I have to admit that I’m a bit worried by these song samples. Despite everything I’ve read, this album just sounds like it’s going to be very dull. With the exception of “The Termination Proclamation” and the title track, every song felt like something from Dead Heart in a Dead World (an album that I’m not a huge fan of). Worse, it sounded more tame and generic than that album did. You’d have to go all the way back to their debut to find something as lifeless. I hope I’m wrong because 30 second samples definitely aren’t the whole story, but this has definitely dampened my enthusiasm for this release.
Generally, music does not make me want to go out and do things. I guess there is a large demographic that becomes motivated by music, but I’m certainly not a part of it. I hear a lot of people – wait, let’s be honest here; I read a lot of comments from people online – talking about how they’ll listen to music to pump them up before they hit the field to play a football game or something. When I get done scoffing at the fact that someone on a music forum is pretending to be manly beyond having the ability to grow some kind of creepy neckbeard, I get to thinking. I mean, if I wanted to pump myself up about getting my frail, super indie body crushed under a pile of sweaty jocks, I’m pretty sure I would just put on some show-tunes and get my ass down to the Drama Department where I so obviously belong in the first place.
home sweet home
But seriously, listening to, say, a Pantera song to pump me up for a certain event would just make me want to…listen to more Pantera. It reminds me of when I was still in high school. I never actually was in the Drama Department, by the way. It was a good thing because I was never labeled as a homo because I liked to wear tights on stage in front…
Here at sputnikmusic.com, we have a whole crap-load of users who have yet to write a review. It’s not necessarily in my job description as a staff writer to notice things like that, but then again it’s not my job to stare at the leggy photographs in the liner notes for Joanna Newsom’s Have One On Me for hours on end either, which is what my day generally consists of. Some of these users are fairly established, with a few hundred comments or so. It’s clear they’ve read plenty of reviews and would theoretically be able to accurately reconstruct one of them in their own unique voice, so why haven’t they? And then it hit me:
I haven’t written a how-to guide yet.
this guy looks familiar
I have been on this site for far too long now. I won’t say how long exactly but I will hint that it may or may not be more than four years. As such, I’ve watched reviewing trends come and go out of style like all those articles of clothing in the American Apparel ads (or maybe they’re cool because they’re out of style? Are they post-out of style?? What sort of man wears a scarf in the summer anyway?). Back when I first joined the site, people were still writing track-by-track reviews and at that point I think there were still only 175 or so Pokemon. Things were simpler back then. There was a basic reviewing progression…
There is a curious phenomenon that I’ve only come across a few times in my music listening history. Think about an album that you’ve been listening to for a few years or more, an album so familiar that you wouldn’t be able to begin to count how many times you’ve heard it. Now, think about the last time you listened to that particular album. Did you really listen to it, or did it simply wash over you? I’m not implying that you didn’t enjoy it, but you probably feel like you’ve heard all there is to hear, you’ve felt all there is to feel. The music is well worn and well loved, but you regret that you can’t regain the way you felt when you first heard the album.
Every now and then though, I listen to a song that I’ve heard hundreds of times, only it feels like the first time again. It’s similar to the feeling you get when you put on a record you love but haven’t heard in awhile. Something you grew tired of a few months ago and haven’t thought about until now. That’s a great feeling, but it’s the same as when you jump back into a pool after adult swim is over. The air is cold, the breeze sharp, but the water welcomes you when the whistle blows. Very common. The one I’m describing is much rarer and deeper.
Specifically, I was listening to blink-182’s self-titled album. This is an album that I’ve…
For those of you who haven’t checked out one of Japan’s most endearing songwriters (and why haven’t you??), now is certainly as good a time as any to seek out Shugo Tokumaru who, for this lowly critic’s money, released one of last decade’s strongest pop collections. Shugo is gearing up to release his fourth album, Port Entropy, in Japan on April 21, three years after Exit’s sugar rush. Based on the new video below, we are in for some more indelible, colorful, very foreign folk music. No news yet on release dates around the world, but that shouldn’t stop you from eating up the rest of this man’s discography. It is weird and humble in a very, very good way.
Eyes Set to Kill have always occupied a weird niche that left people a lot of room to dislike (or dismiss) their style of music. It was always too poppy for the metal crowd (and having a female vocalist never helped), but it was always too heavy for the mainstream rock fans (mainly due to the screams). With the release of the band’s first single “All You Ever Knew” from their upcoming album Broken Frames it’s not certain whether or not they’ll be able to break from that niche, but they’re definitely trying. This track is more powerful than anything the band has ever done before. The screams are finally not a hinderance (as they’ve been pretty poor on every other album), and even Alexia Rodriguez has stepped up her vocal performance. Behind them is music that finally has more in common with metal than the pop of the past. Listen and judge for yourself. The album comes out on June 8th through BreakSilence Records.
Read an interview with Alexia Rodriquez about the new single at RevolverMag.com.
I like dogs. I work at an animal hospital, so I’m around them every day. If dogs were music genres this is what they would be. As with previous and all future Chan’s Plans, images are credited to my partner in crime charlesfishowitz, who worked a lot harder on the pictures than I did on the descriptions, and for that I will always be grateful.
Bassett Hound/Shoegaze: Proven to be the most pathetic creatures in existence, Bassett Hounds perpetually look sad and can make you give them whatever they want just by turning those droopy eyes your way. While walking, they always look down at their feet with their nose on the ground, continually sniffing out the most strategic place to piss. Also, they’ve got those big ears to pick up as much reverb and feedback as possible.
bassett hounds are masters of sparkling reverb
Bullmastiff/Doom: Stockier than the horse-like English Mastiff, Bullmastiffs are crushingly powerful, blundering but not stupidly so, and capable of aggression when their master commands. Yesterday, I was dragged down a hill and through some pine trees by a 110-pound specimen named Blue. All I could do was salute him with a \m/.
Boston Terrier/Metalcore: They are intensely cute as puppies, but as they age, numerous health problems arise. As a brachycephalic breed, breathing problems are common and can lead to a general raspy sound emanating from their throats. Over time they become a general…
Sick of it All is a hardcore band out of New York. These guys are about to come up on their 25th anniversary and are planning to release their ninth album, Based on a True Story, on April 20th.
The two tracks that have been released from this album are already proving that the band haven’t lost a step during those 25 years. They still play no-frills hardcore that can kick your ass, and although they’ll probably never surpass their 1992 album, Just Look Around, this one looks to come very close. That’s all the review these songs need – check them out.
One of the last shows of the "political" Protest the Hero era
As puberty set in, Protest the Hero were coming off of a re-release of 2003’s A Calculated Use of Sound, now retrofitted with the one-off anti-war ‘anthem’ “Soft Targets Dig Softer Graves” wedged awkwardly in the middle of its track list. “Soft Targets”, originally released on one of Underground Operations’ Greetings From the Underground samplers, was written and recorded over a year after the release of A Calculated Use of Sound and it showed. Rody wasn’t shouting anymore. His singing voice still wasn’t where it is now but for the first time he wasn’t simply yelling at the top of his lungs. The band had gotten a little heavier and a little more technical, too; there was less focus on Moe’s drumming and a higher emphasis on the guitar trade-offs between Luke and Tim and Arif had taught himself to finger tap on the bass. But the musical evolution evidenced in “Soft Targets” is unimportant to what I want to touch on. What matters is it was the end of Protest the Hero’s political era.
That became clear when they debuted “A Plateful of Our Dead”, then known simply as “Kezia”. In its infancy, performances of the song would always begin with bassist and lyricist Arif Mirabdolwhatever introducing it with the preface, “this is a song about a little girl standing in front of a firing squad”. When the album finally came out,…
First of all, I added a new song to our nifty Track of the Day playlist over there on the right. It’s “Wellington’s Wednesdays” from the new Weakerthans release, Live At The Burton Cummings Theatre. John K. Samson pulls a random kid up from the crowd to play a solo in the middle of the song and he actually does pretty damn good.
Alright, onto pressing matters. Here are some things that you guys need to stop doing:
1. Using the term “concept album” – You wouldn’t call a novel that tells a story a “concept book” would you? No. So why do we automatically throw the hideous term “concept album” onto any record that has themes or tells a story? People are calling the new Titus Andronicus album a concept album for Christ’s sake. Every album has connected themes, every song tells a story. You know why people call vehicle prototypes “concept cars”? Because they haven’t been fucking invented yet.
2. Using the term “pop-punk” – It’s not so much the term itself that bothers me, although it certainly does get on my nerves. It’s the fact that it’s gained such a negative connotation (similar to how people used to use the word “emo” a few years ago) that people automatically hold something referred to as “pop-punk” to a much lower standard, as if something labelled as such can’t be better than a 3 or 3.5. It’s especially annoying that the only thing that sets “pop-punk” albums apart…
Tokyo Police Club have released a free single from their upcoming album Champ. For those of you who care, check out the brief review below.
If Helen was the face that launched a thousand ships, Tokyo Police Club was the band name that launched a legion of equally silly imitators. In the years since their debut, we’ve witnessed the Bombay Bicycle Club, the Two Door Cinema Club, the New Young Pony Club, and even Tom Morello’s Street Sweeper Culture Club. Of course, one could claim that Black Rebel Motorcycle Club started this associative naming trend, but seeing as motorcycle clubs actually exist, I’ll choose to ignore this otherwise salient point.
On to the track. My initial impressions were decidedly mixed — for a song titled “Breakneck Speed”, it’s rather long by Tokyo Police Club standards, and it’s missing some of the frenetic energy (and pounding drumming) that characterized their previous efforts. The first few notes also sound suspiciously like the opening notes to Limp Bizkit’s cover of ‘Mission Impossible’. However, once you stick with the song past :50 seconds, it’s a grower (especially the chorus, in which Dave Monks matches his falsetto with Josh Hook’s guitar).
My final verdict: 3 out of 5. If you don’t like Tokyo Police Club, you probably won’t like this track. However, feel free to voice your objection by ripping off the absurd name and forming a rival ‘club.’
It’s rare enough that I choose to watch a film at all (I’m just not a fan of the medium in general), but lately, my tastes have become alarmingly specific; I’ve been watching operas. More specifically, I’ve been watching the movie adaptations of operas that were briefly prevalent during the later ’70s and mid-’80s – the 1986 version of Verdi’s Otello that stars Placido Domingo in blackface, the 1983 adaptation of the same composer’s Rigoletto that boasts one of Pavarotti’s defining performances, the 1984 version of Bizet’s Carmen with Julia Migenes in the sexually aggressive titular role, the acclaimed 1979 version of Mozart’s Don Giovanni, and so on. Generally, they’re good fun and they’re entertaining enough, and since they’re effectively just music with pictures they’re perfect for someone like me. Yet, one thing is undeniable – they’re not a patch on just listening to the music on its own.
This all ties into something that’s bugged me about opera for some time. Whether you choose to use the term ’snobs’ or ‘traditionalists’, there are a lot of big opera fans that will insist that it’s almost not worth owning an album until you’ve seen the opera performed live; that the music is just one part of a bigger event. On paper, this is completely true – the whole point of opera, in the beginning, was to combine every art form into one spectacle. The composers handled the music, the performers
I wanted the title of my column to be something awesome like Burt’s Bits or Taylor Talk but I have a weird name and “plan” is the only relevant word that rhymes with Chan.
Anyway, the other day I saw Paranormal Activity for the first time. Marketed by many as one of the scariest movies of all time, I was pretty disappointed. However, it did fill my head with a bunch of interesting thoughts, many of them so tangential that I couldn’t remember how I got from Point A to Point F or whatever. Mostly I was distracted by thoughts of how awesome the movie would be if it was told from the demon’s perspective. Imagine you’ve just died and suddenly you’re a badass demon living in hell. You’re psyched, you’re ready to fuck shit up. You get a message from the Colonel of the Demonic Legion saying that he wishes to speak with you. You’re excited as hell. You start mentally preparing for Armageddon. When you reach his office, he gives you your first assignment: squat in the house of a young engaged couple and scare the living shit out of them, with the eventual goal of possessing one of them or killing them both. Sounds good, right? But then he gives you some limitations. You can’t just go in there and pinch their grape heads in your claws. You’ve got to have finesse. You’ve got to…make only one scary noise a night and then spend the rest of…