A brand new National song has found it’s way onto the internet, with a particularly special premise for the seasoned slow-burning indie rockers; “Think You Can Wait” is the first song the band has written specifically for a film. Win Win is Tom McCarthy’s latest feature following 2003’s The Station Agent and 2008’s The Visitor (excellent films, I might add), as well as writing credits for Pixar’s Up, and it’s been getting a great reception on the festival circuit, including the currently underway SXSW. Starring Paul Giamatti and Jeffrey Tambor, amongst others, the film follows Mike Flaherty (Giamatti), an attorney, high school wrestling coach, and all-around sad sack, who uncovers a wrestling prodigy, only for the boy’s mother to turn up, from rehab and without a penny, and threaten to dismantle everything.
“Think You Can Wait”, which plays through the credits, is a moving, pensive song that seems to float along as gracefully as we’ve come to expect of the band, on the back of Berninger’s rich baritone and typically understated instrumentation and string arrangements. It’s a song that tucks in nicely between “Lemonworld” and “Runaway”, off their hugely-acclaimed 2010 release High Violet, though as a whole burns more in tune with the mood of 2007’s Boxer. “I’m out of my mind / think you can wait?”, Berninger wonders broodingly in the enigmatic lyrical style that, over the course of five LP’s, has carved itself into its own comfortable, idiomatic niche and as he wallows, “I’m trying / but…
If that headline got you clicking, you either already know what follows or you just want to know what could possibly bring these three popular British artists together. Or you just clicked. Whatever.
Four Tet and Burial have already produced music together with “Moth”, but today, the three announced a new 12″ single with two songs on it, titled “Ego” and “Mirror.” Later tonight, Four Tet premiered the tracks on his radio show on Rinse FM.
The Internet provided, almost immediately, radio rips of the tracks, and they sound much like you would expect. Dark, introspective, but at the same time pretty uptempo. Yorke sings with his typically spaced out, reverberated vocals as Four Tet and Burial combine on the production. “Ego” sounds more in Four Tet’s vein while “Mirror” takes a huge cue from Burial’s album Untrue, using the same rim click backbeats found on “Archangel”. They’re also really good.
At no more than a year older than me, it’s remarkable just how much Sandman Viper Command sound like seasoned vets. Of course they are: they released their first album a few years ago, not long after hitting their 20s, and they’ve spent the last few years touring relentlessly. Now, the Burlington boys with the ridiculous name are finally back with some new music. As good as their first album Everybody See This was, and it was pretty good, “Rough Love” might be better. The first single off their upcoming 7″ of the same name, the track shows the progression of a band that took a step back from school to live, breathe and study music. The Beatles influence is obvious, but it’s the song’s second half that catches my fancy, going from bouncy, riff’d out jaunt to an amplifier exploding blast of Iommi-fied groove.
Listen to it, won’t you?
To coincide with the group’s debut release in North America – and their second overall – we’ve teamed up with the lovely Sargent House and the Richter Collective to offer you a stream of the Wexford trio’s eponymously-named second album.
Touted by none other than me as “a bold step and one that marks them out as one of the few breakout bands in recent years to genuinely justify their own hype,” The Second Album of a Band Called Adebisi Shank builds on the frenetic math rock template of their debut and adds more deeply-textured melodies and Japanese video game music influences to the mix without sacrificing the triumphant sense of chaos that made the first record such a refreshing listen.
I’m 64 years old now, and there just isn’t the same demand for wildlife paintings and woodcuts as there was when I was 25. Income has been scarce and I’ve had some close calls with paying the bills. Many times these past few months have I considered hanging myself in the garage, but I can’t work up the courage, so I sit and paint pathetic, morbid little pictures depicting death and suffering. My daughter thinks I might actually be able to make more money selling those than my wildlife pictures but they are too private for anything like that. They strike me as being a bit too modern, which goes against the principles I’ve always stood for with my paintings. I started painting wildlife scenes because they are essentially timeless; a picture of two ducks swimming in a pond could be set in 1915 or 2013 without being explicitly modern or old. I pledge allegiance to no period in time. The only concession I’ve made to the modern age was hiring someone to make a website advertising my work. My daughter posted the link all over the Internet, and there was a small spike in business for a little while, but eventually things settled back into a rut.
So imagine my surprise when a young man by the name of Chris Brown sent me an email asking me to paint the cover to his new album. I had never heard of him before and immediately…
This is the second of two posts. Read the first one here
Things got a lot heavier on Friday, both musically and alcoholically. Let’s just say that Saturday morning and I didn’t see eye to eye, but boy was it worth it.
Friday was an early-starter, since I was off to Sonic Boom Records to catch an early in store set by the dudes in Pkew Pkew Pkew (Gunshots), who, if you haven’t heard—and I’m betting you haven’t—are a shit-ton of fun. If you couldn’t figure it out based on their name, they take themselves less than seriously, and their sets are shout-y, hand-clapped and tambourine dominated riots. They’re what happens when indie rockers grow up on Rancid, and even though the crowd at Sonic Boom was real young and inexplicably sitting cross-legged, they were as fun as ever. From the hooks of “Asshole Pandemic” (asshole pandemic/why’s that fucking dick gotta be such a cock?) to the stomp of “Friends Don’t Let Friends Move In With Girlfriends”, their short set was a barrage of gang-vocals, synths and guitar(s) turned to eleven. The best part? I liked when Jordan (guitar) and Brodie (Vocals) high-fived with their tambourines. Yay, friendship!
Pkew Pkew Pkew (gunshots) – Asshole Pandemic
The Users’ Top albums of 2010 feature is coming along at a steady pace and is set to begin on Friday (barring any unforeseen issues). In the meantime, our contributing reviewer Deviant has compiled a list of the albums that just barely missed the cut. If you’d like to see albums 100 through 51 as chosen by the users of Sputnik Music click here: 100 – 51
The next order of business is to draw your attention to this post which outlines some criteria concerning your indiviudal user names on the site. If you have a long/excessive/questionable screen name for the site, you may want to take a look at the linked post.
Here’s a list of major new releases for the week of March 15, 2011. Please feel free to request reviews for any of the following albums from staff or contributors.
This is the first of two posts. Look out for another coming soon, featuring reviews of Bombay Bicycle Club, J Mascis (of Dinosaur JR), Protest the Hero and more…
Canadian Music Week, or Canadian Music Fest—honestly, at this point I’m not sure which is which—is a blur for media and musicians alike. For five days, starting last Wednesday and ending tonight, Toronto is taken over. Bars, concert halls and even the prestigious Royal York Fairmont Hotel are held captive by dudes with beards, girls with bad haircuts and eager but demanding publicist types.
This year I decided to take it easier than I have in years past, and rather than blindly stumbling from bar to bar, I decided to pick and choose my spots. For me, Canadian Music Fest started on Thursday with the Wilderness of Manitoba who were, for lack of a better term, fucking awesome.
I’d only been exposed to them through a few videos posted over on the forums, but I liked what I heard. I liked it even more live.
Playing a relatively short 35 minute set, it’s pretty surprising how many sound shifts they went through. They started with cello accompaniment, and brought a lot more ambient sounds than you’ll typically hear in the Toronto folk scene. The drums were pretty overpowering—they were thunderous and crashing, again not something you’ll usually hear in folk. Not just in their first few songs but throughout their set there was a real sense of texture to their music,…
It has recently come to my attention that not only do some of you people have lives outside of Sputnik but that there is an entire new phenomenon in this earth known as “blogging.”
Apparently there are individuals who see fit to condense their thoughts on music into chunks of less than a thousand words (daft, I know) – perhaps with the aid of media devices such as video – and see fit to do so on this strange new “blogging” format. In the spirit of togetherness, I have decided to recognise this trend and compile a list of staff and user blogs. We may even add a blogroll at some point.
Please feel free to link to your blog down below and I’ll do my best to add you to the list. Unless I don’t like you. In which case, futch ya.
Living in the facebook/youtube age of instant celebrity can have its benefits. I was reminded of that today. For today, I have found “Friday,” a music video by teenage recording artist Rebecca Black. There are few words to describe what happens in the following video. This is a song about Friday. Which comes after Thursday. And is followed by Saturday. I won’t try to give you context as to who this is because there is none needed. This braces-heavy video is a ten car pile-up, simultaneously awful and mesmerizing. If you find yourself asking ‘Is this really happening?,’ the answer is yes. It is.
Once you have some context, I highly recommend watching this slightly slowed down version which turns Black’s anthem into comedy gold.
So there I was about to write yet another blog about yet another event that I had attended, when I thought to myself “Davey, you can’t write a full blog about the SoundWave Festival. It would turn out like ‘War & Peace’ and the entire SputnikMusic Blog machine would blow up. Plus, you need to stop talking about YOUR experiences (that’s what lists are for) and give the Sputnik-ites out there what THEY want”.
So last week I ran a poll (you probably missed it) as to what you all want & three main answers stood out: (1) Jonny Craig to give you the MacBook you paid for, (2) Sex & (3) Chan to review the new Aiden album about to be released. Those points seemed irrelevant to my blog, so I took the next three best responses and decided to roll them into this one all-encompassing blog. Ladies & gentlemen, I give you (1) Metal, (2) Huge headlining acts, & (3) A tour around Australia!
Prior to our tour beginning however, a disclaimer must first be aired for legal purposes: SputnikMusic shall take no responsibility for any motion sickness caused by unsteady hand-held cameras used in the making of the following videos. The same goes for deafness caused by varying volume levels, seizures caused by blinking lights, and blindness caused by the brightness of security vests.
Our tour today – just like the SoundWave Festival – starts in the north-eastern city of Brisbane, where it is sunny one…
It’s difficult to get a handle on Frank Turner’s solo career.
He’s released three full-length albums (and is about to release a fourth), but even right after Love, Ire & Song came out, he was a folk hero, an emotional icon with all the requisite traits: honesty, longing, anger, and an acoustic guitar. This was all with good reason. Although his solo career blossomed in the wake of post-hardcore band Million Dead’s demise, he was more than your typical ideological punk singer turned folk artist right from the start. His songs didn’t feel like acoustic versions of Million Dead songs, and even when he recorded the occasional cover of a Million Dead song, such as “Smiling At Strangers On Trains,” he was able to turn them into completely different works. He was so good that many of the people who started listening to him after Love, Ire & Song didn’t even realize that he was the same skinny kid from Million Dead.
However, his endeavors as of late haven’t received the acclaim that his earlier works did. Most recently, his Rock & Roll EP received criticism and even whispers that Turner was running out of ideas and becoming lazy with his songwriting. Judging the EP critically is difficult because it’s hard to tell whether he really was trying his hardest or if the songs were written with the sole intent of serving the theme of “rock ‘n’ roll.” The latter would seem to be the case, judging by the aesthetics…
Apart from the day itself being one almighty rock, punk & metal-fest that never fails to please, another great aspect of Australia’s SoundWave Festival are the related sideshows which take place. These shows (which have come to be known as Sidewaves) often see 3-4 bands from the festival placed together on the one bill. As you can imagine, they are exceptional value for money, as well as being an effective way to solve clashes on the day. Examples of Sidewaves this year were (a) Social Distortion, Gaslight Anthem & Feeder, (b) Rob Zombie, Murderdolls, Monster Magnet & Dommin, (c) Sum 41, The Blackout, There For Tomorrow & Veara, (d) Pennywise, Millencolin & The Mad Caddies, and (e) Stone Sour, Coheed and Cambria, Sevendust & 36 Crazyfists. The Sidewave I chose to stroll along to however was the “can’t miss” trio of Anberlin, The Starting Line & Bayside.
Having previously seen them live a couple of times, I already knew that NYC’s Bayside were one of the best live bands going around. It only hit me on this night however, that they are also one of the few bands who sound great right from the get-go. They either sound-check all day or are just that damn good. Kicking off with energetic new track ‘Already Gone’, the ‘Killing Time’ opener felt like it had been on their live set for the past decade, with the way in which the audience were singing along even if they had barely heard the song before.…
Believer fans should always expect the band to constantly push ahead and deliver something challenging. This is, after all, the band that mixed technical thrash with violins and an opera singer on their 1993 release, Dimensions. They’re also the ones that came back after sixteen years of silence and immediately pushed their sound in a new quirky prog direction on Gabriel without abandoning their thrash roots. If “G.U.T.” is any indication of what Believer’s upcoming album, Transhuman, is going to sound like, though, it appears that their most challenging album is still ahead.