I was playing pub trivia earlier this week with some friends, and one of the rounds was “Disney by Decade”. I knew this was coming because the ultra-shitty hostess was playing “A Whole New World” and “Part of Your World” and probably some other songs with “World” in them (perhaps “Two Worlds” was played, but Phil Collins gets a pass from me because it’s better than listening to 3 hours of Lilith Fair music, as is tradition in the hostess’ usual playlist).
Como si dijiera una palabraaaaaaaaaaa!
Anyway, we aced the round (Can you name 3 out of the 5 animated films Disney released in the 1980s? How about the 2 animated films from the 1970s where a lion is depicted as royalty? I can’t remember the other questions because, you know, it’s a bar), simply because the girls on our team know their shit (my contributions rely solely on sports, music, and maybe books; in other words, I would get my ass kicked on Jeopardy! in every direction imaginable).
Speaking of which, fuck this guy:
What the hell is a 'compliance analyst', anyway?
If you don’t recognize him, take a listen to this smarmy asshole. Hunting for the Daily Doubles is brilliant, but only wagering just enough to advance to the next day is a bitch move (in my opinion, you play to win the game).
I bit the bullet and started cleaning my office today. I love being organized, but I hate cleaning. Do I really need to save notebooks and folders from undergrad courses that I’ll never crack open again? Even my graduate studies binder isn’t really connected to what I do today.
I'd show you the pages, but they're kinda sticky…
It was my good buddy’s birthday today, and although he’s in a different province now, we still have a chat every now and then about music past and present. He reminded me of one of our conversations last year, where we were debating about whether or not we were going to go to our 10-year reunion, which quickly segued into talking about the gigs we went to in high school. In 2003, our favorite gig was the immense Summer Sanitarium tour, which was a nu metal delight: Metallica, Limp Bizkit, Linkin Park, Deftones, and Mudvayne.
It’s funny in a way, because Summer Sanitarium 2003 (~$46,000,000) outsold Ozzfest (~$23,000,000) and Lollapalooza (~$14,000,000) combined. Granted, Summer Sanitarium was the only stadium-driven tour that summer (save for Bruce Springsteen & The E-Street Band, who had a small run).
As our conversation progressed, we talked about bands that have aged well from that list (he is an avid Deftones fan) and bands that have fallen off our individual radars a bit (he didn’t believe me that Alien Ant Farm are releasing a new album this…
As is our yearly tradition here, I hope all of you were “Down with the Christmas” this week, no matter what festive holiday you celebrate:
Stream: The Paybacks – “Down with the Christmas” (3:55)
"I have no grievances to air, but I'd like to participate in the Feats of Strength!"
I decided to break this entry down into 3 components: the Jom Expansion Pack (25 albums that missed my Top 25 for whatever reason, mostly because a) they’re good albums that had a lot of playback value for me this year, but paled in comparison to my Top 25, and/or b) I totally missed these albums by a nautical mile and heard them way too late in the year to give them ample consideration for the staff year-end feature), my 5 favorite EPs this year, and then my Top 25 Albums of 2013.
In the Expansion Pack, the albums are in alphabetical order by artist name — if I tried to organize this into a Top 50, it’d be 2016 by the time I’ve figured it out (given my typical output, anyway). When cultivating the Jom Expansion Pack, I tried to not pick albums that already appeared on…
Sporting 13 tracks and clocking in at 75:07, The Red Paintings’ The Revolution is Never Coming, which was mixed on four separate continents (I assume Antarctica was out of the running) by eight different producers (including the late Bryan Carlstrom, who worked with Anthrax, The Offspring, Alice in Chains, Queen, and Social Distortion, among others), is now out via Bird’s Robe Records/MGM Distribution, and will soon be released through The End Records (USA), and Rough Trade (UK/EU) on October 1st.
The group continues to gain notoriety for their extraordinary live show, which typically includes paper and human canvases, costumed stage shows, and other exquisite visual projections in order to facilitate the music to listeners’ auditory and visual senses.
The Revolution is Never Coming features a 35-piece orchestra, a 22-piece choir, and lesser-seen instruments such as the theremin to help propel the quintet’s music even more.
We’ve been very fortunate to work with some absolutely brilliant people, namely our friends at Two Fish Out of Water (whose clients also include Clutch, Henry Rollins, The Jezebels, and Fearless Vampire Killers), to give readers the opportunity to win a free copy of the debut record!
There are three (3) copies of the album up for grabs.
Artwork courtesy of the immensely talented Scott Scheidly, FlounderArt.com
If this artwork looks familiar, it might be because this image was posted to We All Inherit the Moon’s last.fm page in 2008; however, Scheidly commented
A long, long time ago
I can still remember how
The forums used to make me smile
And I knew if he had a chance
Ramsey could showcase his talents
And maybe we’d be jammin’ for a while…
I’m not really sure what bastardizing Don McLean lyrics has to do with anything, but as a friendly reminder, links to Mars Module’s music are located at the very bottom of the post or embedded throughout the feature for your convenience.
When thinking back to when the forums were far more lively than they are today, we’re rewinding by a good 6-7 years.
Knowing what I know now, and given the ability to travel back in time, I’d punch 7-years-ago me so hard in the face to ensure that my life would be more Groundhog Day than Hot Tub Time Machine (although, even if I had to relive the same day over and over again, I’d still somehow manage to screw things up).
Talk to anyone who joined Musician Forums before Sputnikmusic launched in 2005 (anyone with a later join date and tries to tell you what’s up is just a poser who cannot be trusted), and you’ll probably get some decent information along with a lot of hilariously-distorted revisionist history.
However, this entry isn’t entirely dedicated to site history. As wonderful as nostalgia can be in moderation, the thought of reminiscing about a site I’ve frequented for 11+ years makes me want to barf.…
As promised, we want to whet your collective appetite for what the site’s tagging system and band pages will potentially look like (as you know, things are subject to change, but as of now, the owner’s on pace to start rolling this out sometime in Q3!).
Click the images to enlarge.
There is a high probability that the band pages will be re-designed, but this won’t take place until the tagging system is implemented since this will be a unique (and much-welcomed) upgrade to the site.
To give it to you hard and fast (that’s what she said), I’ll briefly (emphasis on briefly) walk you through what the tagging process will look like once it’s implemented.
I was going to use Opeth as an example, but I’m so sick of people trying to change their genres to Folk / Black Metal / Power Metal, so I’ll use another Sputnik darling instead.
1. First things first: here’s what the tagging system will look like (friendly reminder: click the images to enlarge them):
You’ll note that the red tags are basically what the site currently lists as the “Primary / Secondary / Tertiary” genres.
Once the tagging system is implemented, there will be a flurry of activity to get artists the most accurate genre listings. This will be awesome.
Because of basic statistics principles, we’re not worried about bands being mislabeled, because the community as a whole will ensure accuracy over the random…
I’m curious if the musician behind the Trash McSweeney alias dissociates from reality whenever he morphs into his idiosyncratic performer’s role.
Or, from a different point of view, whether or not the McSweeney persona is actually a commune of fragmented, detached personalities it has encountered over its lifespan and subsequently absorbed into some scattered, diffused on-stage character.
An argument could be made that the man behind the Trash figure has a roaring case of dissociative identity disorder to complement his synesthesia. When looking back at all the characters, elaborate stage settings, artistic canvases (human and non-human), and theatrical thematic material The Red Paintings have cultivated and performed with over the years, Trash might just very well be The Hatter from Lewis Carroll’s Alice’s Adventures in Wonderland (or some other vile character from the deepest, darkest recesses of Dr. Seuss’s mind). Oscillating to-and-fro from the aquatic to the extraterrestrial to a Japanese flair with the geisha costumes, and then incorporating elements of all three paradigms on the band’s current tour with Mindless Self Indulgence (later slated to be The Pineapple Thief when they arrive in the UK), there is a palpable bit of madness exhibited here. Look no further than the hundreds (okay, maybe “tens”) of separate Facebook pages the man’s currently operating devoted solely to this record (examples here, here, here, and here — in order, the band’s Facebook page, his personal artist page, the The Revolution is Never…
Right when I start to think the forthcoming album should be renamed to something along the lines of This Record is Never Coming, Trash McSweeney and his merry band continue to release teaser after teaser that The Revolution is Never Coming is actually going to see the light of day sometime in 2013 (as opposed to the heavily-rumored 2010, 2011, and/or 2012 release dates).
Trash may have tone-to-color synesthesia, but just imagine how much I’d have to curb my anticipation if he had triskaidekaphobia.
All kidding aside, I’m looking forward to seeing them on their Chinese Whispers tour in April (the band is currently touring the United States after spending the latter part of 2012 in Europe), and keep your fingers crossed that I’ll be able to have a chat with the band prior to the gig. Their live shows are one-of-a-kind, and while I can’t promise that I’ll be a human canvas (the dude version of Lane Bryant wouldn’t want me to model for them, no matter how much they airbrush the hell out of my pasty ass), I can guarantee you that I’ll be obscenely geeked to watch them perform.
“Rain” is today’s track of the day, but it is the re-recorded version found on the forthcoming The Revolution is Never Coming. Similar to how the band revamped the immensely popular “The Streets Fell Into My Window”, their new “Rain” arrangement is characterized…
Why is Santa’s sack so big? He only comes once a year.
(Much like my review publishing rate in 2012, evidently.)
I think it goes without saying that my musical authority on this site has the approximate utility value of a glass hammer or a chocolate teapot, but I digress. It’s a bit of fun creating these individual year-end lists and collaborating with the staffers on the site’s year-end Best of 2012 list (maybe I can give some prizes away for guessing the staffers’ Top 5 or Top 10 for those interested — let me know if there’s any interest).
2012 was a really strange year for yours truly, with a lot of good and a lot of not-so-good, but I’m thankful that the year happened and I’m looking forward to 2013.
Before diving into my Top 25 of 2012, I want to encourage you to stream the music enclosed with each release if you haven’t already heard the records here. If what’s here piques your interest, then I hope you seek out the albums and support the artists by purchasing their records via whatever method you choose.
I wish you all good luck and good health this holiday season heading into 2013, and I certainly hope that your College Bowl Pick’Em Confidence picks are faring better than mine are currently (thanks for nothing, Fresno State).
All the best, everybody! But first, five runners-up to precede my Top 25 of 2012 list.
In fighting for an open Internet (especially in the face of threats such as SOPA, PIPA, ACTA, and so on), entrepreneurs such as Alexis Ohanian — who once upon a time co-founded reddit and created Breadpig in 2008, an organization he describes as “an uncorporation that deals in delightful geeky wares and helps people helping the world” — have decided to flex their proverbial muscle and do something about such injustices. Upon seeing Lester’s story, Ohanian asserts that individuals around the world have an incredible opportunity to help support artists in the digital realm.
The two men met in April 2012, with Lester participating in a reddit Ask Me Anything around this time to tell his story and shed light on the corruption and tyranny of the record industry as he understood it. Lester’s story served as a catalyst to get him back in the studio to record another album.
With Breadpig, profits are disseminated to individuals and corporations that “make the world less sucky”, and the “uncorporation” spends its time “discovering and promoting fascinating technology, hacks, and ideas from all over the world” that are inspirational and impressive. Lester is now writing a new record, entitled Lester’s Time Has Come in an effort to not only rekindle his faith and trust in others’ vested interest…
Suppose you were knocked unconscious on December 31st, 2011, knowing that this would be the last time you’d see Dick Clark ring in a New Year with you:
RIP, old friend.
… and you went through all of 2012 in a 320+ day Rip Van Winkle-like coma, missing out on all that 2012 would bring with pop music, for good and for ill:
But then you miraculously wake up just to spite the Mayans or something, and decide that you need an eight-minute crash-course on 2012 Pop Music (for whatever reason).
Vancouver-based artist Daniel Kim (Facebook) strives to create such mash-ups every year. The process is supremely labor-intensive, and he provides a brief, engaging overview of his process on his blog, The Gift of OCPD.
The mash-up is available below:
His alphabetical list of inclusions:
1. Adele – “Set Fire To The Rain”
2. Adele – “Skyfall”
3. Alex Clare – “Too Close”
4. Calvin Harris feat. Ne-Yo – “Let’s Go”
5. Carly Rae Jepson – “Call Me Maybe”
6. Cher Lloyd – “Want U Back”
7. Chris Brown – “Don’t Wake Me Up”
8. Chris Brown – “Turn Up The Music”
9. Christina Aguilera – “Your Body”
10. David Guetta feat. Chris Brown & Lil Wayne – “I Can Only Imagine”
11. David Guetta…
Ten quick things about Friday’s The Gaslight Anthem gig at St. Andrews Hall in Detroit, Michigan (if you clicked this just to see the setlist, feel free to skip to the bottom):
1. This was a Gaslight-only gig. The Detroit date was added after the tour kicked off, which saved me a trip to Grand Rapids (they will be playing there on Monday, future dates can be accessed [here]). Initially, it was a bummer that neither supporting act was present, but singer/guitarist Brian Fallon announced that Hot Water Music were playing a gig a few blocks away and that we could get half-off tickets into that venue if we furnished our Gaslight ticket at the door. Plus, as you’ll read later, the Detroit gig was, without question, a one-of-a-kind show, so I wasn’t too devastated that it was just them.
2. Since Handwritten’s release, especially when the band were hitting their TV gigs, I’ve read a lot of mostly-negative opinions about Ian Perkins playing live with the band. Questions like “Is that third guitar REALLY necessary?” and his uncredited addition to the band being deemed “excessive” and “superfluous” could be construed as plausible, but after seeing the band play as a quintet, I was thoroughly impressed by Perkins’ stage presence. Rocking his trademark black flat cap on his scruffy, chiseled-out-of-granite dome, Perkins appeared comfortable and confident, and even allowed himself to express some nervous laughter when Fallon poked fun at his Horrible Crowes counterpart and put the…
Just a few hours ago, Sesame Street’s official YouTube channel posted a video of Cookie Monster spoofing Carly Rae Jepsen’s “Call Me Maybe”.
Weeks ago, I couldn’t tell you a thing about her or that song other than that I’d hear it at least 42 times a night, no thanks to the TouchTunes machine that the bar I work at has.
I’ve heard various rumors about the track (e.g. “The guy she gives her number to is actually gay and she doesn’t realize it” has been my personal favorite so far), but there’s no denying that it has all the required pop sensibilities necessary to be a catchy summer pop hit.
However, what confused me at first is that it was Cookie Monster covering the song. Mercifully, I don’t have kids, so I’m a little out of the loop when it comes to all things en vogue with the kids these days (did Dora ever find Diego?), but didn’t Cookie Monster turn into a dieting aficionado and become the Veggie Monster?
I GOT 99 COOKIES 'CAUSE A BITCH ATE ONE
I never understood that image, anyway. If he became the Veggie Monster, why is there fruit on his table? I digress.
So, despite Jepsen being Canadian, Cookie Monster has, in true American tradition, kicked his diet, serving as the poster monster for embracing childhood obesity.
In New York City’s Grand Central Station, right outside the Grand Central Oyster Bar & Restaurant, the underpass possesses a peculiar charm. At this particular location, four archways of resplendent Guastavino tile provide a unique listening opportunity, especially after midnight, when foot traffic is at its lowest. Stand at one corner of the underpass, and have someone in your traveling party stand at the opposite corner, which is about thirty feet or so away from you. Step so that your face is within inches of the walls and begin whispering. Whisper something, anything, and sit in silence for a few moments. If your compatriot plays along, you’ll hear him/her reply clear as day, as if he/she is standing right next to you.
The so-called whispering gallery (Grand Central Station isn’t unique to having one; it’s just my personal favorite since I don’t foresee me dropping in on St. Paul’s Cathedral in London anytime soon, and the effect at Chicago’s Museum of Science and Industry isn’t as impressive) is a delightful phenomenon. Hearing the whispers seemingly shoot off the walls and traverse the concave ceiling is a haunting, alluring effect, which brings us to our tracks of the day.
We last heard from Digital Daggers in 2010 with their debut EP, Human Emotion. It was an auspicious debut, with soothing, gorgeous instrumentation complemented by mollifying, radiant vocal melodies. Throughout the new record, entitled The Devil Within, multi-layered vocals and effect-laden guitars filter in and out of each channel,…
Can I just skip the token introduction about how we’ve made it another year?
I mean, shit, am I the only one who WASN’T in that fucking New Year’s Eve movie?
If I know our readership (and trust me, with all the reported posts I’ve had to moderate this year and spam I’ve had to clean up, I believe that I do in more ways than I’d care to mention), you couldn’t care less about [these awesome things that happened to me] and [these shitty things that happened to me] and you just want to get right to the list.
The fact that you’re reading this sentence implies that you might actually look at my list before scoffing at it, so it’s with the utmost sincerity that I say, “Thanks!”
Obviously, there’s going to be a lot of “Well, no shit, it’s a Jom list…” picks on here; however, if, by chance, you stumble across an artist you haven’t yet heard, I encourage you to read my ramblings and listen to the stream provided for each record. I’m not promising that you’ll love it, but my goal is for you to have an understanding as to why it made it onto my list.
To conclude, I wish you all the best, with good luck and good health in 2012; at least, until the zombie Mayans come back from the dead to fuck our shit up.