure who this Ron Winter guy is, but I think it’s safe to say it’s not this guy. Anyways, he put together a QWERTY based sampler which provides a near infinite combination of sounds. Personally I like the V-B-N combo that is annoying enough to get the dogs barking.

iDAFT (brought to you by Matias Najle) features a sample pad containing all of the words from Daft Punk’s “Harder Better Faster Stronger” spliced up and awaiting reconfiguring at the touch of key. Ah, I can envision the youtube videos already…

Dark Was the Night + War Child Presents Heroes

Wednesday, March 11th, 2009

The latest of my weekly post for The Llano Idea centers around the two recent compilation albums that have been getting rave reviews in the press: Dark Was the Night and War Child Presents Heroes. Here is an excerpt from full article which you read here when it comes out tomorrow:

It seems that most philanthropy done these days by the music community is either in the form of mega-benefit concerts or charity compilations. Since the former has been adequately exhausted due to Obama’s campaign trail, independent music listeners will have to settle for a handful of recently released albums featuring a jaw-dropping collection of musicians. The two such pieces that have caught my eye (and no doubt others’ as well) recently have been the Dark Was the Night two-disc set benefiting the Red Hot Organization in their fight against AIDS and the War Child Presents Heroes compilation helping children who live in war-torn regions.

Dark Was the Night is the brainchild of The National’s brother guitarists Aaron and Bryce Dessner whose aim is to use “music as a great vehicle to raise both money and awareness for AIDS.” With a who’s who list of popular “indie” artists that are sure to make any music hipster giddy with joy (Andrew Bird, Beirut, and Spoon to name a few) the album was destined to move a lot of copies with or without the added incentive of helping a good cause. As a much-heralded bonus, artists featured on Dark don’t contribute throwaway tracks and forgettable B-sides but rather songs which would fit nicely on any of their individual “proper” LPs.

Switching gears a little, Heroes features fifteen music industry stalwarts selecting modern day artists to cover one of their songs. Just as compelling as the cover songs themselves are the artists chosen by the living legends, making the album interesting to listen to on multiple levels. For example, Beck’s take on Dylan’s “Leopard Skin Pill Box Hat” is killer – bringing out the bass line and exaggerating the electric guitar interjections – but the image of Bob jamming out to Guero when he’s all alone is absolutely priceless. Some of these selections aren’t too surprising (David Bowie choosing T.V. on the Radio’s after they featured Bowie on “Province” from Return to Cookie Mountain), but others certainly leave you with that WTF feeling. The most egregious of pairing has to be The Clash’s selection of Lily Allen that I am sure lead to some deceased members rolling over in their grave.