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. . .
Monday, October 13, 2008
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.
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