1. The singer (Rick K., I presume) is inarguably the least endearing and least charismatic frontman in wedding band history. If this group secured a gig on-board a cruise ship – and, make no mistake, that is their tragic fantasy – he would be thrown overboard within first sight of shark-infested waters.
2. While sparkly jackets and headsets might suggest both a sense of humour and an intention to move around, nothing could be further from the truth. Rick and the Allnighters transform one of the all-time classic boogie rock songs into a dirge so dull even the Melvins wouldn’t touch it. Even when they try to be fun, they’re not. In other words, if these guys are all-nighters, then you might want to consider going to bed before 11.
So why watch it then?
Struggle through the introduction and the first few bars of music, and you’ll see why. This may just be the smoking gun argument for gay marriage that nobody can ever deny. Gay marriage = more marriage, and more marriage = more of this guy.
We’re generally encouraged to post new tracks here, but as I haven’t quite given Sunderland four-piece the Futureheads’ fourth record, The Chaos, a proper listen yet, I didn’t really have any relevant options. Then I remembered this supremely unique, supremely awesome Kate Bush cover (listen to the original here), which pretty much launched the band’s career back in 2004. It’s everything a cover should be – fun, tongue-in-cheek with the proper amount of respect, and arguably better than the original. The only shame is that the band still hasn’t come close to topping it six years later.
The Chaos comes out this Tuesday.
Christy Moore once sang: “For all of our languages, we can’t communicate.” A cultured man is Christy, but he never quite reckoned for Eurovision.
To those with the misfortune to have grown up outside Europe, the Eurovision Song Contest must appear like some curious oddity, a routine quirk of a continent in which nude beaches are tolerated, excessive body hair is celebrated and the frustrated majority has reluctantly given up on the task of destroying the French, though not through lack of trying. For Europeans, however, Eurovision is one of those rare cultural events that transcends not just language and territorial boundaries, but generations too. Some countries resolve conflicts with war, diplomacy, or both; Europeans long ago resolved to settle their differences with an annual sing and dance-off. It’s just one of those things.
Musically, too, Eurovision has remained remarkably constant through the years. The break-up of the Eastern Bloc in the early 90s increased two-fold the number of countries entering the contest (as a rule of thumb, a country doesn’t officially exist until its football team has been formally ratified by UEFA; entry to Eurovision is the logical next step, and only then it can think about drawing up a constitution). Far from bringing a diverse range of new styles to the competition, the addition of all these new states has had the effect of freezing Eurovision in time, and the synth-heavy pop-rock that dominated Europe in the mid-nineties remains the contest’s dominant currency. Before, almost…
So tonight was my first night online after going two weeks without the Internet. I discovered that Gary Coleman died and then promptly forgot about that when I found out that Hayley Williams’ boobs had finally shown up online. It is saddening that Gary Coleman will never get the chance to see them.
Anyway, I’ve been waiting for this day for a long time. So long, in fact, that I was beginning to think it would never happen. Hayley Williams seemed unlikely to ever show up nude on the Internet, which is exactly the reason why I assumed she would eventually show up nude on the Internet. But after Riot! was released and Paramore’s popularity spiked with nary a sight of Hayley’s nipples, I began to lose hope. I shouldn’t have worried though; the Internet always comes through for us in the end.
The picture itself is lackluster if we’re being honest. The angle is horrible; it makes her breasts look small(er) because they’re flattened, and what’s up with that lighting? It makes her look as if she’s a tween impersonating Hayley Williams rather than the real deal. Also, her nose is really shiny. And I don’t really like red lipstick.
I’m assuming that there were other nude pictures to choose from, so why did the hacker (if that’s truly what happened) pick that one? Did Hayley offend him or her in some way? Is this picture revenge, not only because it…
May not be fresh content anymore, but sounds like this cannot go unposted. Recorded at his Echoplex gig on the 15th of May, this sick version of Galaxy in Janaki by Flying Lotus will undoubtedly ruin the album version for you. Nevertheless it proves to be yet another reason to check out Cosmogramma for those few poor souls yet to do so.
Admittedly, when I first heard Ys by Joanna Newsom, I was hardly thrilled to say the least. However, Have One On Me has an intangible aura to its three disc, two hour album that borders along a unique blend of folk and classical modern style. Needless to say, now I see Ys and Have One On Me as albums that are nothing short of incredible, and “Soft as Chalk” is a peek at what Newsom and Have One On Me can provide.
First, I’d like to say congratulations to our three newest contributors. Please welcome Jared Ponton (Observer), Eric (SeaAnemone) and Magnus Altkula (Metalstyles).
Here’s a list of major new releases for the week of May 25, 2010. Please feel free to request reviews for any of the following albums from staff or contributors.
Aeon – Path of Fire (Metal Blade Records)
All Time Low – Straight To DVD [Live CD/DVD] (Hopeless Records)
Marc Anthony – Iconos (Sony U.S. Latin)
Beach Fossils – Beach Fossils (Captured Tracks) Black Tusk – Taste the Sin(Relapse) — Adam Thomas
Boom Boom Satellites – To The Loveless (Sony Japan)
The Cure – Disintegration [3-Disc Reissue] (Rhino/Elektra)
Current 93 – Baalstorm, Sing Omega (December 1971) (Coptic Cat)
Disbelief – Heal (Massacre Records)
Enemy of the Sun – Caedium (Massacre Records) Far- At Night We Live(Vagrant Records)– Ryan Flatley
Integrity – The Blackest Curse (Deathwish Inc)
Leela James – My Soul (Stax)
Bettye LaVette – Interpretations: The British Rock Songbook (ANTI-)
Mammutant – Atomizer (Massacre Records) Marina And The Diamonds – The Family Jewels(Atlantic) – Davey Boy
ReVamp – ReVamp (Feat. Ex-After Forever Vocalist) (Nuclear Blast) Rosetta – A Determinism of Morality(TRANSLATION LOSS) – Andrew Hartwig
Shad – TSOL (Black Box Recordings)
Shiv-r – Hold My Hand (Metropolis Records)
Smashing Pumpkins – Teargarden By Kaleidyscope Vol. 1: Songs For A Sailor [Box Set] (Rocket Science)
Those of you who have been keeping up with UK festivals this year will know that one of the headline slots at the UK’s biggest rock festival was given, for some reason, to a lumbering, crippled dinosaur of a band, with their best years over 2 decades behind them and a deeply egotistical, deeply irritating singer seemingly intent on officially becoming the world’s biggest tool guiding them ever further into mediocrity. The festival goers who were duped in parting with around £150 of hard-earned for a ticket have been praying every day and every night that this band – who are still living off the glories of three not-that-good singles from a not-that-good album released in the 1980s – will pull out and allow somebody relevant to take their slot.
Unfortunately, Guns n Roses are still scheduled to play Reading and Leeds.
Out of all of my new musical finds this year, none have captivated me as much as Noumenon. The Chicago area math rockers just released their Big Scary Monsters debut Party Mathematics earlier this month and really there is no more fitting a name for the zany, technical bliss that is Noumenon. The flippantly titled “Algoresrhythm” is an off-kilter bundle of ever shifting melodies that’s tied together by what may be one of the catchiest god damn vocal hooks of 2010. By the way, did I mention that their EP can be downloaded here?
Noumenon – Algoresrhythm
Last week, I posted a review of an album called Fantasy Memorial by a small independent band called Dinosaur Feathers. To put it lightly, the review was not one of my friendliest. In case you don’t remember, or just didn’t read it, I called out Dinosaur Feathers for being incredibly derivative and hollow, using elements from other bands to create something that was supposed to sound sweet and sugary but came off insincere, lacking the honesty necessary to validate the content of Fantasy Memorial, though the exact words I used were something like “Dinosaur Feathers are a bunch of shit-eating Chicken McNuggets.”
round here, we call that a #10 meal
When the band found my review, they weren’t happy, but were interested in doing an interview. I was taken aback at first, but I was intrigued because a band I trashed with abandon was interested in even giving me the time of day. The following interview is the result of a week of emailing and discussion about Fantasy Memorial, what makes good music good, and whether or not Dinosaur Feathers will kill you.
AD: First off, I’d like to thank you guys for this. Not many bands would give the writer of the review I gave Fantasy Memorial the time of day, much less volunteer to do an interview with him. So let’s get down to it: my main argument in my Fantasy Memorial review was that, as you put it, “it resorts to cheap…
Here is a bonus track from Guilty Simpson and Madlib’s collaborative album OJ Simpson. The choruses are Motown soul smoothness, but the verses are subtle and laid back, letting Simpson’s deep, authoritative voice take over.
Guilty Simpson and Madlib – “Friends Only”
Approaching winter down under, it was predictably crisp in Melbourne this past Wednesday night as approximately 700 people waited to enter The Hi-Fi Bar and Ballroom, to see Scottish Alt-Rockers Biffy Clyro strut their stuff. While I know some gig attendees prefer to be surprised with who are supporting the headline act, this night proved why I am exactly the opposite. Unannounced, local post-rock quartet These Hands Could Separate the Sky appeared and proceeded to open up with a 10 minute instrumental. Considering Biffy Clyro’s newfound gain in popularity, the support could not have been more poorly chosen. I am definitely no post-rock expert, so these guys could have been the greatest band of all time for all I knew. However, the fit was bad and the lukewarm response they received proved it.
Following a rather long tuning session of all instruments by 2 roadies, the Scottish trio finally arrived on stage to anything but a lukewarm reaction. Raucous is a more appropriate description as Biffy Clyro tore straight into my #4 song of 2009; ‘That Golden Rule’. Even more energetic and frantic than the studio version, the symphonic finale was barely missed since the guys worked like a well-oiled machine all night to produce a stunning musical accompaniment to Simon Neil’s rapid-fire, pleading howls. For the following hour and a half, one could not help but be extremely impressed by the front man’s ability to pull…
Last week we enjoyed the ghostly pull of Bone Thugs n’ Harmony. This week I wanted to return to the world of grunge and shine some light on an amazing one-hit wonder, Candlebox. Their magnum opus “Far Behind” takes pleasure in stark but simple observations, like rhyming the words “bad” and “sad.” This song appears to be about the difficulties of heroin addiction, but it also might be about the difficulty of making good splatter paintings in an empty room in an abandoned house. Big love goes out to Candlebox randomly including the E7#9 made famous by Jimi Hendrix’s “Foxy Lady” in that bridge at the end of the song.
I didn’t mean to treat you bad
But I did it anyway
And then maybe
Some would say your life was sad
But you lived it anyway
And so maybe
Your friends they stand around they watch you crumble
As you falter down to the ground
And then someday
Your friends they stand beside as you were flying
Oh you were flying oh so high
But then someday people look at you for what they call their own
They watch you suffer
Yeah they hear you calling home
And then some day we could take our time
To brush the leaves aside so you can reach us
But you left me far behind
There’s something so entrancing about the grimy heart of downtown Los Angeles. The old, art deco theaters converted into pawn shops and jewelry exchanges, the frames of the high-rises blocking out any of the remaining evening sunlight, and if you’re anywhere more than a two blocks away from the Staples Center and LA Live how even the fast food restaurants shut down early due to the city’s overall shadiness. In this run down and burnt out shell of a bustling metropolis lies the Mayan Theater. Despite lying in the heart of what is essentially a slum, the Mayan is Los Angeles’ most architecturally stunning venue, featuring hand carved walls and supports that make visitors feel like they’ve stepped into the Temple of Doom, not to mention it also houses the biggest god damn disco ball I have ever seen over its stage. Last night Minus the Bear owned it. Having sold out the 1500 seat venue, they were joined by indie-pop upstarts Young the Giant and bluesy alt-rockers Everest.
Young the Giant started things off. With the crowd still filling in, they played a rather entertaining set full of jangly tunes that came off sounding like a slightly less adventurous version of The Dodos. Once the crowd, an awkward and segregated mix of NPR types and teenage scenesters, warmed up to them they fed off of the audience’s applause, making the final half of their set more lively than the first. Everest on the other hand, while good…
With Chamberlain Waits, one of 2010’s early punk standouts, The Menzingers have garnered comparisons to melodic punk heavyweights The Lawrence Arms and Sink or Swim-era The Gaslight Anthem, and rightfully so, as their sound seems to fall perfectly between the two. “Time Tables” is the stand out off their sophomore album and if there ever was a criteria to writing a fun punk song, they’ve got most of the boxes checked: harsh/melodic vocal trade offs, uptempo riffs, nostalgic/relatable lyrics, and sing-a-long gang vocals come together in what is surely one of the best punk songs 2010 will offer.