New Discovery Songs Now Streaming

The buzz around the Ra Ra Riot/Vampire Weekend side project, Discovery, is starting to build some steam. VW's Rostam Batmanglij and RRR's Wes Miles have posted up two more tracks from their highly-anticipated upcoming self-titled LP. If you've enjoyed what you've heard thus far, prepare yourself for even more great tunes. Between this, and fun.'s record, I think it's going to be quite a competition for "best summer album". Check out the tracks at their site, and enjoy.

New Lil' Wayne, "Kobe Bryant"

I hate Kobe Bryant. I don't hate Lil' Wayne. Thus, I'm torn here, as I'm sure others are when confronting not one, but two polarizing figures on one track. Anyone who was lazing about the interwebs last week probably caught thsi one already, but since Pitchfork put up an official stream and whatnot, I figured it'd be worth mentioning. You'll also be happy to know that Weezy actually raps here, which is a stark contrast to what he's been doing lately- what with the "rock album" and his budding career at ESPN, you'd almost forget he rapped. "Kobe Bryant" is not great, nor is it terrible. Rather, it's somewhere in the middle. I'll let you decide for yourself though. Check it out over at Pitchfork.

Dinosaur Jr. on Daytrotter

Everyone's been talking about Dinosaur Jr. lately, and why not? Their new record, Farm, is out soon, and from what we've heard, it's fantastic. Daytrotter's next on the blog roll, as today's featured selection is indeed none other than J Mascis & Co. None of the tracks they've posted are off of Farm (I know, you're depressed), but for those unacquainted before now, perhaps it would serve you well to check out some of the older material. Check it out over at Daytrotter, and enjoy. Farm is out June 23rd via JagJaguwar.

Music Video Monday: "Sic Transit Gloria... Glory Fades"

For some reason, this video never gets old.  Or at least, never stops being cool... to me.  As anyone who's ever listened to Brand New probably knows, "Sic Transit Gloria... Glory Fades" is about sex, and it's also (debatably) the song that introduced the larger public to the band.  This seems to give both the song and video a black eye when looking back on it, but I don't necessarily think that that's appropriate.  In no way is it the best track on 2003's classic, Deja Entendu- that honor could be tossed up between a number of other songs- but it is still the type of song that made Jesse Lacey famous; that is using clever metaphors and imagery to depict the problems in his life, or his own social criticisms.  I personally consider it (comedically) as the band's first attempt at making a rap song, but either way, an enjoyable song I can still look back on fondly enough.

The premise of the video is basically what I touched on before, Lacey, the main character here, is running from something, then suddenly takes control of everyone around him.  Near the end, when he's about to use his newfound control on a female (an allusion to the theme of the track), he is suddenly taken control of himself, by a dark figure in the background.  I'll assume this is societal constructs or stereotypes.  Suddenly, he is helpless, and seemingly worse off than he was at the start.  A great video that uses some great imagery and symbolism.  Even when they were making music that vaguely resembled the Taking Back Sundays (pre-2005, of course) of the world, the band's sound still seemed smarter than what their peers were putting out, and I think this video's indicative of that.  Check it out below.

Phaseone Remixes "Daily Routine"

Not only has Merriweather Post Pavillion proven to be fun to listen to as is, but over the past six months, a lot of artists have also taken to remixing the tracks from Animal Collective's fantastic new record.  In this case, Phaseone takes "Daily Routine" and morphs it into a mechanical club hit that creates the imagery of the band lurking down a dark alleyway.  It sounds creepy, and trust me, it kind of is, but it's definitely worth the listen.  Check it out for download now, over at Mad Decent.

New Jay-Z, "D.O.A. (Death of Auto-Tune)"

For those on Twitter, you probably noticed that the popular social networking website was buzzing over the weekend about Jay-Z and his new track "D.O.A. (Death of Auto-Tune)".  If this track, as well as the DJ Premier collaboration featured a few weeks back, are any indication, it would appear that Hova is in fact, back, and once again making some great music.  This track's intriguing, considering the fact that the man behind much of the auto-tune craze is none other than Kanye West, whom Jay's pretty good friends with.  Alas, still a good time, and perhaps, even though I did enjoy 808s, this is truly the end of auto-tune.  Check the song out below, and look out for The Blueprint 3, hitting stores September 11th, via Roc Nation.

New Clap Your Hands Say Yeah, "Telling The Truth And Going Away"

After a forgettable sophomore album, I've tried to convince myself that every band makes mistakes, and that that would include Clap Your Hands Say Yeah.  I've given them their first and only clean slate, and so far, they have not disappointed.  When we heard "Statues" months ago, I was intrigued.  Now, courtesy of the ending credits of The Great Buck Howard, we get to hear another positive step for the band, "Telling The Truth And Going Away".  It seems calm, yet has a lot of life to it- more of a medium-tempo jam really, but a solid listen that I look forward to hopefully seeing on their eventual third album.  Actually, an entire album like this would make me quite happy.  For those interested in what the band is up to, check out the video below, and enjoy.

New Dinosaur Jr. Video, "Over It"

By now, I'm sure everyone who cares is well aware of Dinosaur Jr.'s long-awaited return album, Farm.  Personally, I'm a huge fan of first single, "I Want You To Know"- it's energy is infectious, and I think it does as good a job as any track at reintroducing the band to the world.  The second single, "Over It" is equally legitimate, with a very entertaining video to accompany it.  The band is (appropriately?) skateboarding, and for the most part, failing at it.  As out of touch as it may seem on paper, it just makes sense in execution.  Check it out below if you're interested.  Farm is out June 23rd via JagJaguwar.

Pre-Screening: Dirty Projectors

Album: Bitte Orca

Artist: Dirty Projectors

Label: Domino Records

Due Out: June 9th

For anyone that's been paying attention to this blog this week, or any blog for the past two months, you're probably well aware of Dirty Projectors' Bitte Orca. From the unfortunate leak of the album two months ago, to NPR's stream that started earlier this week, anybody who has an interest in this band has probably heard the new album, and has an opinion on it. Still, allow me to provide another one for you, as the praise will be heaped on in a similar fashion to other blogs. I won't go as far as Stereogum did, using over-the-top descriptions such as "stunning" (words like that are reserved for the greatest albums of all-time), but I will say that this collection of songs is grade-A indie rock. It's engaging, fun and intriguing- a real treat for music fans across the board.

"Cannibal Resource" starts us off with a poppy and energetic ode to over-consumption, among other things. Like many of the tracks on the album, there's plenty going on here- between Dave Longstreth's vocal stylings, the jumpy and floating guitar part, and the soaring background vocals, it's hard to take it all in in one sitting. "Temecula" doesn't give much of a break from the large collection of sounds either. Once again, the vocals in the background and foreground offset each other perfectly, and provide some semblance of order above the musical freewheeling that's occurring. Don't bother searching for a particular melody or pattern in the instrumentation here, because there isn't one. The almost freeform approach to the music is one of the album's finer aspects- things can literally be bouncing off the walls, yet for some reason, still seem organized. "The Bride" then provides our first slower section, as the band keeps it subdued, save a few spurts near the end.

If you simply heard "Stillness is the Move" by itself, you'd probably mistake it for either an electronica b-side or a pop experiment. The mechanically shifting track is definitely pop-oriented, but of course, in the best way possible. The sound reminds me of a mix of video game music and Mariah Carey- an amazing aesthetic when you think about it- and it somehow works here to great success. Next, "Two Doves" goes all classical on us, utilizing a simple string arrangement and just one voice, for a nice and soothing ballad sure to be one of the year's favorite slow jams. "Useful Chamber" starts similarly to the previous track, slow, quiet and methodical, easing you into the change in scenery. While listening though, you're wary of the reserved nature. It's obvious while hearing the flowing falsetto vocals and straightforward acoustic melody that something's being held back, and you're right. The breaking point is around the 2:30 mark, where the sound just explodes. The song's second half is also an interesting case, as it jumps from a soothing and harmony-laden doo-wop number, to a over-the-top solo, in mere moments.

"No Intention" is for lack of a more appropriate term, relaxing. Seemingly exhausted from the previous song, it's reserved, but still employs a good amount of sound. It also reminds me a bit of Passion Pit's new record, but just in portions. "Remade Energy" seems revitalized in comparison, as the tropical-esque background and allusion to a tribal chant re-establishes the energy seen earlier, before changing into a free and boundary-less jazz number. Finally, regrettably, we reach the album's end with "Fluorescent Half-Dome". Longstreth comes in low here, as he sort of seems aware of, and down on, the fact its the end. Amidst the vocal refrain though, keep an eye on the building string part in the backdrop. By the halfway mark, they take full control and provide for one fitting and gorgeous-sounding finish that is about as appropriate as one could hope for.

It's a lot to take in, I know. The best work of the band's career, Bitte Orca does a great job of using their instrumental capabilities to the fullest. The possibilities on this one are nearly endless, as the band scoffed at normal song conventions, and rather than just record another indie rock album, tried to embrace something without walls. Nothing's boxed in, and the freeform approach worked. I won't say it's never been done before, because that's an out-and-out lie, but that doesn't mean I can't congratulate them for successful execution of an interesting and entertaining record. For those who may have missed it earlier in the week, check out the stream of the album over at NPR. Similarities may include High Places, the aforementioned Passion Pit and Deerhunter.

Rating: 8.0/10

Best Track: "Stillness is the Move" (not available, but check out "Cannibal Resource")

Pre-Screening: Mos Def

Album: The Ecstatic

Artist: Mos Def

Label: Downtown Records

Due Out: June 9th

Admittedly, this year has been fairly barren thus far, in regards to notable/high-quality rap/hip hop releases. Enter Mos Def. Probably one of the most anticipated releases in the genre this year, The Ecstatic is classic Mos Def, with his original and recognizable lyrical delivery, and broad cast of contributors making for something both thought-provoking and dance-worthy. Overall, Def's beats here are some of the best you'll witness in 2009, as a new, more club-friendly backing track seems to accompany some songs. Whether you're new to the artist, or a longtime listener, I can tell you, you'll find this one worthy of a continuous loop throughout your summer playlist.

The Ecstatic begins with "Supermagic," first a social statement, then an explosive, guitar-centric jam that will have you nodding your head within seconds. As I said, I found a heavier emphasis on the background beats here than ever before with Def's work, and I believe it was definitely to the album's benefit. "Twilite Speedball" kicks in next, with ominous horns and a darker tone than the previous track. There's a lot going on, as the aforementioned horns, busy percussion parts and guitar spots faceoff underneath the constant lyrical commentary. Next, "Auditorium" gives us a taste of some of the older Mos Def sound, along with shades of DangerDoom, as Slick Rick contributes to the first Mad Lib-produced track on the record. It mixes an active classical arrangement with a solid beat, to form a complete and intriguing song, sometimes straightforward, and other times, shrouded in some mystery. "Wahid" quickly kicks in afterwards for a fairly short interlude, once again sampling classical arrangements for a strong background to the fairly simple lyrical foreground.

Another quick track, "Priority" is next, this time employing piano as Def makes the most of the minute and 22 seconds he's got here to talk about, what else, but priorities. Those who've been paying attention will probably recognize the track immediately after, "Quiet Dog Bite Hard" as one of Def's singles from earlier this year, "Quiet Dog". Simple, and based on a quick percussion beat and clapping track, tempo-wise, it is one of the album's fastest songs, and one which you might get so caught up in what's going on in the background, that you'll completely forget about the lyrics. Then we arrive at my favorite song on the album, and in my opinion, the most complete as well, "Life In Marvelous Times". A strong club beat accompanies statements about taking advantage of what we have the opportunity to accomplish is seemingly hard times. Notes taken, this is another one you'll find yourself bopping to within a second or to. "The Embassy" is the first track to really hold back on the record, as it takes over a minute to get past the spoken intro, and keeps fairly quiet in comparison to other songs.

To some dismay, this continues on "No Hay Nada Mas," a track which operates completely in Spanish, and also fails to really let loose from a musical standpoint, like the beginning of the album did. "Pistola" comes next, starting with a lot of energy, before mellowing out. From here, and progressing nearly to the end, it would seem that many of the songs are more geared towards Mos Def's normal lyric-centric style, instead of the radio-friendly hits we heard at the beginning. Not necessarily terrible, but something worth noting, nonetheless. "Pretty Dancer" follows suit as well, featuring an active, yet subdued background to Def's strong and apparent vocal stylings. "Worker's Comp." picks up similarly afterwards, once again shifting the stress from music to lyrics on a track that exists in small spurts of exuberance interspersed with elements of a slow jam.

"Revelations" walks over a playful flute/xylophone background as we hit the home stretch. The early portions of the album seemingly in the distant past. Luckily for the listener, the silence is broken soon after, with "Roses," a duet of sorts with Georgia Anne Muldrow. It's jazzy, and a bit off-kilter at times, but not in a bad way. The apparent sounds of discord are indeed intentional, and what we find is a interesting track which combines several musical genres and elements to form one of the more intrepid works on the album. Rarely do you think of Mos Def without some kind of association to fellow alternative hip hop artist Talib Kweli, so it would make sense that he makes his assumed appearance on the next track, "History". The song re-establishes parts of the earlier vibe, using a guitar- and vocal-based background to create a strong and confident statement in the fairly short time you have with it. Then it all comes full circle with "Casa Bey," a song that was just recently released as the third single for the album. Another fun and jazzy number, Mos Def may be at his lyrical best here, blending the various styles contained within the record for an appropriate period on what was The Ecstatic.

To me, The Ecstatic is many things. One of the best hip hop records of the year thus far. An interesting experiment with different styles within Mos Def's overall sound. An enjoyable album. As well as one that could have done a lot more at the same time. The Ecstatic's slowing down for the second half was not as effective as intended, nor as successful as may have been hoped either. The early parts of this album were full of a real life and energy, and it was a shame to just let that drop out. However, that is not to say that the remainder of the album was a failure. In the scope of what Mos Def's work normally consists of the tracks were, indeed, successful and enjoyable. Moreover, I'd say that this is probably more of a personal issue than a true and glaring problem with the album, so don't let it leave a bad taste in your mouth. Purchase and enjoy. Similarities may include, but are, of course, not limited to the aforementioned Talib Kweli, The Roots and Q-Tip.

Rating: 7.5/10

Best Track: "Life In Marvelous Times"