Where Brooklyn At?

TV On the Radio

Dear Science

Touch And Go Records

Available Now

Dear Science, Thank You.

With their latest release, Dear Science, TV On the Radio has solidified themselves in the hearts and minds of music fans.  I would have added the word "everywhere" to the end of that sentence, but well, let's not get ahead of ourselves.  This record is interesting, dynamic, and fun.  Basically, everything that of Montreal's Skeletal Lamping wasn't, so for that, I can applaud them.  For all that Dear Science lacks in unnecessary flamboyancy though, it makes up for in musical sensibility, and awareness.  Unlike many other acts that get by on the shock and awe tactic of "hey, if you thought that was wacky, just wait until you here this", TV On the Radio is well-versed in its limitations, and is not afraid to stay within them while still producing a new and original sound.

To start, "Halfway Home" is a stellar opener.  It, as is the case with the beginning of most records I've reviewed recently, sets you up for what's to come.  It's a prelude, a sampling of the intelligent and psychadelic noise to follow.  What also seems to amaze me is how soon you can travel from the beginning to the first single, "Golden Age", which is the fifth song on the album.  Though, according to Itunes, not the most popular song, this one, especially accompanied with video, seems to really display the full range of talents this Brooklyn-based group possesses.  From pop sensibilities, to funk, to indie rock, it jumps around genres better than anything I've heard in quite awhile.  See "Family Tree"- a dead-ringer for a Coldplay song- as evidence.

For the remainder of the record, expect more of the same.  Once lead singer Tunde Adebimpe and Kyp Malone finish up the aforementioned lost track from Viva La Vida Or Death and All His Friends, you literally bounce into what sounds like a mix of Gnarls Barkley, Jamiroquai, and Portugal. The Man, among others, in "Red Dress".  On a personal note, I could have seen these guys here at Syracuse University about two years ago, but did not feel like wasting money on lead act, Rhianna, at the time.  I'm sure you can all understand why that is.

So, to recap: Dear Science sounds like Gnarls Barkley, of Montreal, Jamiroquai, Portugal. The Man, Radiohead, Coldplay, Wolf Parade, and countless others.  It's a spectacular trip through genre-bending riffs, soaring vocals, and a ton of get-up-and-dance beats.  It's possibly the most entertaining album of the year after Girl Talk's Feed the Animals (note that most entertaining does not necessarily denote best).  As I'm listening to it again right now, I'm hearing Lenny Kravitz, Foo Fighters, and some of The Roots on "Shout Me Out".  Besides setting a record for most references to other bands in one post, this record has tripped its way to my best of 2008 list.  For those looking for specific tunes, over the album as a whole, please see the previously-discussed "Golden Age" and "Family Tree", as well as "Lover's Day".

Rating: 8/10; Great for parties, sing-alongs, or just plain relaxing.  I'm still impressed by the varying dynamics of this record.

Pre-Screening: Kings of Leon

Kings of Leon

Only By The Night

RCA Records

Out: September 23rd

I'll preface this review with a slightly unrelated note: I will not write up anything about the new of Montreal album, Skeletal Lamping, because of how much I hate it. With that in mind, I'm talking about a much better album than that in Only By The Night by Kings of Leon today.

To start, the album sounds like 80s hair metal, but better. The mood, the lyrics, everything just screams "if they were really that good at making music 25 years ago, they probably would have done this". Could the superior new sound be attributed to the painkillers that frontman Caleb Followill has been dabbling in as of late? If you ask him, he'll give emphatic 'yes', I'm sure, as he has claimed recently that the pills have allowed him to write the "best songs of his career." I wouldn't be too concerned about that...yet.

So what about the songs? Well, to start, "Closer" is a great opener. It really sets up the southern-influenced rock you're going to be experiencing over the ensuing 40 minutes, and puts you in the proper mindset for the album, which, though not relaxed necessarily, is an easy listen. This aesthetic holds on "Crawl", before the record truly opens up with the first single- "Sex On Fire". The track shouts the spirit of the album, a certain aspect of the nightlife which many would not embrace in song. The tune's catchy, energetic and simple chorus, "And you- your sex is on fire. And so- were the words to transpire," grab you right in with a great pop riff to back it up.

The album does not have a bad track, so stay tuned for #4, "Use Somebody" through #6, "17," and beyond. The entire middle series is the real meat of this one, and where you'll find the best material, if you're one of those people who'd much rather listen to bits and pieces of a record than the entire compilation in its intended form. The rest of the record really sends home the theme, and spirit of Only By The Night, with standout "Be Somebody" doing a pretty solid Richard Marx at times, but with no ill effects. The final track, "Cold Desert," presents the lasting argument, and perhaps refrain from the nightlife theme. A much calmer song than the others, it almost looks back upon the life lived in the previous nine tracks through the eyes of someone wiser, more learned from their experiences. The questions of self-doubt are apparent in this one, as is some degree of weariness with lines like, "I'm too young to feel this old." Still, this one finishes very well.

Like I've said- though I don't condone not listening to full albums, I will, as always, give a shout to the tracks that I felt stood above the others. For those interested; "Sex on Fire", "Use Somebody", and "Manhattan" are your best bets. For anyone who enjoys Kings of Leon's previous work, the aforementioned Marx, or an edgier version of The Strokes, this could be your album of the year, or at least something that'll warrant a couple spins around the ol' Itunes.

Rating: 8/10; Solid start to finish. What more can you ask for?

If You're the "Greatest Band in the World", Why Not?

Now, for the first time in this space, I'm writing an article directly calling out a couple of artists, because I think they're just sour grapes, personally, and I can't let them get a free pass on this unnecessary and uneducated criticism of a band that is phenomenally better, and (in every case but one- i.e. Gene Simmons) more successful.

As per Stereogum yesterday, Oasis is complaining about Radiohead.  Also cited in the same article, there's jealousy abound in the music industry over the past year- see The Hold Steady, Silver Jews, plus Lily Allen, Gene Simmons, and OASIS AGAIN.  I do, of course, support the freedom of speech, so these artists have the right to criticize Radiohead, as I have a right to criticize them for saying anything.  The problem is how unabashedly self-centered most of them come off in their interviews.  With that in mind, I'll be going around the horn with these folks, to pick apart their arguments.

Oasis (take 1 & 2): Starting with the most recent blast of Radiohead, why do you care so much about what they're doing?  Radiohead, and MANY other bands are trying to use their status as icons to promote some sort of change about the world.  Though I usually don't agree with people using celebrity status to promote politics, it is your right to do so.  With an argument like "They (fans) paid for my swimming pool.  I'm not fucking challenging anybody," you've just made a pretty concrete statement as to why you formed your band.  Money.  News to Oasis, some people are still in music for the love of making music.  Yes, everyone does enjoy money, and I'm sure Radiohead would be included in that, but don't get angry because they've got more of it than you do.  On top of all that, Liam Gallagher, Oasis' frontman declared that the band's next album will be given away for free "over his dead body" back in November.  Point made?  I think so.

The Hold Steady: We've complimented the band in this space, so remember, this is in no way a reflection upon what we think of them as artists.  But seriously, who cares what you have to say, Tad Kubler (THS' guitarist)?  He claims that "I don't get it anymore".  Isn't that the beauty of Radiohead, that if you're expecting more of the same, it won't happen?  I think so, and many would agree.  He continues, "I like them as a rock band, all the buttons and sequencing and stuff like that I really don't care for.  I'm a fan of rock music and what they're doing now I don't think is very good."  Improper sentence structure aside, Kubler proves to us in this statement that he is, in fact, a huge fan of The Bends and Pablo Honey,  and is just sharing his misguided take on them as a band, rather than the genius way in which they do business.  He further adds to the punishment in this space by finishing out this interview proclaiming his love for Oasis and calling their work "ernest" and "honest".  As you can see in the space above this, can't say I agree with you there, Tad.

Silver Jews: David Berman says the least, but has the most damaging words about the new album.  He sums up the record with "...things are miserable, don't try, things suck.  And it's all gray.  There's nothing there."  Tell the millions upon millions who bought that album that there's nothing there.  And, to be honest, I find it difficult to find a point on In Rainbows in which what he says holds true.  He closes with this statement, the inspiration for the title of this article, and part of the reason why his argument fails: "Never before has the greatest band ever had so little to say about anything."  Obviously you weren't listening, Dave.  Plus, points off for you, for hating on the obscurity and inaccessibility of much of what Radiohead says.  Once again, that's part of it, so you fail.

Lily Allen: Ms. Allen calls Radiohead "arrogant" and says, "they've devalued recorded music."  What the hell do you mean by the second part, to start?  Value is not just something monetary, except to you and the rest of the artists being lambasted here, who only see it as such.  I value all of the music I own, regardless of whether it was a purchased CD, or a song passed over from a friend.  When I've made music at various points in the past, the value in it to me as an artist was in the fact that SOMEONE, ANYONE wanted to hear it.  Allen continues her misguided, juvenile rant with "...they've got millions of pounds.  It sends a weird message to younger bands who haven't done as well."  Nail in the coffin, as far as trying to portray herself as NOT about money alone.  The fact that younger bands are so concerned about how much cash is in their pockets is precisely the problem with the current music scene.  The best artists today are the ones that fail to aggressively pursue large contracts, large concerts, and mainstream sounds.  You can make money (see- Radiohead), but it's more respectable if you don't announce to everyone it's the reason you're in the business.

Gene Simmons: Simmons gets off talking about KISS box sets that only 40- and 50-somethings will be buying.  Then proceeds to talk about suing every freckle-faced teen off the earth.  News to Gene: they're not buying your music anyway, so you probably shouldn't be this angry about illegal downloading.  Your overpriced tour, cliche t-shirts, and other ridiculous memorabilia will be enough to sustain you, I'm sure.  He finally gets to Radiohead, claiming (of the "Radiohead business model", "...And that's not a business model that works.  I open a store and say 'come on in, pay whatever you want.' Are you on fucking crack?"  Yes Gene, it would appear that Thom is, in fact on crack, as are the millions who acquired the record, and the band did make a profit off of the album- about $5 per digital download.  This number doesn't seem all that bad, when you consider the number is probably far lower for most albums when illegal downloads are taken into consideration.  The band also released a physical copy, which, by the way, was at the top of the Billboard charts for months.  Gene, sorry, but you, like all of these money grubbers, fail.

What have we learned here?  Radiohead's probably smarter than everybody in the music industry thinks.  These people have no clue what they're talking about.  And to top it all off- many of the artists today are out just to make money.  Great.  

Pre-Screening: Portugal. The Man

Portugal. The Man

Censored Colors

Aproaching AlRbaloons/Equalvision Records

Out: September 16th

Rarely can an album name's significance be realized on the first listen. Censored Colors, however, is the exception to this.

Portugal. The Man's new record is exactly what the title implies. The album lets off a muted feel, one that feels held back by something hidden, muffled by another unseen force. This is not a bad thing though. These "censored colors" still manage to bleed through the black and white nature of the album to reveal bright and bursting landscapes of sound. The songs prove to be a bit calmer than 2007's Church Mouth, but it doesn't lose the art and essence of what the band is, and more so, how it seems to embody the sprawling Alaskan horizon where they hail from.

From the onset, you are treated to an interesting array of organized noise, subtle textures, and introspection. "Lay Me Back Down" provides the perfect mood-setter, and it carries on through to "Colors", as well as "And I"- all will soon be considered staples of the Portugal. The Man library.

As a lengthy record (15 tracks), Censored Colors even has a break of sorts, aptly titled, "Intermission" at track 7. Here, you're set up for the more unconventional sounds of the second portion of the record. Leading off with "New Orleans", you almost get the sense that you, the band, or both are walking down Bourbon Street during a funeral procession. Blaring, soulful, mourning brass power it as one of the longest tracks on the album, but also one of the best, especially from an instrumentation standpoint.

Continuing on, the remainder of the record stays on a line of self-examination which is not usually seen in Portugal. The Man's work. From track 11, "Hard Times" to the finale, "Our Way", the songs blend into one idea, separated like chapters in a book about the regrets, and wishes of a life which may or may not have turned out as desired. The best transition in this stanza exists between my pick for best song on the album- "1989" and "Our Way", which blend together in both sound and purpose- a reflective look on the world within and around the author.

My final thoughts on this one? Excellent. You couldn't ask for much more out of Portugal. The Man on this one, as the band grows naturally within itself, exploring the outer reaches of what their sound can be. Anyone would be hard pressed to find a bad song on Censored Colors, and the more you listen, the more you enjoy its thoughtful approach and artistic sound. This has "Top 10 of 2008" written all over it. For those looking for standouts, they all are, but I'd suggest the aforementioned "1989", "Lay Me Back Down" and "Colors", as the best of the bunch.

Grade: 9/10. Anyone who reads this regularly knows it's hard to get this grade out of me, so if that's not indicative of how good this record is, I'm not sure what is.

Sorry For the Long Delay

Hey to everyone reading.  We're still here, just a lot going on in our lives as of late, so we'll leave it at that to explain the lack of posts.  Not to worry though, we (Heath and I) are returning by the end of this week with some exclusive reviews in our ongoing "Pre-Screening" segment.  Heath will be telling you all about Skeletal Lamping by of Montreal, and I'll be diving into Censored Colors by Portugal. The Man.  I know, all very exciting stuff.  

The "Pre-Screening" feature will probably be continuing on a once a week basis, along with my "Buzz" and Heath's "Track of the Week".  The special project noted at the beginning of the month should also be starting up in the next week or so.  Heath and I plan on talking about our favorite 25 albums, respectively, going from the bottom of the list, up to the top.  Stay tuned, as it's a 50-day project.  Also, a little further down the road, we'll be dedicating all of October 10th to the one year anniversary of the release of In Rainbows by Radiohead.  If you're not a fan, sorry to hear, but that's still all that's going to be happening here on that date.

Track of the week: Radiohead - Fake Plastic Trees

I know what you're thinking: "God, Heath, that song is more than a decade old."

Yes, I know. And that's exactly why it's my track of the week for this week.

"Fake Plastic" was by far the best song on Radiohead's 1995 effort, The Bends. The album may not stand out as the band's best after Thom & Co. have given us some masterpieces (OK Computer, Kid A, In Rainbows), but this song has endured.

It's been featured prominently on the band's current North American tour, getting the fireworks treatment at Lollapalooza and a night at All Points West this weekend. Watch the videos. Be blown away. It's clearly still a crowd favorite, a masterpiece hidden in a flawed album, if flawed only when compared to the band's other work.

It's a soft song at first, delicate and careful with acoustic strumming and Thom Yorke's soothing crooning about a woman living a life she doesn't want, feeling fake. And "it wears her out."

Then the song builds and builds until it finally explodes with full-force guitars as Thom realizes he loves the girl who "looks like the real thing, she tastes like the real thing. My fake plastic love." And you can't help but feel a bit of heartache when the song and Thom go soft again at the end and he pleads: "If I could be who you wanted, If I could be who you wanted, all the time."

Still, after all this time, this song gives me the chills.

Better late than never, they always say.

Fleet Foxes have been one of the most-blogged/talked-about bands of the year. Their debut, self-titled LP that dropped in June was highly anticipated and much hyped. I didn't jump on the bandwagon immediately. I tried to get into them but just couldn't wrap my mind around the harmony-laden indie folk group.

But I gave them another shot this week. And I have a new obsession.

Fleet Foxes is a marvelous record, one of the best of the year so far, with beautiful harmonies complimenting strong melodies on tracks part of what seems to be a thriving new genre: indie folk. (See: Grizzly Bear, My Morning Jacket, Panda Bear, Okkervil River.)

I'm not going to write a huge review for the album since it's been out for more than two months already. But I urge you to check this band out. Even if you listened before and for whatever reason didn't like them, give them another shot. I did. And I can't believe I was missing out on this.

Pre-Screening: Okkervil River

Okkervil River
The Stand Ins
JagJaguwar Records
Out: September 9, 2008

By definition, a stand in is a substitute, but this album, rather acts as a compliment. For those who have heard the band's 2007 release, The Stage Names, this was designed as a continuation of the themes of that album. For the most part, they succeed in establishing continuity, but at the same time, their penchant for making dramatically different music from track to track can get in the way- which is not a bad thing for those who've listened before, but for newcomers to the band, it could be tough to see the relationship on the first few go-arounds. Still, on to the album...

Opening up the album, you can't help but feel you're listening to a different band. "The Stand Ins, One" is an instrumental track (the first of three on here), a new element for Okkervil, and it sets a tone that flirts with Radiohead and Neutral Milk Hotel at times, but in the most subtle ways of course. Moving along, the already-released first single, "Lost Coastlines" brings you right back to what you left on The Stage Names. Mixing a vibe of 'Unless It's Kicks" (The Stage Names) and "Westfall" (Don't Fall In Love With Everyone You See), this poppy hit makes you want to move, and of course, sing along. For five and a half minutes, this one displays some catchy pop sensibilities, and also throws in some plagirism with a foray into "Heart's On Fire" by John Cafferty, from the Rocky IV soundtrack.

The middle portion of the albums gives us the usual mix of high and low on any Okkervil album. "Singer Songwriter" treads the line, while the already-heard "Starry Stairs" grinds the album to a screeching halt. I personally don't like its inclusion, since many fans have the track from Itunes [ see (Shannon Wilsey on the) Starry Stairs], but that's just my own conviction. "Blue Tulips" is a direct substitute for "A Girl in Port" (TSN)- a nice, lengthy ballad- then the section of the album is brought to a close with the second instrumental.

The album's final five tracks seem to close the book on the emotions from the two records. Stand outs (no pun intended) here include "Pop Lie" and "Calling and Not Calling My Ex". Frontman Will Sheff frequently criticizes pop, and bands who purposefully write radio hits, and entertainingly enough, "Pop Lie" could be seen as just that- if it weren't for the superior orchestration and design of Okkervil River that is.

So what are my thoughts on this one? Since I've provided a good amount of mixed messages throughout the review, as always.

Okkervil River does on this album what they do best- make good indie rock, and provide enough brass to make it sound a little more intelligent. They succeeded in making two good albums in as many years, but didn't need to try to push the incorporation of the two, when I could just as easily have seen the two as seperate entities. Plus, like I said, the inclusion of "Starry Stairs" annoyed me, but I can see why it would happen, since the albums are incorporated. My question to the band: Where's "Love to a Monster"? One of my favorite Okkervil River tracks, this one was released as an emusic-only bonus, and seems to fit in with the mood they're attempting to establish on both records. I suggest this one if you're already a listener. If not, I'd go check out their best work- 2005's Black Sheep Boy, before checking out this two-release effort. Also an ideal band to listen to if you're feeling nostalgic for NMH, whose similarities are stark and continual.

Grade: 7.5/10. This could change with time, but for right now, I think it's a fair evaluation.

Lost Coastlines - Okkervil River

If the Imeem track isn't working, chances are "Lost Coastlines" will be up soon on their Last.FM.

*Note: Other commentary, outside of reviews will be seen as separate entries from now on. So, that means stay tuned during the week for features such as my "Buzz" addition and Heath's "Track of the Week", among others.

Ch-Ch-Ch-Changes...

No, we haven't forgotten the website. As is the case with many small business ventures though, things happen that are not necessarily in the plan, and it's up to us to work with those happenings to find success anyway.

We're undergoing a format change- to be completed by the end of the month. To any that were following the old schedule, it's no longer valid, but still feel free to check up on us during the week, because people will still be posting. Right now, we're thinking up some ways to change the blog, to make it more suitable to a larger audience. I've already got one project in mind that I think people will enjoy, but I'd also like some feedback, if possible.

What do you like/not like about this space? It can be anything no matter how large or small. I'll take it into consideration while re-evaluating what we do here and how we do it, in the coming weeks.

Thanks, and keep reading!

-John, Editor in Chief

New of Montreal - "Id Engager"

The ever-so-happy psychedelic pop rockers are at it again. Last year's effort by of Montreal, Hissing Fauna, Are You The Destroyer?, was one of the best records of the year. The bass line of "Gronlandic Edit" and the craziness of "Heimdalsgate Like a Promethean Curse" were looped on my playlist for days.

I was surprised to hear of Montreal had another record set for 2008. As the details started pouring in -- Kevin was going to use his alter ego more often, the album would be comprised of tons of tiny different bits, transitioning into each other -- I got excited. Then came the weird album art and, finally, last night came the Skeletal Lamping's first single, "Id Engager."

It's indie pop rock at its finest. Complete with choruses of "ooh"s and "ahh"s. There's some synths, a killer bass line again and, of course, some weird lyrics. ("Ninjas! Prove it! Right?" What?)

Skeletal Lamping should be awesome. It's due out Oct. 7 on Polyvinyl.

Stereogum's got the "Id Engager" mp3 here.