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July 31, 2006

Last Day for Raconteurs 7"

Contest ends tonight at 8pm (ET). Send your submissions to contest@merryswankster.com.

Previously: MS Presents – 7” Raconteurs Contest!

Tags: Raconteurs, Contest

Posted by Merry Swankster at 02:59 PM | Comments (0) | TrackBack

July 29, 2006

Low, Live @ the Koko, London, England, 07.26.06 (ATP's 'Don't Look Back' series)

MS.com humbly presents London correspondent and law-talking guy Jeff O'Brien.

The first and only other time I watched Low perform was in Madrid in 2005 in support of the "The Great Destroyer" release.

Hauntingly beautiful as the show was, the expected and (frankly) required crowd dynamics for a Low performance were missing. And by dynamic what I mean is hushed reverence. Note, there is no way for an inexperienced music writer to describe a Low concert without resort, frequent resort, to words such as hush, ache, haunt, and all the various possible plays thereon, so should you find that kind of description lacking, well, you can finish the sentence for me.

The dynamic was missing because Spaniards like to talk. And talk they will. And talk they did. No matter how much this simple, tallish American standing in front, behind, on top of and below them willed silence, begged, pled, found god and prayed for silence.

"Por favor, Low requiere silencio", I hissed.

Not in España, señor. I will not blame Spain or Spaniards for the tears shed by Alan Sparhawk, the extremely talented guitarist/male vocalist of Low, during the encore; and, despite – or perhaps even more so due to –his tears, that night was transfixing.

But please, chico with the sangria stained jean jacket, callate!

For the second show, I found myself in, I will admit, my least favorite neighborhood in London: Camden, what with its fake grittiness, false sense of danger, and aging proto hippy population. But I digress. Camden, in any event, boasts a fantastic venue: Koko (formerly known as the Camden Palace). So suffer Camden I frequently do. I found myself there again on Wednesday to see Low perform as part of the ongoing "Don't Look Back" series, in which artists perform an entire album from start to finish.

Low took the stage at 9:00 on the dot to perform "Things We Lost In the Fire." Bless!

From the opening guitar cascade to kick off Sunflower, crowd dynamics were optimal. But this should not be surprising in light of the fact that even despite the oppressive heatwave engulfing London, and the concomitant rise of temperatures in the Tube to over 115 degrees, London is a city of silent commuters, nary a whine (nay, whinge) to be heard. Low commanded the silent (majority, perhaps unanimity) to retreat into themselves to the inner confines of a silence so profound, it is truly bizarre to experience in a public space. Clear- and strong-voiced Alan boomed through the song, and Mimi Parker's crescendo drum play pushed us all forward.

Medicine Magazines… The first opportunity on the album to appreciate, for an entire song, the ever-intertwining vocals of Alan and Mimi. As anyone who has listened to "Things We Lost In the Fire," oh, 2,000 times knows, Alan and Mimi are relentless propagandists of increasing world happiness. "...everyone around you dies so young." No, I would not imagine Mimi as a cheerleader.

And then the crowd grew excited. Laserbeam. Mimi in her unadulterated, yes, I will say it, otherworldly, voice. I do want to rest my drunken mind with you, Mimi. And I will give you my grace, such as it is. And everyone in the audience will do the same. Full recognition of the beauty of her voice demonstrated amply by the fact that, even though I would guess over 80% of the crowd knew the lyrics to every song, there was no sing along/sing over component to the evening. Mimi’s voice held firm, subject to a slight vibrato on the last intonation of Laserbeam.

July… Lovely violin accompaniment, which commanded all’s attention towards the end of the song with the la la la las twisting around the violin’s simple pattern – bass and drum fading into background, a marked departure from the studio album. An enjoyable departure. No queues at the bar, but no desire to lose my spot about 20 feet from the stage. Between songs I chatted with an Australian couple that had never seen Low before, and we mocked the way all (we included) were swaying.

With Whore, came a recognition that we were more than halfway through. The bass and guitar ramped up; the bass in particular coursing through, almost hitting the energizing levels in good, not commonplace, electro – or, at least, the type of electro sequence that has a physical effect. See e.g., Paul Johnson mix on "Steve Lawler Lights Out."

Like a Forest… The only other time, besides the closing In Metal, when people bounced up and down. “We used to speak a different language. I wasted my breath on words soon forgotten. Left unattended. They’re moving their feet but nobody’s dancing.” Actually, Alan, we were.

Closer... Many people’s introduction to Low came through this song. The band plays it even slower than the album version, dredging in the depths of its lugubriousness. Should I ever lose things in a fire, I know the song I will play when I sit down in the low-slung chair in the hotel room, away from the cinders.

In Metal… The last, and my favourite song. Tambourine reappears, and Mimi sounds as if she is harmonizing with herself. I will have to check, but I am not sure that is possible. Alan's guitar playing is assured and driving, and somewhat interestingly, the end leaves us with 30 seconds of drum and guitar, but no vocals.

Although I believe she is singing about either a lost or possibly lose child, I have my own internal narrative overlaying the lyrics. That narrative is not to be shared. A glorious experience.

-- Jeff O'Brien

Posted by Keith O'Brien at 11:55 AM | Comments (1) | TrackBack

Conservative songs, redux

Our previous post on NRO's 50 best conservative songs won us acclaim and a CBS News blog link. Upon revisiting, the list is as ridiculous as before -- if not more so -- and John Miller's explanation so tenuous as to be lardo-like translucent.

Walking to work yesterday, I found the true rock songs that should have been #1 and #2 (and perhaps the only songs on the list). It's from a band that left-leaning indie rock snobs have had to reconcile with the reality that the band (or at least lead singer) likely didn't share its world view. Now I've known right-leaning indie rock critics out there, so the songs' non inclusion must mean that those people don't read the NRO.

I speak of Modern Lover's Roadrunner and Modern World. Behold the lyrics and see if you agree.

Roadrunner

Roadrunner roadrunner; Going faster miles an hour

(libertarian traffic laws)

Gonna ride by the Stop-n-Shop; With the radio on

(buy American)

I'm in love with Massachusetts

(state's rights)

The highway is your girlfriend as you go by quick

(save yourself for marriage)

Said hello to the spirit of ol' 1956

(traditional values)

Modern World

I'm in love with the USA

(unvarnished patriotism)

Put down your cigarette, and act like a true girl, oh

(traditional values, redux)

Put down your cigarette, and drop out of BU

(avoid liberal indoctrination)

Well the modern world is not so bad; Not like the students say

(2006 prescience)

Posted by Keith O'Brien at 11:05 AM | Comments (2)

July 27, 2006

More Zappa

Jeff's earlier post of Zappa on Crossfire inspired me to dig further into the Frank Zappa world of anti-censorship. With tongue firmly in cheek, Frank Zappa's "warning label" on Frank Zappa Meets the Mothers of Prevention album:

"This album contains material that a truly free society would neither fear nor suppress. We guarantee that you will not go to hell from listening to the aforementioned material. This guarantee is as real as the threats from the video fundamentalists who use attacks on rock music in their attempt to turn America into a nation of check-mailing nincompoops in the name of Jesus Christ. If there is a hell, its fires wait for them, not us."

Read more here.

Buy the album on Amazon.

Tags: Frank Zappa, Frank Zappa Meets the Mothers of Prevention, Censorship

Posted by Merry Swankster at 06:38 PM | Comments (1) | TrackBack

Jens Lekman/ Frida Hyvönen/ Beirut, Live @ the Bowery Ballroom, New York City, 07.21.06

photos by Devon Banks

I barely remembered I had tickets to this show in the run up, and only a slightly anal retentive e-calendar system had my back. I liked Jens Lekman's Oh, You're So Silent Jens compilation well enough, but it sort of fell into the "nicely executed, but not very exciting" category for me. So with more of a, "well I bought the ticket", than a, "Holy shit tonight's finally the night!" attitude, I filed down to the ol' BB for a night of slightly better than average indie pop. Thankfully, they were all out.

What I got instead was run away showmanship, humor, and Swedish good looks channeled into a top 5 of the year type show.

But first, in order to avoid any type of tortured Tarantino flashback structure, we start at the beginning...

Beirut

Since we last checked in with young Zach Condon the lad has shot up on the musical growth chart significantly, his Sharpie mark now at shoulder height on the metaphorical doorframe. Some of this is obviously just the steep curve of constant gigging, and even more of it is the successful recruitment of a large touring ensemble. Without having to interrupt his singing duties for a trumpet break on every song, Zach could take better advantage of his relaxed stage presence, and only pull it out for a more meaningful accent, while the more textural horn work was sub-contracted out. Set highlight was a just cracked live version of "Scenic World" with the sleepy electronic touches handled by xylophone and plucked strings giving it kind of a bouncy Islands feel. Also fun was a lively bossanova version of Kocani Orkestar's "Siki Siki Baba" (don't worry, I had to Google that). The crowd was enthusiastic throughout, with some crowd-hole yelling "You should have been second, not opening," at a down moment. A tacky thing to yell, considering that even at it's most complementary it only gives its recipient second place. As usual, Zach handled it gracefully, saying "oops" and promising they'd be back soon. Worth checking out if you're still on the fence.

Frida Hyvönen

The set up for Frida Hyvönen, once the stage had been cleared of ukeleles and accordions and upright basses and who knows what else, was just a microphone and an electric piano. Her bare bones approach a nice palette cleanser in a night of sprawling band make-ups, she gracefully sauntereed out dressed all in red, and fanning herself playfully with a black fold out. On stage and bantering in between songs she had a smart but spacey charisma recalling Terri Garr in her 70's film heyday. Frida's songs were short and tasteful, filled with funny, human lyrics delivered in a clear voice free of the fashionable trilling you get from current Regina Spektor types. Carole King is a press release touch point, but not an unreasonable one. I'm not as enamored with ladies and their pianos as my redheaded colleague might be, but there was nothing in her set that was objectionable. I felt like if you stumbled into a nice wine bar and she was playing it would blow you away, but in the context of an indie rock show it was just sort of a pleasant placeholder. Male interest took a spike in her last song when she welcomed a grown up Swedish girls' choir to the stage for subtle backgorund support on a lilting ballad called "Oh, Shanghai." When she announced they'd be back later there was a tangible sense of relief, that could only have added to her ultimately warm crowd reception.

Jens Lekman

Jens' first big laugh line of the night came via t-shirt before he had opened his mouth. The second came immediately after, as he explained that he was going to wear a "I Love New York" t-shirt but decided he loved himself a little bit more. Impossible to miss even in the face of his comedy act was the bright white girls' choir filing in behind him and taking hold of all assembled instruments. Each with a slightly different look, from the Von Trap child on base, to the elegant Gwen Stacy type standing over a drum set, to the mod Nancy Sinatra on keys, etc, etc, etc. Jens was like a Swede Robert Palmer fighting for the forces of good instead of evil. The scene taken in full, it was close to impossible to not declare him a total badass. So why resist?

Set opener, one of "14 songs" he declared his intention to play, was "A Sweet Summer's Night on Hammer Hill." The chant along "Ba ba ba ba ba" chorus, and foxy brass section managed to replicate the record's retro party feel even with the sampled cocktail chatter stripped away. The re-claiming and surpassing of sample-centric tracks was a persistent thread throughout the show. You have to give Jens some honesty points for calling such attention to the indie forebears he borrows from on record, especially in a genre that typically has such a tenuous grip on originality, but the live versions sounded so much more effective and organic. Jens sweetly sung "I'll come running with a heart on fire," pulls the song out of novelty territory as compared to the fathoms deep Calvin Johnson baritone that intrudes into the recorded version. Similarly, the lifted Belle and Sebastian keyboard on "Black Cab" was still present, but as played by Nancy Swede-natra was more invisible, letting the lyrics take the lead.

Since foreign acts like Jens are relatively new to American audiences, it's easy to assume they are new to music in general. Jens is owner of numerous Swedish chart hits and more importantly a seasoned performer. His demeanor when dealing with the audience was easy and well polished, refreshing in the face of alot of the fledgling acts hip New York coughs up. Recounting all of his one liners would take a seperate post, but unlike an act like Art Brut say, (and for the record I totally like Art Brut) the humor is not dripping with irony. Harder still, he got many laughs in-song. A new one, "A Postcard to Nina" got a Cheers studio audience type reception. That reaction was expertly set up by JL, giving us a snippet of pre song narrative about having dinner with a friend (Nina)and her parents in Berlin, being told to pretend he's her fiancee, etc. With that background knowledge, the slowly unfolding story of his unrequited crush on his lesbian friend got alot of laughs that weren't very joke-y at all, just driven by warm characterization, boding well for their eventual shelf life.

More than just humor, and more than any other standout element, Jens just knows how to put on a show. During the encore he came out on his own, easily proving he could be compelling without the dreamboat lady spectacle. Once established, and once he got another clever quip in (this one about how he didn't actually know any English and learned all lyrics and banter phonetically) he summoned lady Frida back to the stage, this time in a much more flattering cocktail dress. They then sang a lovely song in conversational Finnish. Just because. He followed that up with "Julie", lulling the audience in with a dreamy ballad, before deploying stealth brass charges in the form of his ninja girl players hiding in the balcony. The collective delight in that trick "earned us another song." The dramatic build in encore material culminated with a truly unadorned reading of "Maple Leaves," slipping between English and Swedish effortlessly.

The crowd, having been expertly manipulated, cheered loudly for more, and Jens claimed he didn't want to ruin the moment with any more tunes. A quick set check shows that "Maple Leaves" was lucky number 14 as predicted, a plan laid out form the start. But it felt real. Authentic. Probably took alot of practise to pull that one off.

More pics beneath the fold...

Tags: Jens Lekman, Frida Hyvönen, Beirut, Bowery Ballroom

Posted by Jeff Klingman at 05:33 PM | Comments (0) | TrackBack

Zappa on Crossfire

Now I'm a bit of a political junkie, which I admit is more boring and cynicism inducing than almost any other topic. So I try to keep that sphere of interest far away from the (supposedly) entertaining and music realted site that you know and love. But when archival clips of old-time-y rockers collide with politics in a way that is both music related and at least marginally entertaining, I can't resist. Plus, how controversial can it be if the clip is twenty years old? This is a long segment on the "destructive" nature of rock lyrics. The exact same bullshit conversation was had again three years later about rap music. One of the few times that the cranky old guys lost decisively, but look for it to happen again sometime soon, when all the other non-issues are exhausted. For the first and probably only time here, I thank the Washington Post for the tip.

Crossfire, 1986

I'm no great fan of Zappa's music, but I'm hard pressed to think of any current music figure who could have handled this wildly idiotic conversation any better. At one point some dipshit keeps claiming that a Prince song is causing incest to spike in America, and demands to be treated as if he were a serious person. Uhhhh?

This proves that A: Robert Novak was always old. B: Frank Zappa had a pretty sharp, prophetic view into where this country was headed 20 years ago, and C: No matter the political affiliation of the commenters, we will probably always be plagued with blowhards who completely miss the point of whatever subject they are currently addressing.

P.S. What's up with the surprisingly rad John Carpenter-esque synth theme music this show used to have? Look for it coming in and out of commercials before "shocking" Twisted Sister footage.

Tags: Frank Zappa, Bob Novak, Crossfire, censorship

Posted by Jeff Klingman at 11:16 AM | Comments (2) | TrackBack

MS Pick - Colourmusic | Tonight in Denver

Awash in color

Colourmusic is a band figuratively mixing colors of the sonic palette. They also get literal with the whole color analogy. Front of stage concertgoers, bring your Gallagher tarp.

"The quintet started its set in all-white outfits, from a painter's suit to white slacks and a white turtleneck. And as the set progressed, friends boarded the stage and painted their suits - and their set, which was crafted blank canvas. By set's end, the stage was awash in color." (Denver Post)

Colourmusic is playing the Hi-Dive in Denver tonight and will stick around for a Friday night show at Larimer Lounge. Due to recently getting the nod from the Flaming Lips for an opening slot at their (mutual home city) Oklahoma City gig, I would have predicted them showing up alongside the Wayne Coyne circus this Saturday night at Red Rocks, but the good people of Albuquerque will host them instead. For the benefit of the bicoastal elite snoberati, Albuquerque is in New Mexico, which is an entirely different state than Colorado. MS.com - music musings, live reviews, and now - geography lessons.
-- -- --

[MP3] Colourmusic - Circles

Can Brian Wilson harmonies share space with familiar bombastic crispness of the Flaming Lips, stay on pace with twee pop acoustic guitars, and elevate into high-register vocals? Sure they can. Would it be unoriginal to describe the structure of "Circles" as the looping of musical colors molded into a layered arrangement that ends with a systematic clearing of the canvas, concluding only when the song is entirely deconstructed? One that put on repeat sounds like the ending can be the beginning and the beginning really an end, or vice versa? Kinda like walking in one of those round geometric shapes, I believe they're called circles.

For more check out Colourmusic's site which has a good deal of songs streaming, as does their MySpace page.

Catch them if you can, painting these towns red:

06.27.06 - Hi-Dive - Denver, CO
06.28.06 - Larimer Lounge - Denver, CO
06.29.06 - Atomic Cantina - Albuquerque, NM
9.29.06 - The Cowboy Monkey - Champaign, IL

//Colourmusic - site
//Colourmusic - MySpace

Tags: Colourmusic, Flaming Lips, Denver, Hi-Dive, Larimer Lounge

Posted by Merry Swankster at 09:37 AM | Comments (0) | TrackBack

July 26, 2006

Retrohump Day - Lee Hazlewood

A depression era dustbowl refugee and Korean war vet., no one can say that country oddball Lee Hazlewood wasn't a genuine cowboy or toughguy. But what makes Lee's compositions endure to the hipster set when so many conventional Nashville types barely inspire the energy needed to yawn, is that he seems to be one of the only country producers equally influenced by the psychedelic Spaghetti Western soundtracks of Ennio Morricone as he is by some sort of rugged Western ideal.

Even if his music wasn't very interesting (which it is), his behind the scenes legacy would be ensured. He mentored Phil Spector on the subject of echo heavy taping techniques, and released the legend's first production work. He gave alt country patron saint Gram Parsons his first big break with a contract for his International Submarine Band. He produced songs for Dean Martin (including writing credits on Dean's hit "Houston"), and even manned the decks for Frank Sinatra on his father-daughter duet "Somethin' Stupid." Lee is probably best known now for his continued work with said Sinatra daughter Nancy, pulling her from nepotistic glamour project to full blown pop star with his production of "These Boots are Made for Walkin' ." Lee cashed in some well earned chips to record an influential record of duets, Lee and Nancy, that has been an obvious reference point for Nick Cave, Bobby Gillespie, Isobell Campbell, and numerous others. As the following video taken from a prime time 1969 TV special shows, it also allowed him to sincerely rock a serious mustache.

Lee Hazlewood & Nancy Sinatra - "Some Velvet Morning"

The best known, and flat out best, song from the Lee and Nancy team up is also hands down one of the weirdest hits of the sixties. This one did not make it through the regressive filter needed to become a oldies radio fixture, and in turn had to be embraced by obscurist weirdos the world over. It's popped up recently in cool places like the soundtrack to Lynne Ramsey's Movern Callar, as well as Ladytron's Softcore Jukebox compilation. It even inspired a truly unfortunate electro cover by Primal Scream featuring Kate Moss. This video has an odd, Planet of the Apes feel to it, but a quick look at an annoying Johnny and June cover from the same special gives you a clue to how much more compelling Lee was following his own muse than catering to country and western purism.

Lee Hazlewood & Nancy Lizell - "Leather and Lace"

After his commercial success, Lee used his clout to just start chilling out in Sweden, recording the appropriately titled Cowboy in Sweden. This may or may not have been an elaborate scheme to get drunk all day and scheme on Swedish girls. Nice work if you can get it. This video comes from yet another lost to time TV special, and sees a clean shaven Lee looking almost exactly like movie producer/ sleazeball/ burnout Robert Evans. The clip falls victim to either a poor film transfer or a basic misunderstanding of cinematography.

Not yet Tubed is material from my favorite Hazlewood record, Requiem for an Almost Lady. So maybe the invisible masses could get on that one.

Tags: Lee Hazlewood, Nancy Sinatra, Phil Spector, Nancy Lizell, Ennio Morricone, Frank Sinatra

Posted by Jeff Klingman at 10:56 AM | Comments (0) | TrackBack

July 25, 2006

Catching up with the Polyphonic Spree | Tour dates

My favorite robed warriors, or the cultish heros on the fringe of choral rock and roll have announced tour dates! An autumnal Western swing has the Polyphonic Spree booked in support of the craziest (only) Hasidic rapper – Matisyahu, and includes a few headlining shows. The "Polyphonics" as Bowie refers them as, will be testing out new material from the forthcoming "The Fragile Army" album.

The master of ceremonies, main songwriter, and leader of the group, Tim DeLaughter (formerly of Tripping Daisy) told Rolling Stone that the new album will deal with the 800 lb pink elephant of American politics, Iraq.

"It's definitely going to have that [orchestral] element, but it's our most urgent record to date. It's a bit resonant of the times. There's a song called 'The Fragile Army,' the title track, and it's basically an ode-to-Bush song. It's disgruntled with how things have been going and how split up it seems we are as Americans. There is a sense, for me, of trying to create some sort of unity with people."

Some cute, grammar-challenged teaser notes from an April missive on the Fragile Army blog:

"hi all...we're trying to think of the best way to present some snippets to you of our rough mixes. usually it's kind of uncomfortable to share anything til it's completed (meaning.. final mixes, sequencing and mastering have occured)but after much deliberation, we thought what the heck. keep in mind these will be snippets and not entire songs for obvious reasons. also, comments are welcome. let us all enjoy some objective communication and sharing.and god forbid, fun.:)" -julie d

We are now in the throes of a July heatwave, but radio silence continues on these “snippets.” Like with most things, technology will likely fill the gap in the absence of authorized leaks. I suppose we can wait for an insurgent taper to upload recordings (or snippets) of new songs from these upcoming shows. That is if a wookiefied mob of confused hippies don’t soil themselves with the Holy-Reggae and feel-good pop combo and spread their stain onto recording devices.

Tour dates after the jump.

Tags: Polyphonic Spree, The Fragile Army, Iraq

Polyphonic Spree do the West:

9/3/06 - City Lights Pavilion - Denver, CO*
9/4/06 - Aspen Snowmass - Snowmass Village, CO*
9/6/06 - Marymoor Ampitheater - Redmond, WA*
9/7/06 - Edgefield - Troutdale, OR*
9/9/06 - San Jose Civic Auditorium - San Jose, CA*
9/10/06 - Henry Fonda Theater - Hollywood, CA+
9/13/06 - Granada Theater - Dallas, TX+
9/14/06 - Emo's (Outside) - Austin TX+

*Supporting: Matisyahu
+Headliner

Posted by Merry Swankster at 02:45 PM | Comments (0) | TrackBack

July 24, 2006

Beg Yr Pardon # 4 @ the Delancey, New York City. 07.18.2006

photos by Devon Banks

Last Tuesday night saw the Beg Yr Pardon event coast gracefully into its fourth edition. As always, the brownies were good, the barbeque optional, and the beer eventually free. The most important guest of the evening was a thriving AC unit, allowing a person to move around a bit without unwittingly changing the color of their shirt. The momentum seems to be picking up, with an increasingly full room of looky-loos. The swelled numbers were treated to a line-up that was meaner, darker, and more to my liking than my previous encounter (which I wasn't actually mad at to begin with).

Susu

When entering the delightfully chilly basement, Susu was already directing a sheet of white noise at the audience. The most overtly post punk of the night's performers, they had a frayed at the edges energy punctuated with dueling vocals. I came in too late to give a real comprehensive account of their sound, but I will say that whatever they were going for, they sounded double tough.

Medic Medic

I was grasping for comparisons during the Medic squared set. First, the boy/girl vocal trade off and heavy riffage set me in a Royal Trux direction, but the guitar sound was too clean for that. It had a bubble grunge quality to it that was definitely heavy, but it just wasn't debauched enough for the Trux. Tidy Butch Vig produced Nirvana maybe? Since the whole of their sound was drums and a lone guitar, it was the main focus of my wonderings, but the band's lead lady vocalist had a nice kinetic energy and a strong, clear voice. My photgrapher/ lady friend commented that it reminded her a bit of Elastica fox Justine Frischmann, which I waved off on grounds that it didn't hit JF's levels of posh sophistication. Then, after set, DJ Fluxblog went straight into a late era Elastica trash rocker from the Menace and I had to sheepishly concede.

This performance was also notable for a readymade four man mosh pit that sprung fully formed from the head of the stage. They slammed around to the guitar crunch, delivering blows to only themselves, and then scattered to the winds at set's conclusion. Can you rent slam dancers?

the Song Corporation

Prior to the Song Corporation's first note, the Delancey basement was inundated with ladies who were, um, not your average BYP party goers. Maybe the siren song of Fluxblog's Kelly Clarkson indulgance was too strong an alternative to the tasteful indie soundtrack of the bar upstairs, or they just wanted to party, but it was the first (but perhaps not last) appearance of a girl freak sandwich that the event has seen. This is all speculation as they could have been diehard fans, but it doesn't matter in the end. Whether brought to the Song Corporation by hook or by crook, the end result was a full room for the corporate rocking.

TSC alternated between breathy slow burners handled by the female vocalist, or more dude centric punchy ones. Although the guitar interaction was nice and complex on the sprawlers, they crossed the line into noodle town once or twice. Predictably more crowd pleasing were the rockers, culminating in their final number, a hedonistic B-52's piece that saw vocals coming from a large man hanging from a pipe doing a Les Savy Fav impression. A call to stage dancing arms was happily taken up by the afforementioned demographic, and it resulted in a triumphant close.

Pink Noise

Pink Noise took this week's prize for favored act, mining a spooky PJ Harvey vibe that is very close to me heart. Despite the occasional equipment troubles, the brooding never stopped. The lead singer was bubbly and charismatic in spite of the prevailing darkness, turning what could have been a gloom parade into a crstalline Blonde Redhead art attack. They also had a mysterious band manager in a fedora, for whatever that's worth.

Apparently, post bands, the dancing went on for quite some time. I wouldn't know, as the demands of the morning light sent me away. But I'll be back, friends, and I hope you'll soon hip up and join me.

Tags: Beg Yr Pardon, the Delancey, Susu, the Song Corporation, Medic Medic, Pinknoise, Free Beer, Fluxblog

Posted by Jeff Klingman at 01:31 PM | Comments (0) | TrackBack

July 21, 2006

Flaming Lips - Live @ Penn's Landing, Philadelphia, PA, 07.16.2006

Yonah Benjamin Korngold's internship with Merry Swankster dot com has allowed for many things - elite golf club memberships, jetsetting trips to Mumbai, cocktails with Saudi royalty, but most importantly he has graduated to full time staff at the ever-creeping organization that is MS.com. Mr. Korngold will dispatch reports from the City of Brotherly Love, or New York's bitter sister at the wrong end of the NJ turnpike suffering from an inferiority complex. This will be the last intro for YBK...

Southern Comfort Music Experience featuring The Flaming Lips

Who knew Southern Comfort, electronic musical instruments, and singing went so well together? Turns out they’ve been paired up together for quite some time…

So I guess it makes perfect sense for the peach flavored bourbon to play host for two days of free music highlighted by a Sunday night performance by The Flaming Lips on the banks of the mighty Delaware River at Philadelphia’s Festival Pier.

Never being the ones to pass up a chance to disprove scientific fact, the Flaming Lips immediately brought the “skeptical of anything free” city into their audio/visual wonderland and without contest disproved the famed theorem “you get what you pay for.”

I am convinced that even Genghis Khan could not resist the temptation of a big grin if I ever brought him to a Flaming Lips extravaganza (perhaps he’ll get to tag along with Merry Swankster at Red Rocks).

The trio has the unique sound and ability to put on a show that brings the audience into something that resembles a mix between New Year’s Eve at Times Square and a locker room celebration after winning the Super Bowl (so we in Philly are told).

The Lips have created a sonic and elaborate experience full of absurdity stretching to the outer limits of our universe but at the same time are so absurd and beautifully weird that the music also speaks to the mundane, simple moments of the everyday…even if they are singing about ninja’s taking on robot armies....Kafka would have loved these guys.

In every interview I read concerning their new album “At War with the Mystics,” Wayne Coyne was at asked how the title of the album signifies the Iraq War and this administration. Just the question alone signals how far the band has come in the last twenty years. Where ten years ago the critical world looked at the Lips as weird and loud, the Flaming Lips have reached such a height of absurdity, such elaborate weirdness that the critical world now has to assume that the music has to be a direct byproduct of the current world we live in.

You only have to look at two of the covers The Lips have been playing to understand the full dynamic of moving from the goofy and beautifully weird all the way back to the all too familiar reality. First there is “Bohemian Rhapsody” which they have been covering since recording the song for a Queen Tribute album. Performed among big balloons and fist pumps, the band fully take on the overzealousness and dramatics of Freddy Mercury and Queen. It is a completely surreal moment full of color and the was most fun I’ve had since Wayne’s World.

Then there is Black Sabbath's "War Pigs." which came as the encore after Coyne had assured the crowd not to worry because if there was a small riot they would have to come back out again. Only the Lips can move from asking “is this the real life/ is this just fantasy/ caught in a landslide…” all the way to “Generals gathered in their masses/ Just like witches at black masses.” The truth is that the Flaming Lips are both real life and fantasy. After another week of Katyusha rockets and air assualts they also remind us that sometimes the guys dressed in animal costumes playing with oversized balloons are the least of the absurd characters in this world.

Previous Philly Dispatch: Radiohead @ Tower Theatre, Upper Darby, PA 6.2.06

Tags: Flaming Lips, Philadelphia, Penn's Landing, Southern Comfort, Iraq

Posted by Yonah Korngold at 01:56 PM | Comments (0) | TrackBack

A Sunny Day in Glasgow - Live @ the Cake Shop, New York City, 07.16.2006

Prior to A Sunny Day in Glasgow's maiden voyage into live performance, sonic architect Ben Daniels sent out a memo to his booster club (later published by club treasurer Matt Fluxblog) telling all of us what a terrible show we were in for Sunday night. Their drummer was to be a spastic iPod for one. Two, his sisters/vocalists had never performed in front of a crowd, or even sung and played keys at the same time. Three, they had only practised twice. Quite the unusual set up letter, which was either a slyly calculated attempt to dampen expectations on the heels of a great debut EP in order to further thrill the assembled with the resulting sneak attack, or a panicked attempt to cover ass in advance of a train wreck. As I scanned the sparsely populated Cake Shop basement for a quivering trio with similar facial structures, the mystery deepened.

My attempts at amateur sleuth were soundtracked by Boston indie rockers, Hands and Knees. I knew nothing about the group going in, but I liked them well enough. They had a nice snappy rhythm section, taseful guitars that broke loose from their cage occasionally, and guy girl trade off vocals that didn't descend into cutesiness. They won my affection further with a one-two punch of nicely executed 80's proto-indie covers; a spirited yelping version of the Vaselines' "the Day I Was a Horse", and an indulging of my Kiwi Rock jones with Tall Dwarfs' "All My Hollowness to You."

Slightly piqued interest filed away, the likely suspects took stage and set up in the promised minimal fashion. Keyboard, guitar, iPod, siblings, stop. But once play was hit on our drummer the pod, minimal it was not.

EP track "Laughter (Victims)" kicked off the short set, with its simply shifting guitar line dominating the sound and the vocals sounding still somehow far away despite coming from three feet in front of me. I mistakenly assumed a live transition of these tracks might be more direct, but the disorienting democracy of sounds in the mix on record was well preserved. Follow up "A Mundane Phone Call to Jack Parsons" amped up the waves of hazy guitar further, and sweetened the pot with the family sing along "ooh - ooh -ah - ooh"-ing at its close.

Since that song is the most drum reliant on the EP, it's a good time to address Ben's disaster prediction number 1. Although the familiar pod played drum tracks were loose enough in their initial recording that it wouldn't be fair to say they were canned, the desired "overwhelming sound" effect really would benefit from a rib rattling live pounder. This is of course a one time qualm, as a real live drummer has already been procured for future shows.

The next set segment included two new ones, and a cover, all working within the basic confines of the established sound. Guitar dominated, the girls sang and switched off on keys as needed. Their vocal contributions used more as a pretty tonal ingrediant than a purveyor of lyrical information. Perhaps some nerves were a factor, but its not like their were any Cat Power crying jags. An announced cover version seemed naggingly familiar to me, with a hard to place melody cradled in its shoegaze bed. The illumination post show that it was a Field Mice song I'd never heard advanced the theory of ASDIG's sound as treasured college radio tape lost to the ages.

Final number, "The Best Summer Ever" proved to be the most immediate of the set, with Lauren and Robin's vocals more easily decipherable. Of course the feedback laden guitar was the main event, but the girls had more of a presence here that gave the song a nice balance. There, it ended, out we went (with early morning apologies to the subsequent Shot Heard 'Round the World and My Teenage Stride). ASDIG had managed to replicate the winningly odd sound of their recorded output, without the prophecized disaster. It'll take some more seasoning and another permanent band member for the material to take on a life of its own in person, but it will also take one hell of a letter for further expectations of quality to be supressed.

Tags: A Sunny Day in Glasgow, Cake Shop, Hands and Knees

Posted by Jeff Klingman at 11:17 AM | Comments (0) | TrackBack

The next twelve minutes could get you fired

Yorke.... Bjork... The Ghost... Inspecta Deck (not really)

Thanks, (non-MS.com Jeff)

Posted by Keith O'Brien at 06:47 AM | Comments (1) | TrackBack

July 20, 2006

Oneida - Live @ the Knitting Factory, New York City, 7.13.2006

I was drunk at this show. Profoundly drunk. Now, I'd like to be able to claim a metaphorical device, like, "I was drunk on the majesty of Oneida's blistering psych assault!" or some such shit, but I'm sort of a grown up and I can sort of claim responsibility. The muddled rememberances and shoddy photography contained within are ultimately my fault. But Oneida did not help. I mean, at one point, synth nerd-cum frontman Bobby Matador took center stage and declared that the title of their newly released record, Happy New Year, meant that champagne was a necessity. He quickly produced several bottles of "Cristal...ino" and circulated them among the already half in the bag faithful. The diehards didn't help my condition either, as a rowdy, moshing, bare chested nimrod in a Yankee cap gifted me with both an elbow to the skull and a conciliatory swig of a Jim Beam flask. Of course, even though earned, I didn't have to accept the burning chug, but what can I say? I'm a total pro.

To switch from personal substance abuse to public concert (as you might expect from a concert review), Brooklyn's psych kingpins were in boisterous form, accompanied at all times by a dizzy kaleidoscope lightshow. The celebratory nature of the evening spread to the slightly less than capacity crowd, and even without a drink or eight it was hard not to move around at least a bit with drummer Kid Millions anchoring the kraut rhythym section. The majority of the set leaned on the group's tendancy towards lengthy repetitive workouts, held down by Millions superlative drumming, and nudged into various directions by main man's electro organ and Hanoi Jane's gee-tar. At some point the guitarist from opening band Knife Hyts (as well as Ex-Models) took the stage to add further heft to the disorienting sound and vision. The best number in this default drone model was newby "Up With People." All scraping electric death for its eight minute run time, the track was a prime pogo instigator in its live incarnation, with the fleeting moments where the racket dies down so you can hear the shouted mantra feeling revelatory when they finally dropped out of the sky.

But for all the unimpeachable musicianship on display in the epics, I'm always going to prefer a sharply crafted song that impresses with brevity and execution. On that front, even wasted, Oneida aren't your best bet. I mean they sound great, but for the most part I feel as if those sounds are a bit of an end in and of themselves, rather than building blocks towards sharply focused songs. By that standard, set highlights for me were some shorter numbers. The stuttering stop-go of last year's "Lavender" was a power house sprint amid the marathons, which I welcomed. "History's Great Navigators" from New Year was another moment of clarity, with a more fuzzed out synth sound standing in for the psycho ivory attack on record.

By the time they had exited, re-entered, and begun droning once again, the front of the stage was a complete debacle. My favorite New York indie rock Waldo to spot, Joly from Punkcast, was being jostled by the afforementioned Yankee lovin' flask-er. He waved the lunatic off by protesting as to the effect moshing would have on the integrity of his camera angle. Gotta love that old hippie. After the locked groove had been retired for the evening and applause doled out, I tried to express my affection with a hearty handshake and declaration of support for the 'cast, but he still appeared a little too shell shocked to deal with another wild eyed booze hound. After the sonic maelstrom and rowdy spectacle we had both endured, nervous apprehension and a desire to bolt were relatable impulses. So bolt we did, with my jostling to occur in-cranium the next morning at work, a belated victim of a show remembered fondly, if not completely.

Some more, uh, psychedelic photos after the jump...

Tags: Oneida, Knitting Factory, Krautrock, Jagjaguwar, Champagne, Punkcast

Posted by Jeff Klingman at 08:48 AM | Comments (0) | TrackBack

July 19, 2006

Retrohump - When DIY was literal

In light of yesterday's post, we visit REM, the little band from Athens, GA that could (and did)... serve as the archetype of college radio. From Cocteau Twins to Sugar to Peal Jam and beyond, REM help spur this "alternative" tag that now seemingly graces everything. But from the beginning of their ascension from alt to mainstream with middlebrow fare like Everybody's Hurts and Shiny Happy People, REM's also had a complex palate of sounds: dark undertones like a gathering storm mixed with Michael Stipe's yearning voice. The earlier bits of their catalogue are not perfect, but it's the messiness of their seemingly DIY aesthetic in sound, appearance, and videos that is warming to a jaded 2006, with "fake" Internet sensations and matching suits.

Radio Free Europe - David Letterman

No studio marketing team would let them go out dress like Screech these days; they are refreshingly nerdy (and not in the nerdy hipster way). This is one of those great 80s anthems.

Fall on me

This video is funny because, if you didn't know any better, I could convince you that some 14 year-old won a contest (where he had the only submission) to create a video for under $30. If today’s tools were in place in the early 80s, I have a feeling there would be a lot of “professionals” out of a job.

Orange Crush

This one is marginally better, but it looks like that same 14 year-old got a $75 budget and filmed his family at their vacation house.

Tags: REM, Retrohump, DIY, College Radio

Posted by Keith O'Brien at 11:29 AM | Comments (2) | TrackBack

The Raconteurs - Live @ the Fillmore, Denver, CO 07.16.2006

[Regular readers of this blog will know that an unbiased review of a Raconteurs show is a practical impossibility for me. If this basic truth is enough to handicap my ability to offer worthy critical response, then you my dear reader are spending entirely too much thought on such silly, insignificant matters. It is all about the music after all, not at all about blog backtalk snarkiness. Insigfuckingnificant I say! Bitchy defensiveness, isn’t it obvious that I’ve been hanging around Jack White..?]

Satisfaction. Keep me Satisfied.

Pre-show Spaghetti Western tunes paired well as sonic accompaniment to the dry dustiness of the hot Denver air. The audience, conspicuously comprised of wildly ranging age groups, was buzzing with anticipation. You could sort of feel a light dusting of skepticism from the charged crowd wondering if this so-called supergroup could deliver the goods. The ingredients for success are all present, but to extend a previous theme a great recipe does not assure success. I will not deny that my initial rabid reaction to the wondrous potential of the Raconteurs may have been a bit over the top (Prediction: ”Merry Swankster HQ soils itself repeatedly while listening to the awesomeness that this project will deliver.”) Ok very over the top.

Since Broken Boy Soldiers was released those expectations have plateaued. Getting baited with two excellent tracks before hearing the full album will do this. While still a very good record, it is not the life changing experience I overzealously foresaw. A Balmy Sunday night performance at the Fillmore, where air-conditioning fruitlessly fought to quell the misery in the Denver air (along with most of the country cooking too) wouldn’t change things, but our shaggy garage rock heroes finally armed themselves and did indeed deliver the goods.

The Raconteurs took the stage and freed the sound from their patiently plugged in and waiting to be pleasured electric noisemakers. Jamming on a loose improvisation vehicle, the band used the time for reacquainting themselves musically, messing around with direction and looking genuinely thrilled to be onstage. The jam was a warm up stretch, not unlike an athlete loosening up before a game. This was a focused and clear-minded group playing with confident purpose, ecstatic to kick off their first US tour after a run through Europe and a series of one offs on the coasts. “We’re starting our tour at the highest place and working our way down.” said White as the free jam segued into the dense drone of “Intimate Secretary.” The first words sung by White elicited such wild excitement from the crowd that even an alleged “superfan” like myself was taken aback at the spiked decibel level. Beatlemania shit. (con't after the jump + more pics)

“Level” followed, transforming itself from album highlight to bluesy exercise in tension and release. Building up on crunchy guitar and accenting notes before letting go – tailor made for arena rocking grandeur that may come in handy sometime in the near future. The set continued the rising course with well-received single “Steady As She Goes” and took a Brendan Benson downturn on “Together” (You want everything to be just like/The stories that you read but never write). The cheese filled sweetness of Benson’s singing balanced with White’s nasal twang chiming showcased both singers doing what they do best and providing the near capacity crowd with a terrific recital of an otherwise throwaway song in recorded form.

Expecting another quiet song at this, the slow down section of a well segueing concert and we get Ziggy Stardust by way of a Detroit garage. “It Ain’t Easy” covered and showing the efforts of rehearsal. Yes Mr. Iverson, we’re talking about practice. The tight, faithful performance of Bowie’s tune demonstrated that picking a song to cover is not as simple as selecting a great song and pressing replicate. Mining the past should involve adopting a mutually benefiting song that is, or can be representative to the sound of the coverer. “It Ain’t Easy” succeeded. Not as triumphant, but honoring my cover song philosophy was the cover of “Bang Bang (My Baby Shot Me Down)” which closed the reference loop from the Kill Bill-esque preshow music. Jack sang of course, he is fond of shootings tagged with his baby, revenge for the big three perhaps.

If I had to distill the evening with a few lines I’d be remiss not to say that the songs from the Raconteurs album and the songs performed live are miles away from each other. The album now seems like a snapshot of a band just getting together, which it is (was). Live in concert they are a machine of cohesion and tightness reflective of the talent from within, but most importantly of a band rapidly evolving. Almost all of the songs have been rearranged and extended expansively.

The most radical reshuffling occurred with MS album favorite “Store Bought Bones.” Jack manned the keys while a psych-jam clouded the beginning of “Bones” into an indiscernible mess of noise, effects, and faux-buildup. Through this nebulous haze the tongue-twisting verbiage of “You can't buy what you can't find what you can't…” came peering out and Jack upgraded ivory for axe to properly kick off the ferociousness of this great composition. “Store Bought Bones” two ways, like a master chef churning out comfort food in delectable variations. I ate up the refreshing changes like the music geek that I am.

I left the Fillmore convinced on what Benson and White have been communicating to the press since word of the band hit - the Raconteurs are not a side project. They are not toying with ego-tripping fallaciousness. The Raconteurs are a legit act that is only improving as the road furthers their mission – which is clearly all about the music, as it should be.

*Check out Berkeley Place for live Raconteurs MP3s from a July 3rd show, including “It Ain’t Easy” and the Sonny Bono cover.

//The Raconteurs – site
//The Raconteurs – Broken Boy Soldiers - buy

Tags: Raconteurs, Fillmore, Denver, Broken Boy Soldiers, Jack White, Brendan Benson, Greenhornes, David Bowie, Sonny Bono, Kill Bill

Posted by Merry Swankster at 09:41 AM | Comments (1) | TrackBack

July 18, 2006

El Perro Del Mar Video - God Knows (I Wish the Girl From the Album Cover Was In It)

Alright, that's not the actual name of this pretty podcast-featured ballad, but I like for my unspeakably sad Swedish chanteuses to be front and center, damn it! The girl in question, Sarah Assbring (a name that makes me hope for gentility in Swede middle schools), does lend her Scandy coo to this charming little piece of animation. Its whimsy might be too much for the anger management set in the MS readership, but those not allergic to the namby-pambical will be treated to such delights as; a sad pony, a debonair gent playing two pianos with a parrot on his shoulder, and lots of umbrella coreography with and without hidden cats.

El Perro Del Mar - "God Knows (You Gotta Give to Get)"

In other Assbring news (giggle), she's apparently starring as herself alongside countyman Jens Lekman, also playing himself, in a short film called Kullaberg which was written by the Lek-man. This trailer gives us roughly zero information about said film, except that "Jens Lekman" likes to hike through what appear to be naturally occuring jungle gyms. Or forest gyms, I guess. The website claims a 2006 release, but the market for short films in this country is nil, so I guess I'll just let everyone know when it pops up on YouTube.

Tags: El Perro Del Mar, Jens Lekman, Kullaberg, Sweden, Animation, Podcast

Posted by Jeff Klingman at 12:39 PM | Comments (0) | TrackBack

Lesson: Don't bet against Stipe

As Wired EIC Chris Anderson tells it, he was in a band that lost the name REM in a "battle of the bands" to the Stipe-led contingent in 1982.

It's 1982, I've failed out of college and am working in Washington DC as a messenger and playing in bands at night. This is the heyday of the DC punk scene, which I have just graduated from largely because I couldn't play "Stepping Stone" fast enough (you had to be there). I do, however, have a bass and the aforementioned haircut. So I was a good candidate for an up-and-coming Gang of Four-inspired band called....wait for it.....REM.

Anderson said his band went on pretty confident and put together a good set.

Then the other REM came on. I'm a little fuzzy about the progression, but I think the first song they played was Radio Free Europe. The crowd went silent, mouths hung agape, and when the last chord was struck, the room exploded. Crap.

Anderson said that REM bassist Mike Mills ended up suggesting their new name: Egoslavia.

Valleywag has an Egoslavia mp3. It's not great; not terrible.

Related: I attended Chris Anderson's party where, yes, I stood this close to David Byrne. Brazilian Girls and SpankRock were scheduled to perform, and James Murphy was scheduled to DJ. Owing to a super early flight to Minneapolis the next day, I could not stay to listen. Alas.

Posted by Keith O'Brien at 10:56 AM | Comments (0) | TrackBack

Tonight

If I remember correctly, the last one I attended had a very comfortable t-shirt temperature. Just sayin'...

Tags: Beg Yr Pardon, the Delancey, Susu, the Song Corporation, Medic Medic, Pinknoise, Free Beer, Fluxblog

Posted by Jeff Klingman at 09:16 AM | Comments (0) | TrackBack

July 16, 2006

Summer Sunday Sundry (Half of) Six Pack

Pipettes - Pull Shapes

There are many who hold a slightly Draconian worldview on mining the past. Why listen to Interpol when you can mine through old Joy Division. A fallacy on two points: one, the Interpol - Joy Division comparison is tenuous at best; two, music isn't a zero-sum game. If you have to chose one or the other, then you don't devote enough time to audio and, then, who are you to play music critic?

I begin with that, as an unnecessary reflexive; because the Pipettes are really that good. Album "We are the Pipettes" is laden with delightfully catchy hooks, evergreen lyrics about love, heartbreak, and how one turns to the other. Pull Shapes is a shining example of the timeless quality they exude: soaring strings, balanced harmony, and snap-step percussion. An absolute gem.

Bonus video:

Sound Team - Your Eyes Are Liars

If I have a curse, it's that I tend to listen to songs that have (what I perceive to be) one, minute misstep, and that misstep effects my enjoyment of that song. But I'm trying to grow. This song has a slight hitch. It's an understated beginning, slightly Franz Ferdinand buildup. Singer Matt Oliver pulls a neat trick by starting with a scratchy, light voice, switching quickly to a deep, powerful voice (again like FF lead singer Alex Kapranos). All parts (drums, voice, guitars) build up to a crescendo. The band lets it drop, then continues with verse two at half volume (I would have preferred a whisper). Despite my own nagging with that issue, it's a great, head-nodding song.

My Brightest Diamond - Golden Star

A recent USA Today story discusses how the mainstream pop charts are devoid of female artists who write their own music, claiming that in a post-Lilith world, there's scant room for non-manufactured talent. While that might mean a dearth of talented females to USAT readers, MS.com readers obviously know that the underground (or indie or whatever) scene is brimming with talent. Neko Case, Feist, ad nauseum. Add to that My Brightest Diamond, a women from Sufjan Steven's label Asthmatic Kitty with a powerful voice and an album coming out in August. In Golden Star, you get a nice contrast between the murky bass-heavy rhythm and MDB's soaring voice.

Posted by Keith O'Brien at 11:54 AM | Comments (0) | TrackBack

July 14, 2006

Flaming Lips Taping Hollywood Bowl Show for DVD

[Hollywood Bowl & vista]

The Flaming Lips have announced they will be videotaping their upcoming LA show (7/23) at the amazing Hollywood Bowl for future DVD release. I've been to the Bowl once before to see the outrageously great bill of Arcade Fire opening up for David Byrne. It was as great, if not better than you'd imagine.

That night ended with Byrne covering Beyonce's "Crazy in Love" and San Francisco's wild Extra Action Marching Band invading the stage (and aisles, and VIP table area) during a performance complete with cross-dressing male dancers prancing about with pom-poms and batons. An alternative "marching band" that at no time brought to mind wholesomeness, or really anything Middle America would not find offensive. As stated - outrageously great.

My lasting image of the venue may be one of gay dudes in thongs and cheerleader outfits dancing to Beyonce by Byrne, but I digress - Hollywood Bowl is sweet. The Lips will surely bring their unique party to Hollywood and only God knows the antics that will ensue.

Flaming Lips MySpace bulletin:

Hey Freaks!

I just want to let you guys know the Hollywood Bowl show
will be filmed for a LIVE DVD release!

Its already sold out..
but if you have tickets be prepared to ****act like a freak**** on film!!!!!
[or at least HD video]

Even if you don't have tickets...
See if you can get into the parking lot...
Crews will be out there shooting "Heavy Metal Parking Lot" style!

Sidenote - Merry Swankster recently scored tickets to the sold out Lips show at Red Rocks in Colorado, and should also have a stealth reporter at the free Philly show this Sunday. Keep it tuned (logged?) to MS for space-rock dispatches all summer.

Tags: Flaming Lips, Hollywood Bowl, David Byrne, Arcade Fire, Red Rocks, Exta Action Marching Band,

Posted by Merry Swankster at 02:27 PM | Comments (1) | TrackBack

Yeah Yeah Yeahs - "Cheated Hearts" Video

One of the best songs of the year is matched with the best video of the year.

Yeah Yeah Yeahs - "Cheated Hearts"

Backstory: YYY requested fans to submit homemade videos for the song earlier this year. For the link-handicapped, these were the rules:

WE NEED YOU! OUR FANS to be US... the YEAH YEAH YEAHS.

We want to see what you would do if you were playing us in our video for “CHEATED HEARTS” off our new album. We know our fans do it like no other, now's your chance to put us to shame.

PAY ATTENTION TO THE FOLLOWING INSTRUCTIONS
1) Send it on DV TAPE
2) Dress the part!
3) Blast the music in the background and play or sing over it...
4) Get lost in the song make it YOURS.
5) Got guitar? mic? drums? Use'em! Got no such things? Fake it, use what you
got around the house, be resourceful yeah!
6) Do as many performances as you need, we will edit it! Try and make them
different: FULL BODY, CLOSE-UP, MEDIUM, FROM THE SIDE, inside,
outside, etc. Do the Nick, do the Brian, do the Karen O.
7) IMPORTANT: AT LEAST HALF OF YOUR PERFORMANCE SHOULD BE AGAINST A WHITE WALL, or sheet. SO DO IT ONCE IN FRONT OF A WHITE WALL AND ONCE ANYWAY YOU WANT.
8) SEND IT TO US, DO IT QUICKLY....YOU WILL BE BIGGER THAN THE SOUND.

Previously: YYY - "Cheated Hearts"

Tags: Yeah Yeah Yeahs, Video, Cheated Hearts,

Posted by Merry Swankster at 12:07 PM | Comments (0) | TrackBack

July 13, 2006

MS Presents – 7” Raconteurs Contest!

Thanks to the fairy Godmother of music promotions, Merry Swankster HQ has gotten hold of a pair of 7” Raconteurs singles and because you are all so awesome, we're giving them away! The record includes the first single, “Steady As She Goes” and “Store Bought Bones.” However, unlike 'Nam there are rules here. The whole world has not gone mad Mr. Sobchak..

-- -- --
Contest Rules:

1) Email a picture of the “Merry Swankster” name appearing with something of interest to contest@merryswankster.com.

2) MS staff will judge all submissions and two winners will get a Raconteurs 7” single, as well as their picture published on the site.

3) Deadline is Monday July 31st at 8pm ET.

-- -- --

Pretty simple. "Something of interest" is pretty broad, so we expect anything and everything from you guys. Anything goes - from farm animals, to urban landmarks, to desolate desert wastelands (going out to those of you with .mil domains, we can see you). Now get out there and show us what you got!

Suggestions:

-Do you know Zinedine Zidane? Get him to headbutt something with the Merry Swankster name on it and send it in.

-Are you reading this site subversively in North Korea? Prove it and slap a piece of paper scribbled with the MS name on one of those type-o-dong missiles your boy Kim Jong-il is so fond of.

-Are you Scarlett Johansson? Pose and send a picture in. I will personally deliver the record to you.
-- -- --

You got 5 days folks, start snapping some good stuff so we can amuse ourselves. Internet bloggery gets so very lonely on weekends...

Yours always,

Merry Swankster

Previously: Boy Least Likely To & The Raconteurs - It's just fine

Tags: Raconteurs, Contest

Posted by Merry Swankster at 01:00 PM | Comments (0) | TrackBack

OK, Thom, I Guess You're Pretty Good...

Hey, has everybody seen this clip of Thom Yorke playing an acoustic version of "the Clock" from his solo album, the Eraser? It's taken from an episode of the Henry F'in Rollins show set to air Saturday night on the Independent Film Channel.

Thom Yorke - "the Clock"

Now, I've never been one to claim that Radiohead should chuck all their electronic trappings and return to some kind of "pure" guitar rock. Blips and bloops and I have make out parties all the time. But what is it about transposing this song from synthetic backdrop to acoustic guitar that makes it so much more interesting? Well it isn't 1999 anymore, and maybe the whole skittish IDM thing just doesn't sound very mindblowing now. Mainly, I think it's that contrary to the hushed slowdown that you normally expect when a song gets turned acoustic, this version has more energy than its drum machine counterpart.

See, subverting expectations is the key here. We expect Thom Yorke to play with marginal electronic sounds now, so he should move away from them. Also, he should toy with some new kinds of melodies. I mean, his voice is still phenomonal, and it's still hard to believe that it's coming spontaneously from the little man, but does anyone else think that this vocal line is hard to differentiate from like ten other Radiohead songs? Change it up, pal!

At the end of the clip you get a teaser for another Yorke performance, this time with added help from Jonny Greenwood and producer Nigel Godrich. Will Godrich be twiddling knobs on an Eno box? We can tune in to IFC at 10:00 on Saturday and hope.

To take a page from Keith, let me applaud IFC for the shrewd marketing. Give out a free clip before your show even airs, make it easily bloggable, throw in an advertisement for an even cooler clip to come, and in the process make your show a destination for a slew of people who have pretty much given up on TV as a meaningful source for cutting edge music. What they'll find (as I was surprised to), is that even though his guest list is pretty spotty (Ben Harper? Ben Folds?) he does have an occasional cool booking. You can browse around here to see (and wonder why Henry's so mad at you), but I offer Tubed proof below:

Dinosaur Jr. - "Forget the Swan"

J. Mascis looks like the Crypt Keeper, but still...

Tags: Thom Yorke, Radiohead, Henry Rollins, IFC, Dinosaur Jr.

Posted by Jeff Klingman at 12:19 PM | Comments (0) | TrackBack

July 12, 2006

Respects Paid

Now, I really can't get into Pink Floyd. I've totally tried, and yes, I have listened to Piper at the Gates of Dawn. It's just not for me. It's the same thing with Led Zeppelin. I think with these monumental classic rock type bands that are so influenti