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Of Montreal: False Priest
I’d give False Priest an 8/10.
★★★★★★★★✩✩
Of Montreal takes us through a whirlwind of tunes with R&B-influenced album False Priest. Singer Kevin Barnes’s vocals combine with Solange Knowles (the fact that she is featured on a song was interesting enough for me to check the album out) in “Sex Karma”, a playful back-and-forth with a somewhat cheesy but amusing line, “You look like a playground to me”. Janella Monaé is also featured on tracks two and five. Funkier tracks including “Girl Named Hello” and “I Feel Ya Strutter” are danceable and full of funk, while others like “Casualty of You” are a little more toned-down for the group.
Overall, I would recommend this, especially to fans of The Beatles, Animal Collective, and The Flaming Lips.
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Jimmy Eat World - Invented
Jimmy Eat World has never put out a bad record. Well, Chase This Light may have been a bit too poppy, and their self-titled debut (you know, the one you've never heard of) was pretty much just a practice run, but everything in between was top notch. If you agree, you'll like Invented, partially because the influences from earlier albums is unmistakable, such as the the every-other-song-is-a-single catchiness of Bleed American, the emotional heights and depths of Futures, the songwriting intricacy of Clarity - their most critically acclaimed and commonly hailed as the seminal "emo" album (just don't call them that to their faces) - and, for the long-standing fan, a few traces Static Prevails, which call to mind JEW's punk origins. But, it wouldn't be much if it was simply an amalgam of the past; Jimmy manages to take these familiar styles and sounds in a new direction - something they seem to accomplish with every new release - climaxing in the penultimate track 'Invented', a simmering duet unlike anything they've recorded before. Seven albums and sixteen years on, and if their next record is half as memorable and original as this one's title track alone, I'd say Jimmy Eat World is as strong and reliable an act as they've ever been. 9/10.
-Geoff Vincent
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Melechesh
The Epigenesis
Although not quite up to par with earlier albums, The Epigenesis is still the catchy, Eastern-inspired black metal that we know and love. Melechesh explores the full gamut of their talents on this album: showcasing everything their from straight thrashy black metal their much more subdued instrumental tracks. While this is a fascinating combination, it leaves the album feeling somewhat disconnected and scattered. Still, The Epigenesis is definitely worth a listen.
Rating: 8/10
Ashley Tharpe-Bloxom
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Bring Me the Horizon
There Is a Hell, Believe Me I've Seen It. There Is a Heaven, Let's Keep It a Secret
October 4, 2010
Visible Noise
There Is a Hell, Believe Me I've Seen It. There Is a Heaven, Let's Keep It a Secret
October 4, 2010
Visible Noise
You’ve got to set aside at least twenty minutes to talk about Bring Me the Horizon’s newest release. One of the reasons being, the title is so long that it doesn’t even appear on the cover of the album. There Is a Hell, Believe Me I’ve Seen It. There Is a Heaven, Let’s Keep It a Secret is the next chapter of this England based band ushering in a new generation of music lovers into the world of metalcore. They’ve remained independent from the commercial success of Suicide Season (2008) to present something darker that we only saw glimpses of on their previous songs (“This Sadness Will Never End”, “Pray for Plagues”).
There Is a Hell, Believe Me I’ve Seen It… is a twelve-song onslaught of soul-crushing intensity that makes Bring Me the Horizon the reigning champions in the scene, not something I ever expected from across the pond.
The album has more experimental tones (see the electronic influence on “ “), than previous albums, but it only showcases Bring Me the Horizon’s ability to grow and still remain true to their roots.
Even with the lineup change in early 2009. Bring Me the Horizon continues to function as the cohesive metalcore unit that stunned the scene with the release of Count Your Blessings in 2006. Their passion, intensity, and the vehemently emotionally raw sound is what keeps the scene and hardcore kids always coming back to Oli Sykes.
Bridget Madamba
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Artist: Withered
Album: Dualitas
Label: Prosthetic Records
Blistering black/death metal from Atlanta crew Withered. Their last album, Folie Circulae, was one of my favorites of ’08 and Dualitas tops that suckah! Infusing a core black metal sound with elements of death and the South’s own native sludge sound to bring something entirely new to the metal soundscape. Also, two of these guys where in a band with half of Mastodon before they were Mastodon, so check this record ouuuuutttt.
All Clean
Recommended Tracks: 1, 5, 6
Jake McCune
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Welcome 2 Detroit was released shortly after Slum Village's Fantastic Vol. 2 in 2001 and is Dilla's first solo album. while Dilla's reputation within the underground hip hop community was already cemented by this release, the variety and quality of the musical styles conquered within the running time make this album an impressive and influential solo debut. personally, this is my late night album right now with the smoothness of tracks like "Think Twice" and "Featuring Phat Kat" paired with the weird electronic/psychedelic vibe of "B.B.E" and the griminess of "It's Like That" and "Pause." the way Dilla composes this album allows it flow seamlessly and effortlessly with interludes that immerse the listener in the culture of Dilla's Detroit. the addition of musical snippets/short songs ranging from afro beat to bossa nova give this album organic sheen that makes it feel easy, something which few producers (in all genres) have the ability to inject into their music. all in all, this is a must listen for fans of Dilla, but may be a little too deep for those not familiar with his roots and style, although i don't think this album is too esoteric for the average listener to understand. so do yourself a favor and succumb to the love of Dilla and forget god, it feels really good.
Kyle Jordan
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Jenny & Johnny: I’m Having Fun Now
Anyone who slightly knows me is aware of my obsession of female singers. Well obsession sounds kind of creepy—I’m more envious… I just wish I could be that cool, right?!
Often times, female artists are restricted to singing about vapid, cutesy love songs, or they’re stuck backing up their boyfriend or male lead singer by adding cute little harmonies. However this has never been the case for Jenny Lewis: she is one bad ass chick! Even on this new collaborative album with her boyfriend, she still seems to be the one at the forefront. Jonathan Rice and Jenny Lewis were introduced by Conor Oberst in 2005 and soon began featuring on each other’s albums. When Jonathan was touring with Jenny for her Acid Tongue world tour, they casually began making some songs together; however when they realized how freaking awesome it turned out, they decided to record with the help of a little guy called Mike Mogis. Now I’ll admit, when I first found out that she was coming out with a new album with Jonathan Rice, I gagged a little bit. What happened to being the independent and highly successful woman, Jenny, you don’t need a guy to sing by you; he’ll only hold you back and then leave you like they all do!!!!!!!!!!!!!!!!!!! Kidding, sort of?
I’ll also admit I was let down at first: the album was and is not another Acid Tongue. Yet after a few listens it really started to grow on me. Moving from Rilo Kiley, to a solo career, and now to Jenny and Johnny, Jenny always seems to be the one in charge, and that still seems to be the case on this album. However their chemistry is undeniable – I’m Having Fun Now is pure pop at its finest: It’s upbeat and melodic, with just the right amount of cutesiness. They let loose and had fun– hence the name – and I have fun listening to it. Don’t be fooled by the bubbly feel though, because their album has this surprising element of darkness that I really like: whether it’s about singing about California’s crappy economy in the Big Wave, or slowly crooning about lost love in New York Cartoon – these somber lyrics are disguised under these catchy tunes. End of story: it’s no Acid Tongue, but it’s pretty damn good.
Sounds Like: Rilo Kiley & Jenny Lewis… duhh Recommended Tracks: Animal, Big Wave
Anyone who slightly knows me is aware of my obsession of female singers. Well obsession sounds kind of creepy—I’m more envious… I just wish I could be that cool, right?!
Often times, female artists are restricted to singing about vapid, cutesy love songs, or they’re stuck backing up their boyfriend or male lead singer by adding cute little harmonies. However this has never been the case for Jenny Lewis: she is one bad ass chick! Even on this new collaborative album with her boyfriend, she still seems to be the one at the forefront. Jonathan Rice and Jenny Lewis were introduced by Conor Oberst in 2005 and soon began featuring on each other’s albums. When Jonathan was touring with Jenny for her Acid Tongue world tour, they casually began making some songs together; however when they realized how freaking awesome it turned out, they decided to record with the help of a little guy called Mike Mogis. Now I’ll admit, when I first found out that she was coming out with a new album with Jonathan Rice, I gagged a little bit. What happened to being the independent and highly successful woman, Jenny, you don’t need a guy to sing by you; he’ll only hold you back and then leave you like they all do!!!!!!!!!!!!!!!!!!! Kidding, sort of?
I’ll also admit I was let down at first: the album was and is not another Acid Tongue. Yet after a few listens it really started to grow on me. Moving from Rilo Kiley, to a solo career, and now to Jenny and Johnny, Jenny always seems to be the one in charge, and that still seems to be the case on this album. However their chemistry is undeniable – I’m Having Fun Now is pure pop at its finest: It’s upbeat and melodic, with just the right amount of cutesiness. They let loose and had fun– hence the name – and I have fun listening to it. Don’t be fooled by the bubbly feel though, because their album has this surprising element of darkness that I really like: whether it’s about singing about California’s crappy economy in the Big Wave, or slowly crooning about lost love in New York Cartoon – these somber lyrics are disguised under these catchy tunes. End of story: it’s no Acid Tongue, but it’s pretty damn good.
Sounds Like: Rilo Kiley & Jenny Lewis… duhh Recommended Tracks: Animal, Big Wave
-Meghan Addison
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Neumos Show Review:
Ra Ra Riot, Givers & Pepper Rabbit
Jan. 27th 2011
The much hyped about band, Pepper Rabbit, (listed as many a blogs’ top ten favorite after the release of their sophomoric album - Beauregard) started out Neumo’s sold out show for the first half hour. Starry-eyed became the audience once the well known tune, “Older Brother” streamed from Zander Singh’s lusty vocals / ukulele and the consistent, plush beat of Luc Laurent’s drums. Finishing their set off with “Harvest Moon,” band leaders Singh and Laurent put on a lovely performance in all, with their peppered and eclectic style. (See KSUB’s blog for Bridget Baker & Brandon Kim’s recorded interview with Pepper Rabbit!).
Following a performance worth swooning over, was Louisiana’s Givers band, also worth a swoon, (or maybe even two). As soulful female-lead vocalist and percussionist, Tiffany “Teddy” Lamson’s solo hit the ears of the the crowd, vibes of the nearly full room had fallen to a silent and dreamy state. Expressive Taylor Guarisco (also a lead-vocalist), had begun warming the crowd up soon after - making all yearn for a dance in the musty, yet cozy Neumo’s Crystal Ball Reading Room with springy floors. Flutes, trumpets, ukuleles, the Givers band gave a pleasant variety of sounds to nod-cranium to.
Event Headliners, Ra Ra Riot, in single-filed manner, emerged from the lower level. As another group of five, the band hailing from Syracuse, NY had a not-so-common array of instruments as well; inclusive of a harp and a violin, (they give that whir of zest to Ra Ra Riot’s style). Beginning with newer songs from this past year’s 2010 album, “Orchard” - the band transitioned into 2008’s well known “The Rhumb Line” album. By classic song, “Too Too Too Fast” the audience had become giddy and spirited en youth. Closing time was a difficult thing for the crowd to fathom - they cheered for an encore. Feeling Ra Ra Riot’s music the most and showing so in wild dancing motions, the crowd twirled to a passionate and lively version of “Ghost Under Rocks.” This left attendees feeling dreamy and fantastic.
Given the nature of an all ages show, age range was quite diverse. Yet, everyone fell into their place in a content way; feisty girls lusting up in front, their counterparts heavily bowing and nodding to the tune of the violin, drummers thrust and ubiquitously other nods in sync. Behind this scene, came softer feet, calmer nods, and the occasional girl that had too much to drink. Slightly mixed in, but more so standoffish, was the crowd of age to be in the level above’s bar, but preferred being among the soul of the sound. The production as a whole was nothing less than that of a good time. For those who did not attend, or could not due to the show being sold out, (-and even for those that did), it is possible to live or relive this show vicariously through Pepper Rabbit’s latest album, Beuregard, the Giver’s self titled EP, and both of Ra Ra Riot’s albums, The Rhumb Line and Orchard. They are most definitely worth it.
-Bridget Baker
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Sick Of Sarah - 2205
Coming out with their second full album (fifth release counting EPs), Sick of Sarah is a power-chick-rock fivesome from Minnesota. However, their lyrics show they're meant to be taken seriously and that they can do just as well as any guy rock band out there. This CD starts out strong with "Overexposure," and ends up on a sadder tone (as you can expect from chick-rock) with "Shattered." Though the CD changes so drastically from start to finish, all the songs are worth listening to. If you need help overcoming your sexism, this is definitely an all-girl band that you can believe in. 8/10 Stars. I recommend tracks 1, 2, and 4.
Coming out with their second full album (fifth release counting EPs), Sick of Sarah is a power-chick-rock fivesome from Minnesota. However, their lyrics show they're meant to be taken seriously and that they can do just as well as any guy rock band out there. This CD starts out strong with "Overexposure," and ends up on a sadder tone (as you can expect from chick-rock) with "Shattered." Though the CD changes so drastically from start to finish, all the songs are worth listening to. If you need help overcoming your sexism, this is definitely an all-girl band that you can believe in. 8/10 Stars. I recommend tracks 1, 2, and 4.
-Billy Koch
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Radiohead: King of Limbs
i was immediately intrigued by the sale of this album because of the deluxe newspaper edition that came with something like 150 pieces of art and 2 vinyl plates costing 43.99 (i remember that cause i was too broke to buy it). i was further intrigued to find out that no one else really knew about the specifics of this release, which made me think that radiohead was playing around with their mechanism for album distribution like they did for In Rainbows, which they were: radiohead decided to have their own sale of the album about 2 weeks (or so) before they distributed it to record stores. i don't really have an opinion on the process, but it's nice to see artists trying different techniques to forward their material to the public since we're in a different world than 15 years ago so to succeed we must use different strategies than we did 15 years ago for success
Initially with this album, i was stuck on the drums. most of the songs have the same drum pattern throughout, which isn't to say i'm critical of it because 1) i always hear drums/bass first 2) the rhythms are cool and most importantly never detract from the song. without sounding too wishy washy though, i think some of the songs could really benefit from a roll or variation on the main pattern to climax with the surrounding sounds.
as with every radiohead album, there is a lot to listen to here: lots of neat, little production tacks that really add to highlight the specific sounds they wanted you to hear. but one thing that is missing with this album as some previous albums is a true sense of connectivity, of implicit cohesion between the songs, which makes me feel like there are high quality songs here on this album, definitely some cool musical ideas, like always, but these songs won't be able to evoke the same emotional draw as some other albums. this may make me sound disappointed with this album, but i'm not: i still get to hear some really great music that i will enjoy for some time. as a responsible fan, i can never expect another ok computer or kid a or whatever, i must judge each collection of art individually before i judge them together.
Initially with this album, i was stuck on the drums. most of the songs have the same drum pattern throughout, which isn't to say i'm critical of it because 1) i always hear drums/bass first 2) the rhythms are cool and most importantly never detract from the song. without sounding too wishy washy though, i think some of the songs could really benefit from a roll or variation on the main pattern to climax with the surrounding sounds.
as with every radiohead album, there is a lot to listen to here: lots of neat, little production tacks that really add to highlight the specific sounds they wanted you to hear. but one thing that is missing with this album as some previous albums is a true sense of connectivity, of implicit cohesion between the songs, which makes me feel like there are high quality songs here on this album, definitely some cool musical ideas, like always, but these songs won't be able to evoke the same emotional draw as some other albums. this may make me sound disappointed with this album, but i'm not: i still get to hear some really great music that i will enjoy for some time. as a responsible fan, i can never expect another ok computer or kid a or whatever, i must judge each collection of art individually before i judge them together.
Kyle Jordan
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Concert Review: Joshua Radin
“It’s so nice to be back in Seattle with my own show,” Joshua Radin told the Showbox on Wednesday night. Radin had only ever performed as an opener in Seattle, but this time came back to a sold out crowd. With his third record, Rock and Tide, recently released he has moved away from just acoustic melodies and onto songs with more upbeat tempos. His audience, a sea of girls with boyfriends in hand, were all just as enthused about his new music as they were about his older songs such as, “Winter,” and “Brand New Day.”
As Joshua started to sing in his soft melodic voice, the phrase “I love him” was coming out of girls mouths all over the concert floor. Radin is not only a great live performer, but also a great storyteller. Each song had a story connected with it and you can be sure each one was nothing short of witty and heart-felt. Radin’s sentimental songs, ethereal voice, and anecdotes that can only be described as charming, make him a favorite on the acoustic music scene. Radin played some songs from his new album, but recognized that the crowd wanted to hear some of his older songs. At the end of the show Radin was encored back onto stage, and sang his last song while standing in the audience with the whole Showbox crowd gathered around.
Before Radin came on stage, Laura Jansen along with Cary Brothers opened for him. Jansen is relatively new to the music tour and will have her first album out March 22. Her soft voice accompanied by piano makes her comparable to Ingrid Michaelson or Regina Spektor. Radin personally picked her for his tour from Hotel Café, a small music venue in Los Angeles filled with up-and-coming artists. Laura Jansen and Cary Brothers both performed a great show, making it an overall successful night for acoustic folk rock.
As Joshua started to sing in his soft melodic voice, the phrase “I love him” was coming out of girls mouths all over the concert floor. Radin is not only a great live performer, but also a great storyteller. Each song had a story connected with it and you can be sure each one was nothing short of witty and heart-felt. Radin’s sentimental songs, ethereal voice, and anecdotes that can only be described as charming, make him a favorite on the acoustic music scene. Radin played some songs from his new album, but recognized that the crowd wanted to hear some of his older songs. At the end of the show Radin was encored back onto stage, and sang his last song while standing in the audience with the whole Showbox crowd gathered around.
Before Radin came on stage, Laura Jansen along with Cary Brothers opened for him. Jansen is relatively new to the music tour and will have her first album out March 22. Her soft voice accompanied by piano makes her comparable to Ingrid Michaelson or Regina Spektor. Radin personally picked her for his tour from Hotel Café, a small music venue in Los Angeles filled with up-and-coming artists. Laura Jansen and Cary Brothers both performed a great show, making it an overall successful night for acoustic folk rock.
Mariah Harvey
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Formerly know as Finaly Fantasy, now Owen Pallett has creating dreamy, airy, chamber pop songs down to a science. A Swedish Love Song is just more proof to this fact. Whimsical strings make these songs fun, while his voice soars through each song. Simple beats round out these songs, and they are quirky as always. Think of the kind of music you would want to listen to while frolicking through a beautiful field.
Sounds like: The Fiery Furnaces, Final Fantasy, Arcade Fire
Favorite song: Scandal At The Parkade
Sounds like: The Fiery Furnaces, Final Fantasy, Arcade Fire
Favorite song: Scandal At The Parkade
Rachel Palmer
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Will Cullen Hart, Laura Carter, Julian Koster, Robbie Cucchiaro
Derek Almstead, Peter Erchick, Scott Spillane, Bill Doss
John Fernandes, Bryan Poole, Andrew Rieger
(maybe Theo Hilton was pooped after touring with Defiance, Ohio)
From somewhere amidst the audience, the band opens the night, appropriately, with some a capella Major Organ: "You're going on a trip/Your mind is not quite fit..." The lyric may just as well describe the band--now sporting a mess of neon colors and silly hats--as it does the sold-out crowd. But if such is the case, unfit minds have never looked so glorious.
As they play their first song, immediately striking is Julian Koster on drums, his arms squiggling and flailing. His headgear of choice is an asymmetrical sock-thing--knitted and blue, it fits snugly around his head, but one end dangles by his chest. It'd be weird on anyone else, but here it's just another appendage, flailing with abandon. As he both looks and moves like an animated character (and later, as he tells weirdly adorable stories), I think, 'This man deserves his own children's television show.'
I then notice Scott Spillane--his magical beard, and his wildly squalling guitar solo. But as he starts singing the next song--The Gerbils' "Lucky Girl"--he morphs into the most tender creature. He closes his eyes as he plays his horn; maybe it's just the mechanics of the thing, but he holds it close and tilts his head gently, and I can't help but picture him cradling a loved one. Adding to the pathos is the memory of late Gerbils' member Will Westbrook; a recording of his guitar work introduces the song.
But this is by no means a sad show. The solemn moments--like the mention of Chris Knox's stroke, for example--are marked by the same sense of intimacy that makes for lighthearted camaraderie onstage. At one point, Peter Erchick, from behind the keys, takes a moment to gush, "This is kind of blowing our minds." And someone from the audience reciprocates, "You guys are geniuses!" Bryan Poole then jokes that Peter should wrap up his little speech; "I'm a genius too," he laughs, and he needs his stage time.
When another audience member asks how the band feels about flash photography, she receives several smart-ass answers: "Well, it was revolutionary..." Also, apparently the flash turns Julian into a werewolf. But when the band finishes messing around, Peter, this time on guitar, offers the girl a good-natured handshake. At the base of all the joking is really a sense of mutual respect.
At some other point, Bill Doss slips into the back to grab some water bottles, but he's unsure of how to transport them to the other members. There is, after all, a chaos of amps crowding the stage--this, along with an organ, two drum sets, and a toy piano, leaves only just enough space for the one line of musicians up front. Bill pantomimes throwing a bottle, but Bryan and Will Cullen Hart, at the other end of the stage, shake their heads 'no' and smile.
This playfulness also infuses the music, which is obviously the focus of the night. One of the songs is a recording with an Eastern European flavor, and despite being accordion-driven, it's supposedly played by the "mechanized organ-playing tower." This is a DIY-looking contraption with a dome of decorative foil, and as a pulley rotates, two wooden, hand-shaped paddles duck in and out. Julian accompanies with staccato scrapes on the singing saw.
Later in the night, he also plays a song with a delightfully odd back story, in which he explains his ties to a Romanian circus family. He tells us that if we're "familiar with circus culture" (duh), we should know how remarkable it is that this family's signature act was never replicated. I don't want to give everything away here, but what's especially beautiful, Julian says, is how the family's secrets were not passed on orally, but through music. He laments that no one surviving can decipher the code, but "only the songs remain"; and thus he begins "Spare the Dark Streets." Hairs fall out of his bow as he slides it over his banjo, but again, their flailing only complements his aesthetic.
Another wonderfully weird thing about the night is the 12-foot inflatable snowman in the corner, presumably for the "Holiday" Surprise Tour. Its purpose is revealed later; one of nine contestants must guide the snowman's arm (a scoop) and throw a "snowball" at the moon (a tissue-covered hoop). Thus the snowman can melt and its soul can be freed. After eight contestants and a bit of hoo-ha, the ninth guy finally wins to uproarious approval. For his prize, he gets the band members to play "Love Will Tear Us Apart" (maybe not the best track to showcase their abilities, but a classic nonetheless).
Besides, they bring great energy, regardless of what they're doing. Clarinet is arguably the most boring instrument on stage, yet John Fernandes is so compelling to watch. Notes flow smoothly from his woodwind, gluing together the collage of other sounds. Paradoxically, he plays the strings with such fury, I think he might spontaneously combust. But for one song, he plays both instruments; when the violin isn't needed, he keeps it under his chin, and his bow rests in the bass clarinet's bell.
Even intermissions fail to be boring, as strange recordings play of birds chirping, or of distorted voices talking about cross-dressing in lace panties.
At the end of the penultimate song (and what would have been a lovely closer), the band reaches feral chaos. The same vocal chords that made lovely harmonies of shoop-shoops and la-las are now yelping, beat-boxing, growling. Julian smashes a tambourine with his saw--a move he's done before, but this time the tambourine falls. Without any less effectiveness, though, the saw continues crashing onto the cymbal beneath. Eventually, a mic stand goes down as well.
For the finale, the band members take on Sun Ra's "Enlightenment," which they continue playing (and singing!) as they parade off stage, into the audience (where they started), and out of the showroom/into the lobby. We follow and leave for the night.
Now, I think it's worth mentioning that no Neutral Milk songs were played, and honestly, part of me was disappointed. But ultimately, the band knows best; no one wants a stale rehash of the past. Elephant 6 is known for music that is inspired and original, and last night didn't deliver anything less.
Isabelle Germar
