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Jamaica is Nowhere Near Europe, Right?
Okay, I'm all for supporting rappers when they want to take on roles in Hollywood. Sure, their new jobs might screw with the quality of work on the musical front (helloooooo, Common, Universal Mind Control was only a 3.7/10 in my book). If it's part of your lifelong childhood dream, though, go for it. See if I care.
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I have more of a problem with actors wanting to be rappers. Exhibit A: British actor Idris Elba, most known for his roles in The Wire, The Office and Obsessed has transformed into a Jamaican-jiving King Driis. Upon first listen, I'm a bit unsure about how I feel about this. While I want to tell him to throw back on a button-down, his swagger is somewhat sultry to my ears.
KING DRIIS - HOLD ON from Pricefilms on Vimeo.
However, he can never trump Tom Hanks' rapping debut.
In-Turned Glasses: Two Door Cinema Club at Bowery Ballroom, May 12th
My semester finally ended, so I have a little over two weeks before I take two classes over the summer (one leading me overseas to London for five weeks, and I intend on having Rick Astley Rickroll me at least once while I’m there). As a result of temporary freedom, I finally have time to write new material that doesn’t regard lackluster coverage on environmental issues or corrupt journalists.
I have a lot of unfinished material that I’ve been keeping hold of until I had time to release it. Before finishing any of that, though, I went to a show on Wednesday. I’ve been looking forward to seeing Two Door Cinema Club since Brooklyn Vegan announced their gig at Bowert Ballroom on May 12th a few months ago. Their material from their debut release Tourist History has been on my iPod since I first stumbled upon them on Hypem, and their tunes have been my motivation to get my arse to the gym. But, I had a feeling I was going to be let down slightly.
Here was my main issue with their set. I understand that it was their very first tour, so their set wasn’t going to be a two-hour affair like the Patti Smith gig I went to at Bowery in December. The boys rocked out enthusiastically and were as lively as the Irish should be. However, like the problem that I had with The Killers when I saw them five years ago, TDCC had an extremely bland set list. Every song on the album was played, along with two other songs not on the record. 75% of the audience has heard of the “unknown” songs, Hands Off My Cash and Kids. There were no real surprises, and I’m a girl who really doesn’t like predictable shows. Hell, I even predicted the douchey frat boys being let loose from their Axe-smelling cages and wrecking havoc behind me (one of them, a Troll-ish character, kept smacking my straw hat and stroking my friend’s, a male’s, hair). Come on, I know you boys have covers of Poker Face and Phoenix’s Lasso. Couldn’t you have thrown that in for my sake? If I see them play at Webster Hall in the fall, I’m hoping at least one of those covers is included.
The fact that the uber-ginger lead singer, Alex Trimble, resembled an adult version of my cousin also made me feel slightly uncomfortable.
A Better Version of Party In The U.S.A. With Bigger Words Galore!
On one of my rare nights off, I got to catch up on my blogs, when I stumbled upon this gem from this Tumblr. It's definitely worth a read.
"The tires of the landing gear hit tarmac with a jolt and squeal. The girl wakes up from a fitful sleep. This is it: LAX. Stepping out of the airplane into the open smog, the sunny air beating down on her, the girl wonders if she is still dreaming. She’s not that far from everyone she left behind in Nahsville, but feels further than she ever thought she could possibly ever be.
In a cab: driving past the Hollywood sign, the capitol records building, Mann’s Chinese. The beauty of the rich and powerful, the pathos of the lost and destitute present themselves across her eyes like a macabre film strip as the taxi continues it’s journey.
The girl’s pulse quickens. She feels incredibly trapped and overpowered. Will this work out? Has she done the right thing by making this move? There is nothing but potential success and failure and it all starts right here. She could cut her losses and buy a plane ticket back to Nashville tomorrow. No harm done. She’d just have to go home and tell everyone that she couldn’t hack it, the pressure was too much for her.
Her thoughts become cyclical and she can’t deal. She needs to get out of the cab, run away, but to where? Why did she leave her old life behind? How could she be such a stupid idiot to think she could deal with an entirely new way to exist in the world?
There is a click from the front seat and the cab’s radio starts playing. Jay-Z.
The girl is no longer in the cab but above it. She speeds across the sky an infinite number of miles-per-hour. In her mind, or maybe in reality (who knows and is it important?) she sees the entire city sprawled out in front of her. Butterflies fly away. She’s back in the cab. She’s nodding her head. Her hips jiggle slightly in her seat. For three and a half minutes, she is everywhere and nowhere. She thinks to herself that whatever the outcome of this new journey, she will be OK.
Later. A Club. A Party. Her first one in this new city. All eyes on the girl. Judgment everywhere. The girl feels ashamed of everything that makes her comfortable, her loose jeans, the chuck taylors she wears with the laces too long. She once again misses her friends, her family, her boyfriend. She remembers Nashville house parties that seem so long ago, before she tried to transform herself into a brand that can be sold, a product that no household can be without. Will anyone ever think that she is the person that she sees herself to be in her mind?
Then the DJ slides the fader on his turntable. The beats start matching to Britney. The girl is 12 again, in her room with her best friend making up a dance routine and lip syncing. She jumps up and down on her bed and uses a hairbrush for a microphone.
All at once she is twelve and she is eighteen. She puts her hands up, nods her head, moves her hips. She dances like she’s not being stared at by everyone and with reckless abandon. She is in her bedroom, she is in the club. She closes her eyes and sees bright colors. She brings her tongue to her lips and tastes her peach-flavored lip gloss. Her arms wrap around her body, hugging herself. She knows she’ll survive this change in her life. She will be strong. She will carry herself through three-and-a-half minutes at a time, with her strength, her memories, her music. She’ll deal. It’s a party in the U.S.A."
Try To Educate A Black Sheep: My Current Obsession Over Two Door Cinema Club
It has been a while since I stumbled upon a really breakthrough band. Nothing really good has been leaking as of late, or perhaps my taste has deteriorated since I am officially over the hill at the tender age of twenty-one. In the past two weeks, however, I have went from casually hearing this band once on Hypem to buying tickets for their stint at Bowery Ballroom in May to streaming their album six times on MySpace in the span of the day. Yes, folks, I have a new obsession, and their name is Two Door Cinema Club.
Singer/lead Ginger Alex Trimble, guitarist Sam Halliday and bassist Kevin Baird are bringing back indie disco all the way from Ireland (I speak like indie disco has existed since the actual age of disco, but this is not the case). Despite the lack of percussions, one can hardly tell with alternative beats coming from a well-programmed Mac. While their first song I heard, “Do You Want It All” is a lot mellower than the rest of their album, it still has that rhythmic pulse that truly brings the song to life. “Something Good Can Work” has the worldly sound that Vampire Weekend adopted on their debut album, while “I Can Talk” turns into this frantic, Hot Chip-esque orgy of noise that somehow meshes extraordinarily well together. Since the MySpace leak, I’ve grown a fond appreciation for “Come Back Home”, “This Is The Life” and “You’re Not Stubborn”. However, my favorite has remained “Undercover Martyn”. It’s a ditty that combines an opening that slightly resembles Foo Fighters’ “Everlong”, Minus the Bear riffs, and castanets. God knows I love the castanet.
Anyway, check these lads out. They’re one of my picks for Big Deals in 2010.
Have You Got Any Soul?
At a panel for the latest VH1 Rock Doc, “Soul Train: The Hippest Trip in America," The Roots’ drummer and spokesman, Questlove, spoke on the current state of the music industry. “The music industry has a big question mark over it,” he said. Questlove went on talking about how nobody knows where the industry is going to go, along with saying that the soul in the industry is quickly diminishing. Along with soul, the heart of music is disappearing, since heart and soul intertwine to make some of the best records in history. Replacing soul music is a parade of generic rockers and pop singers who are mediocre carbon copies of the idols they long to be. This is beyond troubling for current and future musical trends.
Growing up in a household full of Motown and R&B records, I have a good notion of how soul can be incorporated into music. Groups such as The O’Jays and the Four Tops may have inspired the matching outfits of the boy bands in the '90s, but they knew how to tug at one’s heartstrings. With tense vocals and testifying one’s feelings into a three-and-a-half minute time span, they knew how to perfectly sell a song to the masses. Gladys Knight and the Pips also followed a similar formula, except Knight broke through with her gospel soulful voice. Old school Whitney Houston and Mariah Carey also put their hearts on their sleeves, at least in terms of their old material. Using catchy rhythms and their insane vocal range, the ladies exposed the world to how soulful a woman can be. In the earlier part of the 2000s, artists such as Anthony Hamilton, Musiq Soulchild and Sunshine Anderson tried to break through to the mainstream, but all seem to not ear the respect they deserve.
The Billboard charts this week have artists such as Ke$ha, Lady GaGa, Justin Bieber, The Black Eyed Peas, Owl City and Beyonce dominating. While all of these artists appeal to the American population at the moment, they lack the emotion and passion that older artists had. They’re not selling good, relatable music--instead, they are selling a look, a trend, and/or a fabricated lifestyle. Even Whitney and Mariah have sunk into a well of mediocrity. Whitney’s “Million Dollar Bill” is a four-minute tune with a cliché as its basis. Meanwhile, “Obsessed” is one of Mariah’s worst singles to date. No one is obsessed with you nowadays, Ms. Carey.
Despite the most popular artists lacking some heart in their work, more underrated artists are slowly breaking through. Grammy-nominated artist Melanie Fiona may only be gaining recognition lately for her song, “It Kills Me,” but the song has some of the most painfully beautiful vocals as of late on radio. The never-aging Sade is making a comeback after not releasing anything for over the past eight years. “Soldier of Love” is heart wrenching at its finest. Maxwell’s latest album is full of tunes that are throwbacks to great songs of R&B’s past. Heck, even some of Pink’s latest material can be considered soulful. After the disintegration and reintegration of her marriage to Carey Hart, her material has been the strongest it’s been since her debut.
The fact that there are still some great soulful songs on the charts means that the music industry can come back from its emotionally barren state it’s in right now. While the trip and transition back to its heartland may take a long while and a bit of effort (throw Ke$ha back into "The Simple Life" where she belongs!), there is still hope for us who crave it.
ALBUM REVIEW: Nick Jonas and the Administration's 'Who I Am"
PREVIOUSLY POSTED ON WEEKINREWIND.COM
The Jonas Brothers don’t have the best reputation in the music business. Being known ore for their purity rings and excessive projects with Disney, the Brothers Three (Kevin, Joe and Nick) have not earned respect beyond the tweenage set. And even there it's complicated. If you’re thinking that the girls who have breakdowns at their concerts or at their meet and greets actually respect them for their “musical gifts,” you are mistaken. Together, the siblings write songs that are candy for the mind--the combination of cutesy lyrics, bubbly instrumentals and precious faces makes those of the prepubescent nature quickly addicted. When the sugar rush of the ears fades away, however, the Brothers will lose their appeal quickly and will have to find secondary careers. Just as so many boy bands before them.
Baby Jonas, Nick, is well ahead of his two older brothers in terms of landing a new gig. In between touring and filming the mediocrities that are Disney’s “JONAS” and “Camp Rock 2,” Baby Nick recruited a good chunk of Prince’s band in the 1990s, New Power Generation, and created Nick Jonas and the Administration. The end result of their debut album, Who I Am, is surprising. The under-aged star is not half-bad by his lonesome.
From the opening song, “Rose Garden,” through the rest of the 10-song album, Nick and his band take on a soulful sound that most 17-year-old artists do not have. He was quoted as saying that he wanted to model his side project after Bruce Springsteen and the E Street Band, but his sound resembles a purer John Mayer with a slightly higher vocal range rather than The Boss.
There certainly are some rough patches here and there, which is expected from a still-evolving side project. Baby Jonas likes to throw around his falsetto, which can be controlled and smooth (see “State of Emergency”) or absolutely cringe-worthy (see “Tonight”). Baby Jonas also thinks that he can yell like Steven Tyler and succeed. So, it's too bad he falls flat on his ass with his attempt to do so in the opening of “Conspiracy Theory.”
However, what lacks in his vocal control is redeemed in his songwriting. “Olive & An Arrow” is one of the album’s more vulnerable songs, where lines such as “She’s got a heart of gold but/Every now and then/She’ll turn to gray” makes the listener really sympathize with Jonas’ apparent heartache. The tune itself reminds me of John Mayer’s “Come Back to Bed” in terms of sound, but I don’t necessarily mind that. “Stronger (Back on the Ground)” is meant to give a glimpse of how people can help the redemption process more so than anything else, and it doesn’t hurt that a random church choir comes in later on in the song to further punctuate the point. Finally, my personal favorite off the album is “Last Time Around,” which takes on a more southern rock feel. The song has a retro feel to it, the flow of the song is the smoothest off the record, and I don’t even mind the Steven Tyler yelp at the end of the song.
All in all, Nick Jonas’ first attempt at solo stardom turns out to be relatively OK. I imagined that this album was going to be being a huge train wreck, but instead it wound up being a minor car collision. Trust me, this is a good thing. If Baby Jonas continues on with this solo gig of his, I could imagine him being more famous for his singer-songwriter skills than his stint in the Jonas Brothers. Before that happens, though, the preteen girl fans have got to go.
Baby Jonas, Nick, is well ahead of his two older brothers in terms of landing a new gig. In between touring and filming the mediocrities that are Disney’s “JONAS” and “Camp Rock 2,” Baby Nick recruited a good chunk of Prince’s band in the 1990s, New Power Generation, and created Nick Jonas and the Administration. The end result of their debut album, Who I Am, is surprising. The under-aged star is not half-bad by his lonesome.
From the opening song, “Rose Garden,” through the rest of the 10-song album, Nick and his band take on a soulful sound that most 17-year-old artists do not have. He was quoted as saying that he wanted to model his side project after Bruce Springsteen and the E Street Band, but his sound resembles a purer John Mayer with a slightly higher vocal range rather than The Boss.
There certainly are some rough patches here and there, which is expected from a still-evolving side project. Baby Jonas likes to throw around his falsetto, which can be controlled and smooth (see “State of Emergency”) or absolutely cringe-worthy (see “Tonight”). Baby Jonas also thinks that he can yell like Steven Tyler and succeed. So, it's too bad he falls flat on his ass with his attempt to do so in the opening of “Conspiracy Theory.”
However, what lacks in his vocal control is redeemed in his songwriting. “Olive & An Arrow” is one of the album’s more vulnerable songs, where lines such as “She’s got a heart of gold but/Every now and then/She’ll turn to gray” makes the listener really sympathize with Jonas’ apparent heartache. The tune itself reminds me of John Mayer’s “Come Back to Bed” in terms of sound, but I don’t necessarily mind that. “Stronger (Back on the Ground)” is meant to give a glimpse of how people can help the redemption process more so than anything else, and it doesn’t hurt that a random church choir comes in later on in the song to further punctuate the point. Finally, my personal favorite off the album is “Last Time Around,” which takes on a more southern rock feel. The song has a retro feel to it, the flow of the song is the smoothest off the record, and I don’t even mind the Steven Tyler yelp at the end of the song.
All in all, Nick Jonas’ first attempt at solo stardom turns out to be relatively OK. I imagined that this album was going to be being a huge train wreck, but instead it wound up being a minor car collision. Trust me, this is a good thing. If Baby Jonas continues on with this solo gig of his, I could imagine him being more famous for his singer-songwriter skills than his stint in the Jonas Brothers. Before that happens, though, the preteen girl fans have got to go.
Hello, Fyfie, Come to the States!
Not many people in the United States know who the avant-garde pop band Guillemots is. The indie band has done pretty well for themselves overseas. Their 2006 album, "Through The Windowpane," was nominated for a Mercury Music Prize, had some chart success with their singles “Trains to Brazil” and “Get Over It,” toured with Rufus Wainwright and has former Beatle Paul McCartney as a fan. With all of this success under their belt, one would think that they would try their luck in their states.
Instead, only front man Fyfe Dangerfield is making the trip. While his debut album as a solo artist may be hitting America in mid-March, Dangerfield already is being buzzed about. With his retro sound and genuinely sweet lyrics, the man is sure to set many hearts racing and listeners tuned in.
Some of the tracks from Dangerfield’s forthcoming release, "Fly Yellow Moon," have been put up on his MySpace page, so it’s a good opportunity to preview his talent. One of the tracks, “When You Walk In The Room,” has been circulating the Internet for the past few months. This one, in particular, is a personal favorite of mine. From his parched-sounding screech in the first few seconds to the bubbly combination of California-tinged-guitar and vintage piano, it’s a fun love song that will somehow find its way on my Valentine’s Day playlist. Fyfe also knows how to play simply, as in the song “Firebird” and “Don’t Be Shy." He knows how to make beautiful music with an acoustic guitar and heartfelt lyrics. It almost makes you forget that the rest of the instrumentals are taking a hiatus. The switch-up from high energy to mellowness between songs creates a good medium. The 29-year-old’s first single, “She Needs Me,” showcases his talent in a pretty, adult-alternative package.
While the album might be lost in the mix of other, more popular singer-songwriters in America, "Fly Yellow Moon" is worthy of a listen. Fyfe Dangerfield may initially seem safe with his musical decisions, but he does show that he isn’t afraid to have fun and play around with the auto-tune a bit. Trust me, the auto-tune not a bad thing on this record. Also, Dangerfield will be going on a tiny tour to promote the album. If you’re in the New York, Los Angeles, Philadelphia or Austin area between now and mid-March, I highly recommend previewing him at one of his live shows, where it’s a near guarantee that he’ll serenade you into a haze of cheerful lust.
Has Green Day Become The Punkier U2?
There is a reason why I don’t listen to the radio that much. Aside from not having a means of listening most of the time, the few occasions where I do have access leave me disappointed. The pop stations play the worst selection of the Black Eyed Peas and Taylor Swift, the classic rock stations loop the same Led Zeppelin and Pink Floyd songs once every three hours, and I don’t even go near the rap stations. The two selections I listen to, the two that I can tolerate, are my college radio stations (which plays an eclectic mix of indie rock and Irish bagpipes) and New York’s best rock station, 101.9 RXP. While fairly new, RXP has been an above-average replacement for famed K-Rock, and has a great mix of classic and newish rock.
Anyway, I was in the car today in front of suburban haven BJ’s when Green Day’s “She” blared from my car speakers. As probably the least-known single off 1994’s "Dookie," it’s a decent-but-forgettable tune about a feminist girlfriend. Still, hearing “She” was a breath of fresh air from Green Day’s singles from the past five years. I know I’m in the minority for this, but I sort of despised everything that came from "American Idiot" and "21st Century Breakdown." In a sense, Green Day became the punk rock U2 in my head.
If you’re just a casual listener to both Green Day and U2, you’re not going to hear the similarities between the two bands. They also look nothing alike, so they don’t match up visually, either (unless if Green Day lead singer Billie Joe Armstrong adopted Bono’s tinted sunglass look). However, dive a bit deeper and both are taking similar paths.
Let’s begin in 2004. Both Green Day and U2 release “concept” albums, respectively "American Idiot" and "How To Dismantle An Atomic Bomb." While Green Day had a more blatant theme of problems in Americana in songs such as “Jesus in Suburbia” and “Letterbomb,” Bono and company were vaster in topic discussion, ranging from developing countries in “Crumbs From Your Table” to universal harmony in “Love and Peace Or Else” to death in “Sometimes You Can’t Make It On Your Own.” As if either Green Day or U2 didn’t say everything they wanted, both released albums in 2009, "21st Century Breakdown" and "No Line on the Horizon." While "21st Century Breakdown" continued on making rock operas, U2 began introducing characters in "No Line." Both get political and personal, and they make the critics and the audiences go wild. To add to this excitement, both bands collaborated on the benefit single “The Saints Are Coming.” America sure loved that move.
As a personal preference, all of the material that has come out of these albums is bland VH1 fodder. Green Day and U2 had major breakthroughs with their earlier material, and that’s the material that inspire millions and influences musicians to go that extra mile. The albums that both bands have released this decade may be considered masterpieces at this immediate moment for some, but I don’t get it. I doubt that they’ll be considered as influential as time goes on.
Now, I wish that Green Day doesn’t continue on a socially aware path. I realize that they have to mature as time goes on, but they lose their hyperactive hostility that I have grown up with and loved. I’m sure a few other fans feel the way I do, but they’re losing the parts that have made them so great and memorable over these years. Hey, maybe Billie Joe should put on Bono’s sunglasses. He could see the world through his rose-tinted eyes and see that only one front man should take the job as the industry’s voice on social issues.
...Where I Try To Convince Myself Into Liking Stevie Wonder
I’ll be the first to admit that I am not the biggest fan of Stevie Wonder. Perhaps I have grown tired or weary of his Greatest Hits CDs that my father used to play on a weekly basis while growing up, but I can’t listen to any of his singles without slightly cringing. “Superstition” and “Higher Ground” have lost their charm years ago when each were covered by Disney starlet Raven Symone and modern rock legends Red Hot Chili Peppers, respectively. Meanwhile, “Isn’t She Lovely” and “My Cherie Amore” have been butchered too many times on American Idol for me to enjoy them much anymore.
That being said, it’s always a pleasant feeling when I stumble upon one of his lesser-known songs. To recoup after a hardcore Saturday morning gym session, I turned on a modern John Cusack classic, "High Fidelity." Right when the movie faded to the end credits, a song of Wonder’s that I never heard came on before. The song was called “I Believe (When I Fall In Love),” and I felt a very strong emotional connection to it upon immediate contact. What begins with a simple piano-guitar combination builds up to a smooth-but-powerful ballad about falling head over heels and begging for a lover to feel the same. I can appreciate the musical stylings, and I can really relate to the lyrical content. Stevie, I approve.
In lieu of my recent discovery, I compiled a tiny list of underrated Stevie Wonder songs. Hopefully, I can convince others (along with myself) that Wonder really is worthy of the hype that continues to surround him. Because really, “A Ribbon In The Sky” hasn’t convinced me of his talents after all of these years.
1. "Do I Do" Released in 1982, this is one of Wonder’s more well-known songs, due in part to Ja Rule sampling it in his 2001 song “Livin’ It Up.” However, the song only reached #13 on Billboard’s Hot 100. Despite its 10.5-minute length, the song highlights three cool things--Stevie’s gift of rap, a great Dizzy Gillespie trumpet solo, and a rare usage of cowbell in an R&B song.
2. "I Don’t Know Why I Love You" Telling a story of a cheating girlfriend who takes advantage, Wonder sings with raw emotion--he slowly sounds as if he’s breaking down due to the pain she causes him. He brilliantly ends it with a crescendo, then a falsetto scream of agony. His maturity with the content is surprising, especially since he recorded it at age 18. Released as a single in February 1969, the song was unfortunately overshadowed by the more popular B-side, “My Cherie Amour.” The song didn’t die in obscurity, as the Rolling Stones and the Jackson 5 recorded covers of it later on.
3. "Skeletons" This song has a typical '80s feel to it, which might be why it has been forgotten by many, despite winning two Grammys in 1988. Replacing his usual baby grand for a synthesizer spices up the song, which sounds like it could be in "Breakin’ 2: Electric Boogaloo." However, it was featured in a scene in Bruce Willis’ classic "Die Hard"
4. "Summer Soft" Starting off with a simple piano tune, chirping birds and a soft-spoken voice, Wonder is a powerhouse on this one. On the critically acclaimed "Songs In The Key of Life," the song was buried underneath the success of “Sir Duke,” “I Wish” and “As.” However, hardcore Stevie heads consider “Summer Soft” as being one of their favorites off of the album.
This MC Can Kiss Me Anyday
Back in early 2006, electro rapper Uffie released the single "Pop The Glock." Earning rave reviews from both critics and music listeners, Uffie landed a record deal with French label Ed Banger Records. Strangely, she disappeared for a while until just recently. Not only did she finally release a video for "Glock," but also her latest single, "MCs Can Kiss," hit the Internet and took the hipster world by storm.
One word to describe the tune is colorful. The track sounds like a combination of French band Justice and typical 1980s break dancing tracks. Along with that, Uffie has an attitude in her lyrics comparable to M.I.A. However, they are not completely alike, since M.I.A. typically gets very political and very honest. Uffie gets honest, but only when mentioning her rap skills. She states, “I’m an entertainer, not a lyricist." Instead, she's more focused on having a good time. She hollers out to the “freaks that come out at night” and “the ladies who are ready to play” who want to spend their Saturday night dancing until the morning. While the tune ends with a messy saxophone solo, I doubt many listeners will judge the rapper’s lack of instrumental skill. Most people will probably be too absorbed in the fact that the track is absolute fun.
Uffie’s "MCs Can Kiss" may have debuted a little later than most had expected, but the wait was worth it. The track solidifies the longevity of electro pop, and also marks Uffie’s unofficial comeback. Eager listeners are encouraged to pick up her album "Sex, Dreams and Denim Jeans" when it drops in February 2010.
ALBUM REVIEW: Bombay Bicycle Club's "I Had The Blues But I Shook Them Loose"
The British bands we stumble upon, whether it be from radio or Last.fm, often sound eerily similar. Arctic Monkeys sound like a cleaner version of The Libertines; Coldplay is this generation’s U2; and Kaiser Chiefs, Razorlight and Kasabian all fall into the genre of post-pop. Combine all of these sounds together and they would probably create an extremely clean, harmonious sound. Even though the idea of this sounds great, it just proves that all of these bands don’t really stand out from one another. If the majority of bands from overseas don’t do so, are there any acts that break out of the mold? Fortunately, there is hope in a band called Bombay Bicycle Club.
The four former schoolmates from London (Jack Steadman as lead vocals, Jamie MacColl on guitar, Ed Nash on bass, and Suren De Saram on drums) have slowly been receiving recognition since releasing two successful EPs, and they now are ready to go global with their latest album, "I Had The Blues But I Shook Them Loose." Despite the band barely passing the legal drinking age in America, each song suggests a maturity that implies that they have learned a lot during their teachings, mainly in the area of social studies.
From the strong opening instrumental, “Emergency Contraception Blues,” and onwards, the band mostly succeeds in showcasing their strong lyrics and individual, passionate performances. Steadman’s quivery vocals give a deeper angst in each song that wouldn’t exist if the band had another singer. This is most true in “Autumn,” where his vocals match the somewhat painful lyrics about how difficult it is to be honest with those who need to hear the truth. His voice also is good when a songs calls for him to sound somewhat creepy, more specifically in “Dust On The Ground,” where he almost resembles a reincarnated Ian Curtis.
Steadman’s voice probably is the signature of the band, but the other players are just as talented. The slow, dramatic build-up of instrumentals in “Evening/Morning” resemble a slow-motion action scene that turns back into normal speed at the start of MacColl’s first instance of Muse-inspired guitar riffing. Nash’s terrific bass skills are highlighted in the summery-sounding “Always Like This,” while the Strokes-tinged “Magnet” has De Saram working in double-time to beautifully coordinate with MacColl and Nash’s synthesizing.
The one Achilles' heel the Club does have is performing mellower songs. The weakest song on the album, “Ghost,” is simply a bland song. The lyrics are slightly confusing, Steadman seems too timid and nervous, especially when uttering the f-bomb, and the guitar and drums aren’t that impressive. However, one mediocre song out of 12 isn’t so bad for a debut album.
As "I Had the Blues But I Shook them Loose" demonstrates, Bombay Bicycle Club won’t be going anywhere for a while. Currently chosen as one of the best albums of 2009 by Britain’s influential NME, perhaps this next year will let these four U.K. youngsters approach other ground, such as America. One thing is certain, though--the band will not be serving curry on my doorstop anytime soon.
The Modern Recreation of Jazz
As an avid jazz lover who grew up with Miles Davis and John Coltrane, the state of jazz music today makes me a bit disheartened. With New York's only smooth jazz station going under last year, the controversy surrounding Herbie Hancock's win for Best Album at the 2008 Grammys, the Weather Channel reformatting their Local on the 8s soundtrack from smooth jazz to rock, and jazz artists discussing the siege of their genre, less and less people are getting turned onto it as time goes on. While jazz used to have the reputation of pulling directly at heartstrings with heavy use of the brass section (saxophone, trumpet) and instrumentals, now younger people are connecting more with crass hip-hop and empty rock and roll lyrics. All of this bad news makes me think that one of my favorite musical categories is going to end up with a grim future. Is this really going to be the case? If there's a way, how can the music industry draw people back into the world of jazz?
I think the reason why our generation isn't connecting to jazz as much as our parents or grandparents is because, aside from the amount of diverse music we have nowadays, is that we don't really have many jazz artists we can relate to. The youth of today often compare jazz to elevator music, music our parents like to listen to on car rides or the weak pieces we had to play or listen to in high school music classes. For the most part, our exposure to this sort of music has been mediocre at best, so no wonder only a small percentage of people aged 18 to 34 like jazz. In order to draw a more youthful audience to jazz, there needs to be a good representative for the genre. That representative needs to have charisma and talent, and should have the gift to correlate different styles of music with jazz.
The man who best exemplifies all of the above is Brit Jamie Cullum. Releasing his first studio album, Pointless Nostalgia in 2001 and his latest, The Pursuit, this month, Cullum has become the United Kingdom's biggest selling jazz artist of all time. While he often sings updated takes on standard classics, he also likes to sing covers of more modern songs, such as Pharrell Williams' "Frontin'" and Radiohead's "High and Dry". His energetic showmanship, cool demeanor and fashionable style make him relatable to the younger generation, despite the fact that he plays an older style of music.
If it takes a physical change to get ears to listen to jazz, then so. If the artist's music is just as decent as his style of dress, that makes things a lot better. The kids will take anybody who looks good seriously nowadays, though. Luckily an artist such as Cullum, who has both the look and the talent, draws in listeners from both the jazz world and the VH1 crowd. Should more jazz artists cross over as well as he, the jazz industry as a whole would be in a lot less danger from extinction.
Lady Gaga Is LETHAL
Some people are bad for your health. To dwindle that down, some celebrities are lethal, in terms of fierceness and actual physical effects. While some feared getting stabbed by Madonna's cone bras or crushed to death at a Pearl Jam concert, everyone is overlooking one of music's most dynamic artist on the scene today; Lady Gaga. After many sources reporting that photographer A.J. Sokalner died from a heart attack after photographing Gaga at an event in New York City, one has to wonder how else this ferocious diva can affect a seemingly normal, healthy person. Let's investigate.
Firstly, one can become obsessed with Lady Gaga in a very short period of time. From the first or second listen, Lady Gaga's debut album 'The Fame' sticks to listeners. Whether they like to admit it or not, everybody has a soft spot from her. Young girls want to dress up in her high-cut leotards, the gay community religiously follow her after she declared her love for them, and even celebrities such as Miley Cyrus and X Factor judge Cheryl Cole admit their infatuation for her. Celebrity obsession is a dangerous thing, however. What can start out as an innocent admiration (a mild affliction) can turn into intensive, compulsive feelings where one feels he is truly connected to the soul of Lady Gaga. When this goes too far, one can no longer control his thoughts on Lady Gaga, which can drive him to depression or anxiety.
Secondly, Lady Gaga can influence one to do not-so-innocent things. The Gaga is not one to be modest, in terms of dress or conversation. She has openly declared her disdain for pants, calling them 'uncomfortable' and 'not sexy'. Before hitting it big, the singer danced in burlesque clubs to earn a living and ordered tons of cocaine while perfecting her look all day in her apartment. She sings openly about her sexuality in many of her songs, and candidly discusses it during interviews. Since the performer is everywhere nowadays and is a very popular force in pop culture, many young people look up to her. They see the Gaga as socially desirable, so a lot of growing girls want to follow her lifestyle, even though it is not the purest. While the pop singer's goal is not to be a role model, and although she may or may not have as much influence on girls as imagined, girls will follow anything that's cool. That may not be a good sign for parents. The parental figures better take a close look at whether their babies are wearing pants when leaving the house.
Finally, Lady Gaga can cause wildfires with her chest. There is even proof of this, so best beware:
Note: This was cross-posted to my blog for my Online Journalism class. Hope my professor is proud!
Oh, I'm Such A Bore!: An Airborne Toxic Event Review
I haven’t written a real entry in a long while. College and work and personal issues have bombarded me and left me with no real time to contemplate a lot. I’m finally writing again for two reasons:
- I have finally been inspired. Took me long enough, Jeebus.
- Many people have forced me to write again. I’m glad I have a bit of a fan base.
Usually I mention how I feel about shows. I know I’ve definitely been to a few great ones this year. I kid you not; the show I went to last night was absolute madness. It reminded me of why I started to love music in the first place, and why I secretly want to be a front [wo]man in a truly great band.
The main band in this truly triumphant night was The Airborne Toxic Event. Aside from having their one ‘major’ single/video “Sometime Around Midnight” looping on VH1 earlier this year, they’re not really widely known to the public. T.A.T.E. was highlighted in Rolling Stone in 2006 as one of the Top 25 bands on MySpace, and was one of the breakout acts at the CMJ Music Festival in 2006 and 2007. Nowadays they are known for being one of L.A.’s biggest rock acts, and their popularity is starting to become widespread. Their two shows at Webster Hall were sold out, so it’s obvious New York loves them. Luckily, my friend Chaz and I managed to get right up front and center, which will lead to many benefits during the night.
The first opening act, Red Cortez, instantly drew me into their work. Their overall sound reminds me strongly of an Americanized Razorlight with frontman Harley Prectel-Cortez having vocals resembling Arctic Monkeys’ Alex Turner. So, I guess they’re a better version of a lot of British rock bands. Their material is definitely worth checking out, but that wasn’t the most memorable part of their performance. At the end of their set, Harley takes off his All-Access pass and hands it to me, then does a writing gesture on his hand. I assume I was supposed to give him my number? I wouldn’t know. I didn’t have a pen on me, anyway. Flattering, though. I’m glad I’m lead singer material.
The Henry Clay People came on next, and they were just as great as Red Cortez. I knew I heard one of their songs around before, and I just realized this morning that one of their songs was featured on an episode of Gossip Girl. Go figure. They come on stage and they’re probably the nerdiest looking band I’ve seen in a while. However, the men can really rock out in their plaid. While their music was quality, they were really good due to the fact that they were just having a good time on stage. They also did a spectacular cover of Mott the Hoople’s “All The Young Dudes” with Red Cortez. Chaz called that someone would sing that song during the night, so I was amazed that that actually happened. Good taste, men, good taste.
Sometime around 9:15, The Airborne Toxic Event strutted on stage, and their confidence showed both in appearance and performance. The quintet, composed of vocalist Mikel Jollett, guitarist Steven Chen, bassist Noah Harmon, drummer with an impressive ‘stache Daren Taylor, and cutely dressed violinist/tambourinist Anna Bulbrook, had a set list that included all of their songs from their self-titled debut, along with some brand new untitled songs. As if I couldn’t love these guys more, it turned out that T.A.T.E. sounds a lot better live. Jollett’s vocals are extremely rich and unique, which some people may not like. Despite his youngish age (34), he is an old soul who seems to have been through a lot. Harmon’s bass skills are beyond skilled to the point where he could effortlessly play with a violin bow. As the sole female on stage all night, Bulbrook stood out with her ability to effortlessly play the violin while rocking out with the bad boys.
I didn’t think my night would get better than it was, but it did when Jollett sat a foot away from me to play acoustically. Literally, I was at the point where I could touch his guitar without moving my arm. He played two songs, an untitled new joint and “Wishing Well”, which was absolutely beautiful. The rest of their set list was done flawlessly, particularly my favorite song from them, “Papillon”. Their encore set was absolutely sick. They started with “Happiness Is Overrated” and ended with a long edition of “Missy”. However, sandwiched in between the two was a punk classic by the late Jim Carroll, “People Who Died”. Red Cortez and The Harry Clay People joined them on stage for this, and a riot ensued. Heineken and expensive Jameson was sprayed on band mates and into the crowd (I ended up smelling like cheap white trash when I got out of the venue and had to ride the subway back to my apartment) and Jollett jumped on the barricade right in front of me so he could get close to the audience. I’m happy to report that I did get to touch the sexiness that is he. Oh, also, the video is posted below, courtesy of Chaz.
Concerts like this don’t happen too often. Hell, quintessential New York nights like this don’t happen this often. I’m proud to say that I’ve had a true memorable musical night. I highly doubt that never again will I earn a backstage pass without trying or get drenched in expensive liquor for a long while. All that I know for sure is that this topped the night where I moshed with P. Diddy.
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