Doveman Announces New Album The Conformist Featuring Nico Muhly, Most of The National, Martha Wainwright, and Norah Jones (Sounds Like a Really Crooning Version of “We Are the World”); Released October 20 [Brooklyn Vegan]
Andrew W.K., After Experiencing Some Kind of Sexual Religious Experience, Cancels Concert Dates With Calder Quartet, As Apparently Sex and Religion Don’t Mix Well (Tell That Gian Lorenzo Bernini’s “Ecstasy of St. Theresa”) [Idolator]
James Murphy Drops Hint On Facebook About Upcoming LCD Soundsytem LP Possibly Due Out New March ; Elsewhere, Music News Is Really Fucking Slow Today [Pitchfork]
Watch Beach House’s Victoria Legrand Perform New Moon Track “Slow Life” With Grizzly Bear; Get Bored Fast, And Then Imagine How This Song Sounds Anything Like a Vampire/Werewolf Teen Crossover Novel Turned Film [You Ain’t No Picasso]
compiled by Max Sebela
Danger Mouse (DJ From Gnarls Barkley) and James Mercer (Megalomaniacal Frontman of The Shins) Team Up For New Band, Broken Bells; Debut Released Early Next Year [Pitchfork]
Whoa, British Post-Punk Legends Echo & The Bunnymen Are Playing New York’s Tiny Lower East Side Club the Mercury Lounge On October 17; Tickets On Sale Friday – It’s Sure to Be One Mopey Evening [Brooklyn Vegan]
Lil Wayne To Appear On Weezer Track, “Can’t Stop Partying,” Off Upcoming Raditude; A Copy Of Pinkerton Rests At My Feet, As Smashed and Broken As My Once Youthful Heart (See, Rivers? Melodrama is Still Awesome…Go Back to It) [Spin]
Electro-Hip-Hop Artist RJD2 Announces Follow-Up to 2007s God Awful The Third Hand; The Colossus Released January 19 (And Apparently Be Largely Sample Based…And Will Hopefully Not Feature RJ Singing; That Was a Bad Idea) [Pitchfork]
Watch Dirty Projectors Debut New Song Jimmy Fallon; Then Watch Them Do An A Capella Jam Backstage For ?uestlove; ?uestlove Recorded the Thing And Gets Pretty Liberal With His Excitement Over the Performance (i.e. Camera Shaking) [Brooklyn Vegan]
Stream New Burial Track “Fostercare,” From Upcoming 5 Years of Hyperdub Compilation; Feel Uncomfortable, Ghostly, and Surreal, and Then Get Psyched, Because How Else Should a New Burial Track Sound [Youtube]
compiled by Max Sebela
IN THE TUBE
In case you haven’t heard, indie monolith and the hip’s go-to consumer guide/whipping boy Pitchfork.com has been running a long series of articles related to this decade in music, temporarily branded “the aughts.” They are calling it P2K (OMG I GET IT, LIKE P4K, ONLY WITH A TWO), and it pisses me off in so many ways. First of all, the decade isn’t over. Secondly, revisionist history demands that we will not know what this decade “meant” musically for another five years or so; attempting to throw together a list of important releases in the midst of the decade forgoes perspective, foresight, and fails to admit fallibility. Or, in laymen’s terms, no one knows shit enough about this decade to adequately comment on it, even Pitchfork (even though they knew about Death Cab waaaaay before you did).
In the midst of their recklessly irresponsible feature, they released a “Top 50 Music Videos Of The 2000s,” and gave “Fell in Love With a Girl” by the White Stripes the coveted #1. You’ve all seen it: it’s the one with the Legos. Jack White shreds guitar, Meg White sucks at drums, and they both get into a variety of hijinks…as Legos. Yeah, it’s pretty simple: a music video…only instead of real stuff, there are Legos. You get the point. In any case, here’s the video:
Now, I’m not here to trash this thing – I love it. I think that it is incredibly entertaining, and I love the Stripes’ seminal White Blood Cells as much as any self-respecting fan of electric guitar. The way colors wash out on Legos when they are shot up close, and the soft pastel swatch Michel Gondry filters everything through work very well with the song’s barebones garage rock. Jack and Meg are both pasty enough to actually have their faces reconstructed in white blocks. And I love Legos – sure, I admit I went through a Duplo phase from the ages of three to six, but out of all standardized systems of multicolored blocks, I feel Lego reigns supreme (yeah, fuck you Mega Bloks).
More on Dismantling Pitchfork’s Top Video of the Decade
Portishead Working On Follow-Up to Last Year’s Third; “It Could Be Out In a Year’s Time,” Meaning It Hopefully Won’t Take Another Decade [Pitchfork]
British Post-Punk Dudes The Futureheads Working On a “Complicated” New Album; I Can’t Decide If It Would Be Sweeter If It Were This Kind Of Complicated, Or Some Other, More Complex Kind of Complicated [Prefix]
Stream Upcoming Air Album Love 2 In It’s Entirety; Simultaneously, See Who Else Is Currently Streaming Love 2 (Currently, There’s One Person In Siberia Listening, Probably Trying To Warm Up With Some Sweet, Breathy Air) [Prefix]
Nathan Williams From Wavves and Jared Swiley From Black Lips Got Into a Bit of a Scuffle, And Somehow Williams Won (Sort Of…He’s Just A Little Guy); Swiley Continually Calls Williams The F- Word (No, The Other, Really Bad F- Word) [Brooklyn Vegan]
Hey It’s Monday, We’re All Feeling A Little Down…Here’s A Couple New Sufjan Stevens Songs; Oh No, Now I’m Feeling Really Down [Pitchfork]
Watch Video For Taken By Trees’ (Victoria Bergsman, That Girl Who Whistles and Sings on “Young Folks”) Cover of Animal Collective’s Merriweather Banger “My Girls,” Re-imagined As “My Boys” (Its Stupid. Plain and Simple) [Stereogum]
compiled by Max Sebela
Brooklyn noise duo Talk Normal may be a minimalist band, but they sure have a lot going on. Though certainly drawing on No Wave influences, drummer Andrya Ambro and guitarist Sarah Register are hard to pin down, shouldering against boundaries and weaving a variety of other musical strands into their dense bundle of steel wool sound. The duo, known for their exciting, intense live shows, is playing WFMU Fest with Teenage Jesus and The Jerks this week. We caught up with Talk Normal to chat about their upcoming tour and their new album, Sugarland, which drops on October 27.
JM.com: Well first off, how did you two meet?
Talk Normal: We met in college…different programs that shared similar classes, and we ended up working in the same department (music technology) at school as well.
JM.com: You were in another band together, Antonius Block, right? How does Talk Normal differ from that first band?
Andrya: The structural components between Antonius and Talk Normal seem very different; whereas there was four of us in Antonius, all doing separate things, Talk Normal blurs the lines of “who does what” much more, which opens up new ways for orchestration & arrangement for us. Common themes definitely include a “discordant” & “minimal
JM.com: You have your first full-length coming out at the end of October right? What can we expect – how does it build upon [your EP] Secret Cog?
TN: Yes, October 27! Record release party that night in NYC at Cakeshop.
JM.com: Yeah, you’re playing with Pterodactyl that night, right?
Sarah: Sugarland represents material spanning a broad time frame, including a few songs that were pre-Secret Cog. But the majority of it is more recent, from the past year-ish, that we’ve been performing live. Also it’s the most representative recording of what we sound like live, which is very satisfying to us. For these reasons and many more, we are extremely pleased to be unleashing it – finally! Nicolas Verhnes, who we recorded and mixed with at Rare Book Room, was key in helping us translate the sounds we make into the recordings we wanted to hear. And yes, we are beyond psyched to be playing with our buddies Antimagic & Pterodactyl, with the additional sparkling company of DJ Mike Wolf.
More on Talk Normal
This Frontier Needs Heroes
This Frontier Needs Heroes
2009 | Self-Released
Brooklyn-based brother-sister duo This Frontier Needs Heroes do not sound like city folk. Their self-titled debut LP is all open air, broken hearts, and quaint countryside. It’s the Old West by way of Williamsburg; it’s more Bonnie and Clyde than Eleanor and Matthew Friedberger. But their outer borough address sabotages the whole thing.
Their Myspace page rattles off a list of “authentic” American influences (Townes Van Zandt, Woody Guthrie, and Roy Orbison, to name a few) but namedropping can’t stand in for sincerity.
Lead singer Brad Lauretti’s vocals are touching – his voice seems to crack at just the right moments – but his simple lyrics and predictable rhymes (“Something’s gonna strike you down/ Something’s gonna turn you around/ Something’s gonna make you feel like everyone’s around”) are just disappointing. The album’s centerpiece, “I Can’t Do It All By Myself,” suits the limp lyrics, but only because it sounds like a lullaby.
This Frontier Needs Heroes just seem a little disingenuous, like two kids playing pretend. They label themselves as outlaws and revolutionaries, but aside from occasionally featuring the flute, their songs are pretty safe. “Long Gone” tries to swagger like a lone ranger, but it’s sung by a gentleman.
Opening track “Firefly” is a fitting introduction to the album: brother Brad wonders when he’ll have a hate-free heart while sister Jessica harmonizes over simple guitar-picking and tense strings. It’s pretty, but it’s all presentation. And for one moment, Brad’s lyrics don’t need any polishing: “I’m not gonna sit here and tell you that I’m right.”
by Kyle McGovern
September 27, 2009
THIS WEEK IN SHOWS
Whoa, this is one of those weeks where we’ll need to carefully balance our stimulants and disco naps in order to show-hop without crashing till Sunday night. I have a feeling that some of our writers will be trying to see The Pains Of Being Pure At Heart at Webster Hall, while others will be headed to WFMU Fest, but these are the shows that I want to check out most:
WEDS, SEPT. 30
Thomas Function, Yussef Jerusalem, Liquor Store, Pink Reason
10:00 PM, ALL AGES
Ever since I got “Belly Of The Beast” stuck in my head for like a month sometime in 2008, I’ve wanted to see these bouncy southern guys, Thomas Function, live. They’re playing a few shows this week with Yussuf Jerusalem of France, who I’m equally excited about, but I dig mid-week shows, and I think that the one at Silent Barn will have a lot of energy, especially with Pink Reason and Liquor Store as openers. (Lord knows Liquor Store likes to rock out.)
THURS, OCT. 1
Jay Reatard, Nobunny, Hunx and His Punx…and more!
(le) poisson rouge
11:00 PM, $15a/$18d, 21+
Jay Reatard is a wild sweaty performer, but really, if you listen to his music it’s hard to imagine how he couldn’t be. So this would be a cool show no matter what, but the openers this time are exciting too. In case you haven’t heard of Nobunny, he performs catchy punk very much inspired by 50s rock ‘n roll. But that’s really not the interesting part. He also wears this gnarled up, gross bunny mask and likes to strip down to his underwear. Well alright!
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MUSICIANS ON MUSIC
Musicians On Music is a weekly column in which we feature exactly that: musicians, both local and national, writing about music, the industry, other people’s music, or whatever they feel like writing. This week we feature Mike, Nick, and Frank from In, one of the most exciting – though least internet-searchable – new bands cropping up in Brooklyn. Our writer Drew Citron sat down with In last week, where they talked about trying to understand the ’80s. This week In continues their quest by examining one particular ’80s phenomenon: the Pizza Jam.
For a brief period between the early ’80s and the early ’90s – our childhoods – pizza was the flagship token of the tyke zeitgeist. This was when the mechanics of massive-scale corporate food production and commercial television were in full swing, mostly unchecked and uncriticized. The possibility of a certain kind of instantaneous common experience, minted in movies and proliferated in broadcast TV, had become mundane, elementary. We were getting reamed by the capitalist machine, but we were kids: there’s an honest intimacy to any crucial developmental experience, and a huge portion of ours was spent under the influence of the advertising aesthetics of the day. And so often, we were served pizza, with bright colors, a way-cool demeanor, and a subtly slamming soundtrack. These last – the pizza jams – became a part of our first language, as instrumental as “Uh-oh,” and “Mommy.”
We don’t want to revere pizza in particular – the Ninja Turtles turned it into a godhead, and we’ll leave that kowtowing in the sewer – it’s a useful locus; it’s got its greasy imprint all over late-20th century issues of post-Spockian child-rearing, technology and literacy, gender, violence in the media, the apex of the fast food nation, the rancid dream of free-market economics, and, in retrospect, authorship and the epistemology of art-making. For lots of attentive people of a certain age and demographic, the term “Pizza Jam” barely needs explication. We know it’s that pizza sound that gets kids moving as fast as their legs’ll get them to the nearest Hut. It’s that carefree vibe cut through with visions of gooey cheese and extra pepperoni. No anchovies, no worries. You eat this stuff with your fingers. You put your elbows on the table. You do some armpit farts. Whatever.
More on Pizza Jams: Soundtracking the Fantasy of the Everyday