This song greeted my ears one cold(ish) morning this week and made me want to take a break from my love of all things gritty and rainy (England) for some pure, unadulterated sunshine. Which is exactly what that track is. I fell in love with the sunny, Puerto Rican flavored sounds of the original when I saw the brilliant, dance inspiring iPod commercial. It was to my delight when I found out that it was by none other than the good folks over at Wonderwheel - Nickodemus and his buddy Quantic, who has a knack for making world beats for white people. The original is stupidly cheerful enough, but the remix, which kicks off a highly enjoyable 10th anniversary CD drove it home for me.
What inevitably happened was that a bunch of talented musicians were listening to music and smoking far too much weed and came up with the brilliant idea of adding some reggae flavor to the already summery beats and somewhere, in a borough in Brooklyn, this solid remix was born. Blissfully ditching the dubby in favor of classic rocksteady reggae beat good enough to stand alone, Zeb manages to make the tune his own, while still maintaining the unfailingly cheerful vibe as well as commercial appeal. The bright horns get muted a bit, and the song takes on a reggae soul vibe with Latin flavor, kind of like what might happen to Fat Freddy's Drop if they went and took a vacation somewhere in Latin America.
I find it's never just about the song - it's about the whole chain reaction of events that lead up to the song and are triggered by the song. In the case of this remix (and with a little help from the release of the new Femi Kuti record), that dormant love of reggae and world music that usually only surfaces when I have the good fortune of traveling and getting away from the city has reawakened. It reminded me that amidst the routine, humdrum and stresses of everyday life there are little things that make you smile and take you away.
In the spirit of passing the cheer (the holidays are upon us after all) I've just published my first iMix with a bunch of reggae tunes to get you through the gloom - enjoy!!
Have a listen to the Zeb remix of "Mi Swing Es Tropical" here.
Friday, December 12, 2008
Sunday, December 7, 2008
Slumdog Millionaire - Music from and Inspired by. .
So like a good Danny Boyle fan and like most of the people who saw Slumdog Millionaire I fell in love with this film and its soundtrack. Using A.R. Rahman as a composer was a brilliant move; Rahman got to parody the Bollywood format of music that he's so familiar with, and quite successfully explored the gritty and urban in addition to his classical repertoire.
The other touch of brilliance that some seem to be overlooking however, is the use of M.I.A. The use of her breakthrough single "Paper Planes" caused a knee-jerk reaction to immediately dismiss it as Pineapple Express was released.
And that's fair enough - "Paper Planes" has exploded to a cross genre popularity not heard since Gnarls Barkley's "Crazy." That being said the song was used twice - the original, as well as a chilled out funkafied, 70's style DFA remix, which made me pause and and listen to it with new ears, refreshed by the context. Sure the lyrics talk about weed, but they're just as much about livin' in the streets (which, as a Jewish girl from LA, I'm all about) and a level of materialism that can be found in third world countries and likely among the drug dealing population. If you haven't committed "Paper Planes" to memory, you can read the lyrics for yourself here.
The music from Slumdog Millionaire whet my appetite for more urban India meets London influenced sound that's like a late night drunken kebab with curry sauce. So I started listening to M.I.A. again to try and remember why I liked her in the first place despite the lack of gunshots and registers in her other songs. I found surprising satisfaction in some tracks off of the recent Kala with the boisterous, vaguely garage and old school hip hop influenced "XR2," which makes me want to dig out my gold hoops and wreak havoc on a bus somewhere cold and rainy. The other one that just plain makes me feel just a bit cooler than I actually am is "20 Dollar." It's laid back and rhythmic in a way that nods at the blunt smoking hip hop greats, and is actually a rude-girl interpretation of the Pixies' "Where Is My Mind," which goes to show you just how gangsta I actually am.
If this has inspired you to listen to a lot of MIA, you might also be interested in checking out the weirdly wistful remix of "Boyz" by Brazilian remixers The Twelves.
The other touch of brilliance that some seem to be overlooking however, is the use of M.I.A. The use of her breakthrough single "Paper Planes" caused a knee-jerk reaction to immediately dismiss it as Pineapple Express was released.
And that's fair enough - "Paper Planes" has exploded to a cross genre popularity not heard since Gnarls Barkley's "Crazy." That being said the song was used twice - the original, as well as a chilled out funkafied, 70's style DFA remix, which made me pause and and listen to it with new ears, refreshed by the context. Sure the lyrics talk about weed, but they're just as much about livin' in the streets (which, as a Jewish girl from LA, I'm all about) and a level of materialism that can be found in third world countries and likely among the drug dealing population. If you haven't committed "Paper Planes" to memory, you can read the lyrics for yourself here.
The music from Slumdog Millionaire whet my appetite for more urban India meets London influenced sound that's like a late night drunken kebab with curry sauce. So I started listening to M.I.A. again to try and remember why I liked her in the first place despite the lack of gunshots and registers in her other songs. I found surprising satisfaction in some tracks off of the recent Kala with the boisterous, vaguely garage and old school hip hop influenced "XR2," which makes me want to dig out my gold hoops and wreak havoc on a bus somewhere cold and rainy. The other one that just plain makes me feel just a bit cooler than I actually am is "20 Dollar." It's laid back and rhythmic in a way that nods at the blunt smoking hip hop greats, and is actually a rude-girl interpretation of the Pixies' "Where Is My Mind," which goes to show you just how gangsta I actually am.
If this has inspired you to listen to a lot of MIA, you might also be interested in checking out the weirdly wistful remix of "Boyz" by Brazilian remixers The Twelves.
Monday, November 17, 2008
The sound of November
Ok, so this isn't really one of those official "about one song" blogs. This month, all my writing efforts have been swallowed whole by the monster that is NaNoWrimo. For those who don't know, that's National Novel Writing Month. It's an insane literary journey that saps every bit of creative energy from me in an effort to birth 50,000 words that will eventually be known as genius.
So what does that have to do with music? For me, everything. The entire concept for this novel was born out of two very key songs - the Stanton Warriors remix of Gorillaz "Feel Good, Inc.", and the song "Writer's Block," by Just Jack. "Feel Good, Inc." set the plot, and "Writer's Block," set the tone and main character. I'd go into more detail but I'll likely end up making my novel sound better than it actually is.
I know neither of these are especially new, but there's something that can be said for their inspirational qualities, both lyrically and atmospherically. Rather than trying to write about music, I've been trying to write about the initial impression music makes on me, which is a bit less concrete, and in some ways, a bit more fun.
Regardless, there are a couple songs that have worked their way onto my NaNoWriMo playlists, and thus have been making sneak appearances in the novel so here goes.
Florence and the Machine - "Dog Days are Over"
Florence is from Iceland and is fantastic and weird. Or so I've read, but I personally just think she's fantastic in a non druggy Amy Winehouse meet childlike simplicity of White Stripes kind of way.
Little Boots - "Stuck on Repeat"
Her EP has left me drooling for more. She's currently out on Vice's label in the UK and her EP is being released on IAMSAM recordings - when? Not soon enough. She's sexy and alluring in a Goldfrapp kind of way but with a Madonna-y disco glitz.
And finally, I've been listening to a crapload of (surprise) 80's and 90's UK. So yes, a lot of James and Oasis and New Order. But most importantly, in rediscovering the Gorillaz, I've also rediscovered Blur and gained a new found respect for Damon Albarn. He is the definition of prolific with each of his bands venturing into different genres (Blur - rock genius that was sadly overshadowed with the success of the song that will forever be known as "Woohoo!", the Good, Bad, and the Queen - indie rock, Gorillaz - genre bending trip hop, and now Monkey - Chinese opera??) and each retaining his distinct, vaguely atonal and perpetually angst ridden sound.
Hopefully this should be enough to chew on for the rest of the month until I return fortified, and with more coherent, educated sounding rants in the month of December.
So what does that have to do with music? For me, everything. The entire concept for this novel was born out of two very key songs - the Stanton Warriors remix of Gorillaz "Feel Good, Inc.", and the song "Writer's Block," by Just Jack. "Feel Good, Inc." set the plot, and "Writer's Block," set the tone and main character. I'd go into more detail but I'll likely end up making my novel sound better than it actually is.
I know neither of these are especially new, but there's something that can be said for their inspirational qualities, both lyrically and atmospherically. Rather than trying to write about music, I've been trying to write about the initial impression music makes on me, which is a bit less concrete, and in some ways, a bit more fun.
Regardless, there are a couple songs that have worked their way onto my NaNoWriMo playlists, and thus have been making sneak appearances in the novel so here goes.
Florence and the Machine - "Dog Days are Over"
Florence is from Iceland and is fantastic and weird. Or so I've read, but I personally just think she's fantastic in a non druggy Amy Winehouse meet childlike simplicity of White Stripes kind of way.
Little Boots - "Stuck on Repeat"
Her EP has left me drooling for more. She's currently out on Vice's label in the UK and her EP is being released on IAMSAM recordings - when? Not soon enough. She's sexy and alluring in a Goldfrapp kind of way but with a Madonna-y disco glitz.
And finally, I've been listening to a crapload of (surprise) 80's and 90's UK. So yes, a lot of James and Oasis and New Order. But most importantly, in rediscovering the Gorillaz, I've also rediscovered Blur and gained a new found respect for Damon Albarn. He is the definition of prolific with each of his bands venturing into different genres (Blur - rock genius that was sadly overshadowed with the success of the song that will forever be known as "Woohoo!", the Good, Bad, and the Queen - indie rock, Gorillaz - genre bending trip hop, and now Monkey - Chinese opera??) and each retaining his distinct, vaguely atonal and perpetually angst ridden sound.
Hopefully this should be enough to chew on for the rest of the month until I return fortified, and with more coherent, educated sounding rants in the month of December.
Wednesday, October 29, 2008
The Knux - Cappuccino
I want to apologize to hip hop. For someone who claims to love all kinds of music, I haven't give the genre the attention it deserves. If it was one of my unborn children, it would probably sue me for negligence and win. That being said, songs that blow me away and leave me at a loss for description, like "Cappuccino," renew my love of the genre and give me faith in the artists. The Knux are totally genre bending and their orgy of dirty guitar riffs, dirty breaks, and (you guessed it) dirty hip hop make a perfect soundtrack for cruising the streets of LA.
This amalgamation of sounds makes them as much hipster and hip hop; their debut Remind Me In Three Days weaves successfully through different genres over the course of the album, as though given carte blanche to club hop up and down Hollywood Blvd. in the same evening.
But it was "Cappuccino" that really grabbed me, and stands out as one of the strongest tracks on an album full of strong tracks.
Just to be clear - the song is actually, not actually about cappuccino. Or, apparently, mocha. I wish I could say I know what they're talking about, but I don't - quite possibly because I'm not cool enough. My guess is that it's about cocaine, or bitches, or both, as these are prevalent motifs throughout the album. Regardless, laid back beats, overtly sensual rhythmic thrusts, and vocals that sound as though the Knux took a break from blow to toke a joint, are the soundtrack for the larger than life but true to reality Los Angeles of Entourage.
So skip three cappuccinos and spend the money on the album instead - it's well worth it.
Sip on some Cappuccino
This amalgamation of sounds makes them as much hipster and hip hop; their debut Remind Me In Three Days weaves successfully through different genres over the course of the album, as though given carte blanche to club hop up and down Hollywood Blvd. in the same evening.
But it was "Cappuccino" that really grabbed me, and stands out as one of the strongest tracks on an album full of strong tracks.
Just to be clear - the song is actually, not actually about cappuccino. Or, apparently, mocha. I wish I could say I know what they're talking about, but I don't - quite possibly because I'm not cool enough. My guess is that it's about cocaine, or bitches, or both, as these are prevalent motifs throughout the album. Regardless, laid back beats, overtly sensual rhythmic thrusts, and vocals that sound as though the Knux took a break from blow to toke a joint, are the soundtrack for the larger than life but true to reality Los Angeles of Entourage.
So skip three cappuccinos and spend the money on the album instead - it's well worth it.
Sip on some Cappuccino
Tuesday, October 21, 2008
Stanton Warriors - Making Monday Funday
I have to confess that I've recently been ignoring my youth a bit, accepting adulthood a bit too readily, going to dinners and drinks and watching dance acts come to town and sitting back thinking that perhaps I've grown out of that phase in my life.
But that was until I found out the Stanton Warriors were coming to town. And at Monday Night Social which is the antidote to falling into boring adulthood. I fought off my inner lameness demon (who tried to entice me with Gossip Girl and slippers) and found myself headed to Hollywood and wondering how there was still no parking on a Monday night.
Having heard their FabricLive album I had an idea of what to expect from the London duo, and I tend to find dance acts and DJ sets to be more captivating, simply because the audience can get involved with dancing (not always a guarantee at say, a singer-songwriter gig). Others haunted by the demon of lameness sit there with their arms crossed saying things like "who wants to see two guys with laptops?" and "they're not even playing anything." Which is when I get to patiently explain that all the work is done pre-laptop. That the making of a track, choosing the palette, refining the sounds, selecting and hunting for just the right tracks for a set is an artform in itself, as is working with a continuous set of music, which is like a live animal, and getting it to talk to an audience, get them dancing for hours on end, and giving them an excuse to get absolutely mashed on their drug of choice on a Monday. . .Well, to me, that's an art form cleverly disguised as a good time. Sorry there are no guitars.
In addition to killing it playing to a packed house and quilting together a truly awesome set that pulled from early 90s hip hop, to the Gorillaz, to Booka Shade to their own originals, Stanton Warriors happen to be some of my favorite dance artists. The Stanton Warriors weren't my first introduction into the breakbeat world, but they were the ones who taught me that I loved the genre. Putting aside the, minimalism of their house music cousins, the Stanton Warriors are all about glitter and grime keeping things sexy in a dirty, urban style. Favoring booty beats and standards from early 90's hip hop, the boys touch it up with a healthy mix of breaks, crunching percussion, heightened rhythms and duuurty MCs saying all kinds of shameful things.
Their album Stanton Sessions Vol. 3 streets on November 11th in the US.
In the meantime, check them out on MySpace of hear some of their unreleased remixes on Hype Machine.
Catch up on Stanton Sessions Vol. 1 and 2
But that was until I found out the Stanton Warriors were coming to town. And at Monday Night Social which is the antidote to falling into boring adulthood. I fought off my inner lameness demon (who tried to entice me with Gossip Girl and slippers) and found myself headed to Hollywood and wondering how there was still no parking on a Monday night.
Having heard their FabricLive album I had an idea of what to expect from the London duo, and I tend to find dance acts and DJ sets to be more captivating, simply because the audience can get involved with dancing (not always a guarantee at say, a singer-songwriter gig). Others haunted by the demon of lameness sit there with their arms crossed saying things like "who wants to see two guys with laptops?" and "they're not even playing anything." Which is when I get to patiently explain that all the work is done pre-laptop. That the making of a track, choosing the palette, refining the sounds, selecting and hunting for just the right tracks for a set is an artform in itself, as is working with a continuous set of music, which is like a live animal, and getting it to talk to an audience, get them dancing for hours on end, and giving them an excuse to get absolutely mashed on their drug of choice on a Monday. . .Well, to me, that's an art form cleverly disguised as a good time. Sorry there are no guitars.
In addition to killing it playing to a packed house and quilting together a truly awesome set that pulled from early 90s hip hop, to the Gorillaz, to Booka Shade to their own originals, Stanton Warriors happen to be some of my favorite dance artists. The Stanton Warriors weren't my first introduction into the breakbeat world, but they were the ones who taught me that I loved the genre. Putting aside the, minimalism of their house music cousins, the Stanton Warriors are all about glitter and grime keeping things sexy in a dirty, urban style. Favoring booty beats and standards from early 90's hip hop, the boys touch it up with a healthy mix of breaks, crunching percussion, heightened rhythms and duuurty MCs saying all kinds of shameful things.
Their album Stanton Sessions Vol. 3 streets on November 11th in the US.
In the meantime, check them out on MySpace of hear some of their unreleased remixes on Hype Machine.
Catch up on Stanton Sessions Vol. 1 and 2
Monday, October 13, 2008
Kaiser Chiefs' "Love's Not A Competition but I'm Winning (Nelsen Grover Mix)"
Apparently, numerous experiments were done dealing with buttons that, when pushed, will bring the button pusher intense, orgasmic joy. The closest thing I have to this is on my ipod shuffle, which is just about the size of what an intense joy button should be and today allowed me to hit the little back button repeatedly to listen to this remix.
I discovered this bootleg completely by accident, hunting through my iTunes for more Kaiser Chiefs after hearing their new killer, Ronson produced single. The original tune is great, and in my humble opinion, stands out from a slew of forgettable tracks on the sophomore Yours Truly, Angry Mob with an Echo and the Bunnymen feel, and a wistfulness completely uncharacteristic of the rowdy Kaiser Chiefs.
But it is this one hit wonder of a remix from a Dutch, Armani Exchange wearing DJ with 315 friends on MySpace that really caught my attention. He does all my favorite things with this, from choosing an original I like to incorporating a tad bit of nu-wave and keeping in line with the Chiefs' self image.
There's the disco influence that I'm digging, sneaking in there in the beginning, some synths to appeal my neverending lust, and a house beat that could only still be cool in Europe. Sure it gets a little self indulgent towards the end, but when has that ever mattered to someone drunk /high/gyrating against a perfect stranger on the dancefloor? Most importantly (and orgasmically), Grover is not afraid to go with the foolproof house standard of a buildup and a big fat dropping of the beat, which inevitably inspires the Pavlovian response of pumping a fist in the air and jumping around like a maniac. Or just hitting repeat.
Check out the remix and see Nelsen's 315 friends for yourself.
The original should be easy enough to find via the usual routes. . .
I discovered this bootleg completely by accident, hunting through my iTunes for more Kaiser Chiefs after hearing their new killer, Ronson produced single. The original tune is great, and in my humble opinion, stands out from a slew of forgettable tracks on the sophomore Yours Truly, Angry Mob with an Echo and the Bunnymen feel, and a wistfulness completely uncharacteristic of the rowdy Kaiser Chiefs.
But it is this one hit wonder of a remix from a Dutch, Armani Exchange wearing DJ with 315 friends on MySpace that really caught my attention. He does all my favorite things with this, from choosing an original I like to incorporating a tad bit of nu-wave and keeping in line with the Chiefs' self image.
There's the disco influence that I'm digging, sneaking in there in the beginning, some synths to appeal my neverending lust, and a house beat that could only still be cool in Europe. Sure it gets a little self indulgent towards the end, but when has that ever mattered to someone drunk /high/gyrating against a perfect stranger on the dancefloor? Most importantly (and orgasmically), Grover is not afraid to go with the foolproof house standard of a buildup and a big fat dropping of the beat, which inevitably inspires the Pavlovian response of pumping a fist in the air and jumping around like a maniac. Or just hitting repeat.
Check out the remix and see Nelsen's 315 friends for yourself.
The original should be easy enough to find via the usual routes. . .
Friday, October 10, 2008
Nada Surf - the Rediscovery of Emo
I went and saw Nick and Norah's Infinite Playlist tonight - aside from being a very cute movie, it really reminded me of my own (less hip) high school experience and what a part indie rock played in it.
When I left the movie, a crisp fall wind blew leaves into my face, and it was so like every other fall in Los Angeles, I was suddenly overcome with a wave of memories of this time of year. Fall has come to mean concerts, Jewish holidays, concerts missed because of Jewish holidays, and wondering if everyone else's feet were as cold in Converse as mine were. Colder weather is also the perfect time to get back into knit sweaters and weepy music, which go together like beer and pretzels.
Just today, I got sent a Nada Surf CD, which I liked enough to add it to the growing pile in my car; their charmingly poppy lo-fi croonings were the perfect soundtrack to my cold weather memories reverie. It also got me thinking about Nada Surf and wondering why my first encounter with such a 90's band was in 2007.
So I started thinking back to what I was listening to in the mid 90's - the Offspring, Bush, Greenday, Alanis Morrissette (everybody was doing it then - it was like smoking in the 50s). In music, I had discovered yelling before I discovered crying. And then high school happened. Or rather, sophomore year happened - I made a friend who was worlds cooler than me, and who I have to wholeheartedly thank for introducing me to the gentle whine of indie rock and emo. Once I got halfway through college and discovered dance music, I turned my back on indie rock and emo, thinking that I had "graduated". Two years out of college and several music industry jobs later I find myself willing to admit that despite a newfound love of other genres, I still crave that perfect balance of emotion and pop in an indie rock song and now use all my resources to seek it out.
And along comes Nada Surf, giving me a second chance at my youth, or at least my 90's era youth (though they have consistently been putting out albums for the past decade or so). With over 100,000 friends, these guys are definitely in the famous realm, but I like to pretend that they're some little band teetering between obscurity and tastemaking. And they sort of are. Being a distinctly 90's band, their style has the eras earnestness that came about about partially as a result of grunge and partially as an apology for the pretentiousness of the 80's. While the mark of an era may keep them from being the fresh sound of now, the emotion is timeless, the lyrics intelligent, and the jangling melodies hover somewhere between weepy pop and cheery indie for music that makes you fall in love with plaid and emo all over again.
Soundtrack for your snap bracelet.
When I left the movie, a crisp fall wind blew leaves into my face, and it was so like every other fall in Los Angeles, I was suddenly overcome with a wave of memories of this time of year. Fall has come to mean concerts, Jewish holidays, concerts missed because of Jewish holidays, and wondering if everyone else's feet were as cold in Converse as mine were. Colder weather is also the perfect time to get back into knit sweaters and weepy music, which go together like beer and pretzels.
Just today, I got sent a Nada Surf CD, which I liked enough to add it to the growing pile in my car; their charmingly poppy lo-fi croonings were the perfect soundtrack to my cold weather memories reverie. It also got me thinking about Nada Surf and wondering why my first encounter with such a 90's band was in 2007.
So I started thinking back to what I was listening to in the mid 90's - the Offspring, Bush, Greenday, Alanis Morrissette (everybody was doing it then - it was like smoking in the 50s). In music, I had discovered yelling before I discovered crying. And then high school happened. Or rather, sophomore year happened - I made a friend who was worlds cooler than me, and who I have to wholeheartedly thank for introducing me to the gentle whine of indie rock and emo. Once I got halfway through college and discovered dance music, I turned my back on indie rock and emo, thinking that I had "graduated". Two years out of college and several music industry jobs later I find myself willing to admit that despite a newfound love of other genres, I still crave that perfect balance of emotion and pop in an indie rock song and now use all my resources to seek it out.
And along comes Nada Surf, giving me a second chance at my youth, or at least my 90's era youth (though they have consistently been putting out albums for the past decade or so). With over 100,000 friends, these guys are definitely in the famous realm, but I like to pretend that they're some little band teetering between obscurity and tastemaking. And they sort of are. Being a distinctly 90's band, their style has the eras earnestness that came about about partially as a result of grunge and partially as an apology for the pretentiousness of the 80's. While the mark of an era may keep them from being the fresh sound of now, the emotion is timeless, the lyrics intelligent, and the jangling melodies hover somewhere between weepy pop and cheery indie for music that makes you fall in love with plaid and emo all over again.
Soundtrack for your snap bracelet.
Saturday, October 4, 2008
James - the concert
Not being one of James' biggest fans, I had my own expectations of what this band's concert would be like. I hd visions of my Mancunian glory days in the indie clubs, surrounded by clouds of smoke and Northern Brits with bangs made all the more beautiful through a haze of whatever was on special that night and an intense camaraderie heightened by copious amounts of alcohol mixed with loud music.
To my surprise, this was one of the un-hippest crowds I've seen. At just about every concert anyone's ever been to, especially every rock concert, there's always "that guy." The one rocking out harder than anyone there who is convinced that they are the band's biggest fan. He may be wearing the band's t-shirt (still a major concert faux pas - the only exception being the t-shirt of the current artist's former band, showing just how harcore and knowledgeable you really are). He is inevitably thrashing about in a manner that is borderline dangerous, mildly embarrassing to you, but ultimately so honest that you have to admit it's admirable and he is a fan, no matter how awkward you feel. That seems to be the makeup of James' core fanbase.
That being said, "that guy" is usually one of the happiest people at the concert. And that was most definitely the case that evening. I have never seen a crowd that is more appreciative of the artist they're seeing. Everyone had huge grins on their faces, people of all ages were out well past their bedtimes, and everyone was dancing, including my injured self, bouncing up and down enthusiastically in my chair. At the end of the concert, audience members were allowed to dance on-stage, and the earnest happiness in everyone's faces was so touching I might have cried had I not been too busy stupidly grinning.
Energy aside, James is a great band. As it turns out, they're the artist that sings those songs that I'd always heard but never knew who sung them. There's a familiarity to them, partially having to do with the fact that they have elements of the Smiths (emotional, warbly and Mancy), and partially because they have elements of U2 (happier, folkier songs with political tones) but mostly because they don't go off into uncharted waters sticking to melodic rock songs that are comfortable under the pop umbrella. And I love that about them. Much like with food, I think the simplest ingredients make for the best product, and James uses excellent song structure (complete with sing-along choruses), clever lyrics, and universal messages to create pop songs that are accessible to those seeking just that.
Check them out below:
www.myspace.com/jamesisnotaperson
To my surprise, this was one of the un-hippest crowds I've seen. At just about every concert anyone's ever been to, especially every rock concert, there's always "that guy." The one rocking out harder than anyone there who is convinced that they are the band's biggest fan. He may be wearing the band's t-shirt (still a major concert faux pas - the only exception being the t-shirt of the current artist's former band, showing just how harcore and knowledgeable you really are). He is inevitably thrashing about in a manner that is borderline dangerous, mildly embarrassing to you, but ultimately so honest that you have to admit it's admirable and he is a fan, no matter how awkward you feel. That seems to be the makeup of James' core fanbase.
That being said, "that guy" is usually one of the happiest people at the concert. And that was most definitely the case that evening. I have never seen a crowd that is more appreciative of the artist they're seeing. Everyone had huge grins on their faces, people of all ages were out well past their bedtimes, and everyone was dancing, including my injured self, bouncing up and down enthusiastically in my chair. At the end of the concert, audience members were allowed to dance on-stage, and the earnest happiness in everyone's faces was so touching I might have cried had I not been too busy stupidly grinning.
Energy aside, James is a great band. As it turns out, they're the artist that sings those songs that I'd always heard but never knew who sung them. There's a familiarity to them, partially having to do with the fact that they have elements of the Smiths (emotional, warbly and Mancy), and partially because they have elements of U2 (happier, folkier songs with political tones) but mostly because they don't go off into uncharted waters sticking to melodic rock songs that are comfortable under the pop umbrella. And I love that about them. Much like with food, I think the simplest ingredients make for the best product, and James uses excellent song structure (complete with sing-along choruses), clever lyrics, and universal messages to create pop songs that are accessible to those seeking just that.
Check them out below:
www.myspace.com/jamesisnotaperson
Tuesday, September 23, 2008
Chemical Brother's "Midnight Madness"
Holy crap, Manchester 90's are back and better than ever. In what alternate universe would the Verve, Oasis, and the Chemical Brothers ALL have music coming out around the same time? Aside from my obvious bias, I think I objectively love this song (at least as objectively as anyone can love a song).
Rather than release an entirely new album, the Chemical Brothers/Astralwerks decided to boost a little extra life (and perhaps sales) into their new single "Midnight Madness" by bundling it with remasters and exclusives of their best music across the past decade. What I love about this "best of" packaging is that by the time you get to "Midnight Madness", you're thinking "Fuck yeah! Chemical Brothers!!!" which is exactly right, because they're the kind of artist that you can get that enthusiastic about.
Though the band delves into new territory pairing (quite succesfully) with Spank Rock on "Keep My Composure," the duo is unafraid to do the exact same thing that they were doing ten years ago, which makes the single a huge success. Teetering on the edge of deep house,the Chemical Brothers take you on what is undoubtedly meant to be a journey guided by ecstasy (though quite likely the majority of their fans no longer take ecstasy and prefer their music at the gym.)
Pleading synths and stuttering drum machines create a dreamy soundscape that makes you feel all warm and fuzzy, like getting a hug from a neon clad raver. And then instead of punching you in the face with their rapping, rocking dance, the brothers drop a friggin disco beat for a (dare I say it) loved up approach that the children are just picking up on now, though these veterans have been pushing since their Hacienda days.
Rather than release an entirely new album, the Chemical Brothers/Astralwerks decided to boost a little extra life (and perhaps sales) into their new single "Midnight Madness" by bundling it with remasters and exclusives of their best music across the past decade. What I love about this "best of" packaging is that by the time you get to "Midnight Madness", you're thinking "Fuck yeah! Chemical Brothers!!!" which is exactly right, because they're the kind of artist that you can get that enthusiastic about.
Though the band delves into new territory pairing (quite succesfully) with Spank Rock on "Keep My Composure," the duo is unafraid to do the exact same thing that they were doing ten years ago, which makes the single a huge success. Teetering on the edge of deep house,the Chemical Brothers take you on what is undoubtedly meant to be a journey guided by ecstasy (though quite likely the majority of their fans no longer take ecstasy and prefer their music at the gym.)
Pleading synths and stuttering drum machines create a dreamy soundscape that makes you feel all warm and fuzzy, like getting a hug from a neon clad raver. And then instead of punching you in the face with their rapping, rocking dance, the brothers drop a friggin disco beat for a (dare I say it) loved up approach that the children are just picking up on now, though these veterans have been pushing since their Hacienda days.
Wednesday, September 17, 2008
The Kooks - "Tick of Time"
Typically, the acoustic song on the album is not my favorite. Sure, I can appreciate the raw, intimate quality of it, but I tend to be wooed by the grandeur of the finished, produced track. And I certainly am not impressed by coughs (especially not phlegmy ones) and laughing, simply because they make the track feel "real." Except for on "Tick of Time," the last song on the Kook's sophomore album "Konk."
Unlike many acoustic versions found on albums, "Tick of Time" is not a version. It is the actual song, consciously recorded to be a simple and pared down track, which, yes, does allow for intimacy, and in this case, rightly so. I happen to find all the Kooks song intimate and pulling off a charmingly unfinished quality that I find best listened to in the privacy of my car.
What really does it for me with this song is that its form follows it's function - the yearning characteristic of the lyrics are mirrored in ever so slightly raspy voices straining to harmonize with each other. The overall effect is more one of an inner monologue sung out loud than a song meant to be performed, and I that's fine with me.
Unlike many acoustic versions found on albums, "Tick of Time" is not a version. It is the actual song, consciously recorded to be a simple and pared down track, which, yes, does allow for intimacy, and in this case, rightly so. I happen to find all the Kooks song intimate and pulling off a charmingly unfinished quality that I find best listened to in the privacy of my car.
What really does it for me with this song is that its form follows it's function - the yearning characteristic of the lyrics are mirrored in ever so slightly raspy voices straining to harmonize with each other. The overall effect is more one of an inner monologue sung out loud than a song meant to be performed, and I that's fine with me.
Wednesday, September 3, 2008
Friendly Fires' "Friendly Fires"
As a frequent, and almost abusive music listener, I'm constantly looking for an artist to fall in love with, or at least develop a serious crush on. I can honestly say I haven't been this excited about an artist since Lykke Li, and I haven't been this excited about an indie band since Hot Chip, which is saying something. Being well into my singles, it's rare I get into an album, but I liked so many of the songs on Friendly Fires' self-titled debut (XL Recordings) that I thought the whole album earned itself an entry. I was initially grabbed by "Jump In the Pool", their atmospheric but surprisingly energetic single rampant with buoyant percussion (bongos maybe?) They bear many similarities to fellow Brits Bloc Party, the main difference being that Friendly Fires are far more interesting. All their songs are well structured and layered, neatly bound in some meticulous production, which has to be done when you're flaunting disco beats. "Strobe" has that softer sound that might be found in Bloc Parties "Blue Line", but it is tracks like the compact, stuttering "On Board" with its raw vocals and punchy beats that remind me of what excited me about this band. And last but not least, there's "Skeleton Boy". The disco takes a back seat to heartfelt indie rock croonings; though emotive enough to be a ballad "Skeleton Boy" is too textured and jagged and ends up sounding more like a child of the Cure, which is definitely a good thing. The band is on tour with Lykke Li, and most likely about to blow up.
Check them out at their myspace: www.myspace.com/friendlyfires
Or just buy the record, you'll love it.
Check them out at their myspace: www.myspace.com/friendlyfires
Or just buy the record, you'll love it.
Monday, September 1, 2008
Kanye West's "Touch the Sky"
It's funny how a pop song with lyrics like "bottle shaped body like Mrs. Butterworth," can stand the test of time and still make an impact on people three years after its release, but here I am, getting inspired by Kanye. I was at the Nike Human Race last night (not running due to injury), where I saw Kanye performing for the second time (this time with a little help from Common). The last time I saw him (Coachella 06), I remember being underwhelmed, and didn't know whether or not to chalk it up to Kanye or the fact that it was well over a hundred degrees in broad daylight. Maybe it was the fact that it was at night, or that 12,000 audience members had the adrenaline of a 10K run in them, but the concert had a lot more energy. Not having run, it took me a bit longer to get captivated, but what really did it for me was "Touch the Sky."
Purists would say it isn't fair for me to be so moved by a song that so blatantly samples Curtis Mayfield's "Move on Up." Fortunately, I come from a land of remixes and mashups, and thus believe no such thing, and can enjoy what some might call a bastardization. What I love so much about "Move On Up" is it's unfailing cheerfulness which resonates with a sense of resolution. If I had a degree in music, I'd probably be able to attribute it to something technical, but I don't, so I'll just go with the warm fuzzy feeling I get. That feeling might also have to do with the association of "Move On Up" and its numerous placements in key film montages and ending sequences. What Kanye did was capture that happy, resolute vibe with lyrics like "For the day I die, gonna touch the sky." Perhaps not eloquent poetry, but it gets the point across and frankly, it's always the simple messages that touch me most.
I was going to post the video, but I'm not that into it. If you can't find this song on the internet, you must live under a rock, and shouldn't be allowed to play with technology anyways.
Purists would say it isn't fair for me to be so moved by a song that so blatantly samples Curtis Mayfield's "Move on Up." Fortunately, I come from a land of remixes and mashups, and thus believe no such thing, and can enjoy what some might call a bastardization. What I love so much about "Move On Up" is it's unfailing cheerfulness which resonates with a sense of resolution. If I had a degree in music, I'd probably be able to attribute it to something technical, but I don't, so I'll just go with the warm fuzzy feeling I get. That feeling might also have to do with the association of "Move On Up" and its numerous placements in key film montages and ending sequences. What Kanye did was capture that happy, resolute vibe with lyrics like "For the day I die, gonna touch the sky." Perhaps not eloquent poetry, but it gets the point across and frankly, it's always the simple messages that touch me most.
I was going to post the video, but I'm not that into it. If you can't find this song on the internet, you must live under a rock, and shouldn't be allowed to play with technology anyways.
Sunday, August 10, 2008
The Whitest Boy Alive "Golden Cage (Fred Falke Remix)"
When I saw the title of this song in a club playlist, the first thing I thought was "hooray!!" Shoegazing emo + dance music = emotional dance music, i.e. one of my favorite genres, thanks to New Order. One of the many fantastic projects from prolific Scandinavian Erlend Øye, The Whitest Boy Alive's album "Dreams" never ceases to please me. Its quiet, mellow tones and Øye's unmistakeable soothing voice, always make me wonder why I don't listen to as much indie rock as I used to. Until I remember that I traded in my indie rock and it's associated angst for dance music and the resulting endorphins.
Fortunately for me, producers like Fred Falk exist; the Frenchman knows the ins and outs of that genre that lives somewhere between indie rock and dance music, having remixed the likes of Royksopp and Goldfrapp. Now, two years after the release of "Dreams", he's putting his respectful but recognizable stamp on "Golden Cage," handling the original the way a skilled jeweler would placing a vintage stone into a new setting. This single was unsurprisingly released on Modular, a label which, in my humble opinion, is the heartbeat of 2008, the same way that Because was the pulse of 2007.
In the same vein as Cut Copy, Fred Falke's remix is completely in line with the nostalgic, shimmery, sentimental dance sound that signifies a Modular release. A little bit of disco ball pizzazz, as well as 80's synths give "Golden Cage" a sprinkling of fairy dust to make it shiny and new all over again. And thank God.
Because Music did a beautiful thing - they crafted a sound to reach out to the indie rock kids and remind them that dancing was for everyone, not just the tools with glowsticks (sorry ravers). But after a year of screams, found sounds and distorted vocals, I found that I was missing something from my dance music, and that was a bit of heart. And I don't think I was the only one, which is why there is a sudden demand for this sort of music that hearkens back to the 80s, when everyone's favorite indie rock band became their favorite dance band.
You can stare at a golden cage and hear the tune, or just buy the mp3 off of Beatport.
Fortunately for me, producers like Fred Falk exist; the Frenchman knows the ins and outs of that genre that lives somewhere between indie rock and dance music, having remixed the likes of Royksopp and Goldfrapp. Now, two years after the release of "Dreams", he's putting his respectful but recognizable stamp on "Golden Cage," handling the original the way a skilled jeweler would placing a vintage stone into a new setting. This single was unsurprisingly released on Modular, a label which, in my humble opinion, is the heartbeat of 2008, the same way that Because was the pulse of 2007.
In the same vein as Cut Copy, Fred Falke's remix is completely in line with the nostalgic, shimmery, sentimental dance sound that signifies a Modular release. A little bit of disco ball pizzazz, as well as 80's synths give "Golden Cage" a sprinkling of fairy dust to make it shiny and new all over again. And thank God.
Because Music did a beautiful thing - they crafted a sound to reach out to the indie rock kids and remind them that dancing was for everyone, not just the tools with glowsticks (sorry ravers). But after a year of screams, found sounds and distorted vocals, I found that I was missing something from my dance music, and that was a bit of heart. And I don't think I was the only one, which is why there is a sudden demand for this sort of music that hearkens back to the 80s, when everyone's favorite indie rock band became their favorite dance band.
You can stare at a golden cage and hear the tune, or just buy the mp3 off of Beatport.
Wednesday, August 6, 2008
The Duke Spirit's "The Step and the Walk"
This band is so quintessentially cool it's painful. 1) They are from London. 2) Their frontwoman Liela Moss is a)hot and b) sings with an audible British accent. 3) The band met at ART school and 4) they've been extolled in flavor of the month NME magazine.
Of course none of this is a guarantee that their music is any good, but like the nice popular girl you want to hate but just can't, The Duke Spirit is both pretty AND nice, figuratively speaking. All these cool factors really do contribute good things to their music. The accent is a welcome change from the gentrified American tone that so many Brit bands adopt, art + music = good (think how cool Beck is), and despite being a hype machine, NME has a good nose for sniffing out decent indie bands.
Aside from all the cool factors, their music hits the ear in just the right places. Smoky voiced Moss has that Nancy Sinatra coolness and sass, but distortion and dirt brings a bedhead sexiness with a fantastic 70's flair. Mmmm.
Of course none of this is a guarantee that their music is any good, but like the nice popular girl you want to hate but just can't, The Duke Spirit is both pretty AND nice, figuratively speaking. All these cool factors really do contribute good things to their music. The accent is a welcome change from the gentrified American tone that so many Brit bands adopt, art + music = good (think how cool Beck is), and despite being a hype machine, NME has a good nose for sniffing out decent indie bands.
Aside from all the cool factors, their music hits the ear in just the right places. Smoky voiced Moss has that Nancy Sinatra coolness and sass, but distortion and dirt brings a bedhead sexiness with a fantastic 70's flair. Mmmm.
Monday, July 28, 2008
Lykke Li - "Little Bit"
I haven't heard this much sweetness in a song in a long time. Normally, I don't go for music with such girlish emotion, but it has a sweet breathiness that I was instantly charmed by. Maybe because she's Swedish, she can get away with almost embarrassingly romantic music that was created for teens everywhere to lose their virginity to.
The song exposes that oh so relatable new relationship hesitancy and you can't help but be a little touched when she tries to not bare all with the refrain of "I'm only a little bit in love with you."
If you want to fall a lot in love with this song, you can check out MySpace, or buy her EP on iTunes.
The song exposes that oh so relatable new relationship hesitancy and you can't help but be a little touched when she tries to not bare all with the refrain of "I'm only a little bit in love with you."
If you want to fall a lot in love with this song, you can check out MySpace, or buy her EP on iTunes.
Monday, July 21, 2008
Feist's "My Moon My Man (Boys Noize Classic Mix)"
You know the song test. Hear a song. Buy / illegally download the song. Play a song. Listen intently. Repeat. If it starts to get stale and flavorless (much like gum after about an hour), then you appreciate it for what it is and move on.
But what if it doesn't? Those are the ones that you listen to, pick apart, digest, and potentially never listen to again, or don't listen to again until they come up on a playlist, or on the radio, but when you do hear it, it's like being reunited with an old friend where it's never awkward.
That's how I feel every time I hear this remix. I love the original. Feist's breathy voice curling delicately with electric guitar is damn near perfect.
But there's something about the Boys Noize remix that resonates one level beyond where a pop song can, and perhaps it's because of the dance undertones. A German producer best known for his deconstructed sound in the Kitsune / Because music vein, Alexander Rhida he could easily had torn this tune apart. But the gentle way in which he handles the original shows a well deserved respect, and makes for a remix that is refreshingly more about subtlety than an ego stamp.
Rhida smartly decides to leave Leslie Feist's vocals untouched, supplementing them instead with a deep digitized voice that provides a stark contrast to her plaintive whispers. The effect is definitely surreal, bordering on eerie but floats somewhere between pop, dance, chillout and ballad.
Rhida never loses sight of vocals, and will even pull away insrumentals to the point of acapella. What really gets me is when he drops out the electric guitar and adds analog blips which have a talking musicality to them that gives me faith in the idea of a soul in electronic music. The resulting version plays cool and calm at 6:42, unhurriedly, and punctuated with the right amount of electronica, as well as delicious airy bits of violin for a soundscape that is truly ethereal.
To listen to the remix you can watch the YouTube "video" here.
You can check out the original and video here.
Or just buy them. Seriously, it'll cost you less than two bucks.
But what if it doesn't? Those are the ones that you listen to, pick apart, digest, and potentially never listen to again, or don't listen to again until they come up on a playlist, or on the radio, but when you do hear it, it's like being reunited with an old friend where it's never awkward.
That's how I feel every time I hear this remix. I love the original. Feist's breathy voice curling delicately with electric guitar is damn near perfect.
But there's something about the Boys Noize remix that resonates one level beyond where a pop song can, and perhaps it's because of the dance undertones. A German producer best known for his deconstructed sound in the Kitsune / Because music vein, Alexander Rhida he could easily had torn this tune apart. But the gentle way in which he handles the original shows a well deserved respect, and makes for a remix that is refreshingly more about subtlety than an ego stamp.
Rhida smartly decides to leave Leslie Feist's vocals untouched, supplementing them instead with a deep digitized voice that provides a stark contrast to her plaintive whispers. The effect is definitely surreal, bordering on eerie but floats somewhere between pop, dance, chillout and ballad.
Rhida never loses sight of vocals, and will even pull away insrumentals to the point of acapella. What really gets me is when he drops out the electric guitar and adds analog blips which have a talking musicality to them that gives me faith in the idea of a soul in electronic music. The resulting version plays cool and calm at 6:42, unhurriedly, and punctuated with the right amount of electronica, as well as delicious airy bits of violin for a soundscape that is truly ethereal.
To listen to the remix you can watch the YouTube "video" here.
You can check out the original and video here.
Or just buy them. Seriously, it'll cost you less than two bucks.
Tuesday, July 15, 2008
The Verve's "Love Is Noise"
So despite its already enormous popularity (or at least radio exposure), I can't help extolling just a bit more praise on this song for a couple reasons.
There's the fact that they hail from my old Northern English stomping grounds, and I was gently convinced with subliminal alcoholic messages that any Manchester or neighboring region musician was a god. There's the fact that "Love Is Noise" was one of the most memorable performances at Coachella with a barefoot Richard Ashcroft holding the mike to his heart in an earnest, meditative state. But what really sold me on this song is that in a musical time period where the dance rock wave has inspired trends towards that digitized, 8os, and (dare I say it) soulless sound, the Verve has cheerfully ignored that and come out with a tune so emotional it would border on embarrassing if it wasn't so damn good. It sounds like the band you love, despite the lack of a string ensemble and takes you on a comfortable ride back about a decade. The musical equivalent of putting on a plaid shirt and actually rocking it, the Verve reminds you that it's always in style to be yourself.
And then there are the actual musical elements of the song. That wonderful reverb / echo motif that frames lead singer Richard Ashcroft's brooding vocals oh so nicely. And the matter of Ashcroft singing the song like he truly means it; the chorus, which could be meaningless (and even a bit cliched) but goes so much further than that because the refrain "Love is noise" becomes a sort of mantra, a loving noise in itself. Is it self indulgent? Maybe. Do I care? Not in the slightest.
You can check out their video filled with pretty pictures here.
There's the fact that they hail from my old Northern English stomping grounds, and I was gently convinced with subliminal alcoholic messages that any Manchester or neighboring region musician was a god. There's the fact that "Love Is Noise" was one of the most memorable performances at Coachella with a barefoot Richard Ashcroft holding the mike to his heart in an earnest, meditative state. But what really sold me on this song is that in a musical time period where the dance rock wave has inspired trends towards that digitized, 8os, and (dare I say it) soulless sound, the Verve has cheerfully ignored that and come out with a tune so emotional it would border on embarrassing if it wasn't so damn good. It sounds like the band you love, despite the lack of a string ensemble and takes you on a comfortable ride back about a decade. The musical equivalent of putting on a plaid shirt and actually rocking it, the Verve reminds you that it's always in style to be yourself.
And then there are the actual musical elements of the song. That wonderful reverb / echo motif that frames lead singer Richard Ashcroft's brooding vocals oh so nicely. And the matter of Ashcroft singing the song like he truly means it; the chorus, which could be meaningless (and even a bit cliched) but goes so much further than that because the refrain "Love is noise" becomes a sort of mantra, a loving noise in itself. Is it self indulgent? Maybe. Do I care? Not in the slightest.
You can check out their video filled with pretty pictures here.
Sunday, July 6, 2008
Spread Butter Music
Welcome to Butter Music, a blog dedicated to finding everything rich and delicious about music and spreading around the goodness.
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