Brooklyn duo MGMT will release their 3rd full-length album, Congratulations, on April 13, 2010. They’ve offered a taste by making the track “Flash Delirium” available as a free download through their website. The adventurous Bowie-tinged exploration veers in a variety of mind-bending directions within its 4 minutes. The confusion it unleashes become more manageable with subsequent listens. Psychedelic lyrics offer this gorgeous sentiment: “Dance until the heart explodes and we’ll make this place ignite.” “Some will love it, some will hate it,” Andrew VanWyngarden told Rolling Stone of Congratulations‘ stylistic shift. “We want to freak people out.”
MGMT have so far debuted three other songs off the release, “Congratulations”, “It’s Working”, and “Song for Dan Tracey”, at recent shows. The album was recorded in Malibu by ex-Spacemen 3 Brit Pete Kember (aka Sonic Boom) and mixed by Flaming Lips producer David Fridmann. The record is the follow-up to 2007′s Oracular Spectacular, which crushed with over 1 million copies sold worldwide. Upcoming U.S. tourdates include Coachella, Bamboozle, and Sasquatch in April and May.
Flash Delirium
Mild apprehension
Blank dreams of the coming fun
Distort the odds of a turnaround
Gut screams out next to none
So turn it on, tune it in
And stay inert
You say “I’ve got the backbone”
The back way to escape the gun
Climbing a tree with a missing limb
And not saving anyone
And now it hurts to stay at home
And see flash the mirror ball’s throwing mold
You can’t get a grip if there’s nothing to hold
See the flash catch a white lily laugh and wilt
But if you must smash a glass first fill it to the hilt
Plants, as far as i know are still,
Still bending toward the light
And if we dance until the heart explodes
It’ll make this place ignite
And even if this hall collapses
I can stand by my pillar of hope
It’s just a case of Flash delirium
Here’s a growing culture
Deep inside a corpse
Ages stuck together
Takin it to the source
Timeless desperation
Pictures on a screen scream
“Hey people, what does it mean?”
Comfort keeps us nice
So quick to donate everything
Die wolken drifting blinding smiles circling (einkreisen)
And time’s tingling spines
Attaching hands to floor
The rosy-tinted flash
The hot dog’s getting cold
And you’ll never be as good as the Rolling Stones
Watch the birds in the airport gathering dirt
Crowd the clean magazine chick lifting up her skirt
(Why close one eye and try to
Pledge allegiance to the sun
When plastic ghosts start terrorizing everyone
Geometric troops aligning
Carried up to the burial mounds
My earthbound heart is heavy
Your heartbeat keeps things light
With the violence forever threatening the night
And even if this hall collapses
I can stand by my pillar of hope and trust)
Lines when I close my eyes and just
Aim blindly at the sun
And hear love
When the ghosts start singing terrorizing everyone
Geometric troops aligning
Carried up to the burial mounds with gold
It’s a heavy time but your
You rhythm makes it light and explode
Like a violent star keeps threatening the night
And even if this hall collapses
I can stand by my pillar of hope and trust
That our heads won’t bust
66 55 red battleships
40 earthlike planets
3 holes 2 tits
1 fork in its side
Zero tears in their eyes
Eue the spiders
Sink the Welsh
Stab your facebook
Sell sell sell
Undercooked
Overdone
Mass adulation not so funny
Poisoned honey
Pseudo science
Silly money
You’re my honey
The buzz over the collaboration between Shins singer/guitarist James Mercer and producer/multi-instrumentalist Danger Mouse (Brian Burton) has been mighty. The pair announced the project in September of ’09 and released their self-titled album this week. The two acclaimed musicians (Danger Mouse is half of Gnarls Barkley and produced the Gorillaz’s 2007 album Demon Days) were inspired to put their heads together after connecting at Denmark’s Roskilde Festival in 2004 when they discovered they were fans of each other’s work. They began recording in secret at Burton’s Los Angeles-based studio in March of ’08 and the culmination of their efforts is now out on the table.
Take note that this is not just a “produced by Danger Mouse” one-off. The two are apparently in it for the long haul and have plans extending past this first album.
Eyes closed, this is a Shins album. The wonderous indie sensation expanded upon their sound throughout their 3 albums (2001, 2003, and 2007), and this feels like it could be the fruit of the next step in that progression. Due to Mercer’s distinct voice, the line between The Shins and Broken Bells is rather blurry. That is an exciting reality for Shins fans in that Mercer and his bandmates have had a sour parting. Burton’s contributions are somewhat restrained, but he seamlessly infuses his creativity and influences into a realm of music heavy with melody and sparse on beats. Overall, the partnership works well. The balance of styles, Burton’s hip-hop and soul and Mercer’s inventive song construction and lyricism, produce 37 minutes of pure quality. Other than string arrangements by composer Daniele Luppi, Danger and Mercer play every instrument on the 10-song album. Mercer sings and plays guitar and bass, while Danger tackles drums, organ, piano, synth, and bass. Danger also serves as producer.
“The Ghost Inside” is the standout track on the album and offers a clear illustration of Mercer and Burton getting their hands dirty together. It’s a fabulous synthesis of Mercer’s falsetto, warbly back up vocal overlays, handclaps and unforgettable synth melodies. Lyrically, the album is direct and insightful. “Vaporizer” delivers a potent message atop sanguine organ lines: Let go of fears and unrealized hopes and live without the squashing need to know where you are going. “The Waiting Game” speaks of the elusiveness of love among buzzy synths and spacey effects. Gone are Mercer’s cryptic lyrics. He speaks truthfully of loneliness, love, and dreams falling short. “Citizen” just punches with its beat and harsh chorus, encompassing the dark feel that pervades many of the tracks. The album is missing a tad of soul and doesn’t necessarily push the envelope, but it gets inside the head.
Vaporize
What amounts to a dream anymore?
A crude device; A veil on our eyes
A simple plan we’d be different from the rest
And never resign to a typical life
Common fears start to multiply
We realize we’re paralyzed
Where’d it go, All that precious time?
Did we even try to stem the tide?
Why should we waste it on
Buying into the same old lies?
The longer we wait around
The faster the years go by
It’s not too late
To feel a little more alive
Make an escape
Before we start to vaporize
Doubtless, we’ve been through this
So if you want to follow me you should know
I was lost then and I am lost now
And I doubt I’ll ever know which way to go
Now it’s time to figure out how Broken Bells sound live. The duo has performed 5 shows to date over the past four weeks in L.A., Paris, London, Brooklyn, and on Letterman. You can find Broken Bells in L.A. on March 14 and in the clubs of Austin at SXSW March 17-21. Stay tuned for more dates…
Like any great album should, Big Light’s full-length debut Animals in Bloom (2010) draws me in more completely with every listen. The songs endlessly unravel as one’s ears open to the nuances. I’ve been enamored with the band since they debuted in San Francisco near the end of 2007 and it’s all in the combination. Skillful songs, prodigious musicianship, and a certain sincerity. It’s the kind of music you want to sit back and take in and also the kind that you want to move to and lose yourself within. It’s the best of all genres, melding the weight of rock, the earnestness of folk, the edginess of indie, and the transcendental psychedelia of jam. The band’s sound is easy to love and hits with an immeasurably depth. As my friend Melissa and I would say to each other back then, “Big Light plays just the kind of music I want to hear.”
From the grittiness of “Triceratops”, to the tenderness of “Departed”, to the touching words, melodies, and guitar riffs of “Rainbow Eyes”, Animals in Bloom gets inside. “Good Time of the Year”‘s youth-filled intimacy is undeniable and “Monster” strikes with washes of sound. “Heavy” just tears it all apart. It’s not just the raging guitars that send you to oblivion but the band as a whole progressing, ripping, lying deep within the groove. Unabating until the raging finale moments of “Bonebreaker”, the album is a solid realization of Big Light’s limitless potential. The album’s lyrics are poetic, pensive, inspiring and filled with color. The songs catch inside your head and refuse to let go. It’s intimate and makes you feel included.
The San Francisco foursome features Fred Torphy (lead vocals, guitar, songwriting), Bradly Bifuclo (drums), Steve Adams (bass, vocals) and Jeremy Korpas (lead guitar, vocals). After several shifts in lineup, this band feels like the one Torphy needs to convey what’s inside his head. Torphy’s voice morphs from track to track all the while staying endearing and real. And his guitar solos soar. Bradly Bifulco contributes a strength of foundation and depth that stands out on every song. ALO’s Steve Adams exemplifies what this incredible player can do when offered an alternate existence. And the most recent addition of Jeremy Korpas seals the force of Big Light. Korpus’ ripping playing which has earned him the name “Swordfish”, raised the bar of Big Light’s musicianship, allowing the band to travel where it was ready. A nod to the benefit of timing and luck, Korpas’ inclusion came by chance after needing a place to crash when first moving to SF. By way of a friend he landed on Torphy’s couch and later joined the band. Together these four individuals gesture gratitude to the great bands that inspired them – Dr. Dog, The Slip, Wilco, and My Morning Jacket – yet seamlessly unite to create a sound that is undeniably Big Light.
Yesterday, I got to chat with songwriter Fred Torphy about the album…
How does the current state of Big Light compare to what you imagined when you originally formed the band?
Torphy: Probably closer to what I imagined it being. More professional and cohesive and focused. That was something we had to work for, a permanent lineup. You saw a lot us in the formative days. It was sprawling then and you never knew who was actually going to play. That was always really hard to deal with as a bandleader. All the coming and going of the personal and getting the band staffed probably. You don’t want to push any of those things. It needs to happen on its own. Give it time. That happening was cool. I’m just stoked that it’s where it’s at right now. And that we are more lean and mean. More focused.
Are there any unseen insights into the album that you want to share?
Torphy: Mechanically we got really experimental and went deep. There are sounds you might not hear unless you’re listening on headphones. There are all of these undercurrents of noise that prevail from the beginning to the end. We capture sounds that aren’t musical in some senses. Detuning ukuleles or dropping an amplifier on the ground so that it makes a crazy thunderous sound. We put ghosts in the recording so that they could be heard later when someone is listening a little closer.
The one thing that probably nobody one knows is that there’s one guitar amp that we ended up using for 90% of the record that we got from this dude who lives in an apartment that’s next to the studio where we recorded. He’s this guy Kidd Candelario, Jerry Garcia’s right hand man for like 30 years, his guitar tech and all this stuff, and he has a bunch Jerry Garcia’s old gear. He gave us this Fender Twin that had belonged to Jerry and that Jerry used on stage for a really long time. We went back and looked at pictures and saw this thing. We had this modified Fender Twin that was Jerry Garcia’s primary guitar amp and we used it in every situation imaginable because it was cool… it sounded so different from everything else because it was modified for him. It was really loud and you could do crazy shit with it. It was fun playing with that thing. The history, recording the album in San Francisco… We’re not a Grateful Dead leaning band at all in any respect. I mean we like improvisation, we love that band, but they aren’t a model for Big Light in any way. But we did love using that guitar amplifier to make all the cool guitar sounds.
Who’s singing the words before the chorus on “Rainbow Eyes”?
Torphy: We call that the “gang vocal”. Our friend Ty Roberts and his family, Sabrina & Ted, Chris Joseph, Ray (Bradly’s wife)… There are probably 40 voices. We threw a whiskey and pizza party one night in the studio and invited our supporters and friends and asked them all to yell “rainbow eyes”.
Below is a teaser for Animals in Bloom featuring studio and tour footage and clips from their December ’09 performance at San Francisco’s Fillmore Auditorium, all set to an excerpt of the new track “Triceratops”.
For Big Light, club dates have translated into high profile gigs, including appearances at Outside Lands, Noise Pop, Wanderlust, and High Sierra and at renowned California venues such as the Troubadour and The Roxy in Los Angeles and The Fillmore in San Francisco. They’ve also been placed on bills with Spoon, Broken Social Scene, The Mother Hips, Dead Confederate, Surprise Me Mr. Davis, Everest and Howlin Rain. As a fan from the beginning, it’s truly exciting to stand back and watch Big Light constantly progress and evolve at such an electrifying rate and receive due recognition for their musical journeys. Big Light’s CD Release tour for Animals in Bloom kicks off with a performance at San Francisco’s Independent on March 4th (TODAY!).
Mar 4 – The Independent, San Francisco, CA – Animals In Bloom Release Party w/ Guns for San Sebastian and Everest
Mar 5 – 50/50 Brewery, Truckee, CA
Mar 11 – The Saint, Asbury Park, NJ
Mar 13 – Sullivan Hall, New York, NY
Mar 17,18,19,20 – SXSW, Austin, TX
Apr 8 – Crystal Bay Casino, Crystal Bay, NV
Apr 16 – Cooper’s, Nevada City, CA
Apr 17 – South Lake Tahoe Earth Day Festival, South Lake Tahoe, CA
July 1,2,3,4 – High Sierra Music Festival, Quincy, CA
Animals in Bloom is for sale on the Big Light’s website, at Amazon, and on iTunes where you can download the added bonus track of “Piece Together Wings”, co-written with Nathan Moore and featuring Dan Lebowitz (ALO) on pedal steel. Jeremiah Kille of Conspiracy Surfboards created the memorable album artwork for Animals in Bloom. Check out more of Jeremiah’s work.
In addition to their previously announced set at Coachella, Thom Yorke’s solo band will hit several major U.S. cities this April on a two-week, eight-date tour. Thom Yorke broke the news on Radiohead’s blog Dead Air Space on Thursday, Feb 25th. Southern California’s electronic / hip hop artist Flying Lotus will support the band all eight nights.
The name of the band? Atoms for Peace. Aside from being the name of the stand out track on Yorke’s solo album, The Eraser (2006), Atoms for Peace refers to the title of a speech delivered by President Dwight D. Eisenhower to the UN General Assembly in New York City in 1953. The speech was likely a tipping point towards inspiring international focus on peaceful uses of atomic energy.
Atoms for Peace (the band) features Beck/R.E.M.’s Joey Waronker on drums, Red Hot Chili Peppers’ Flea on bass, Mauro Refosco of David Byrne and Bebel Gilberto on percussion, and longtime Radiohead/Yorke producer Nigel Godrich on guitar/synths/laptop. This lineup is the same one that backed up Yorke at the Echoplex and the Orpheum Theater in L.A. in October.
Tickets are being sold via Ticketmaster as well as on Radiohead’s ticketing site, W.A.S.T.E. On sale info below.
Atoms for Peace Tour:
04-05 New York, NY – Roseland Ballroom * – onsale through TM March 2nd at 10am EST
04-06 New York, NY – Roseland Ballroom * – onsale through TM March 2nd at 10am EST
04-08 Boston, MA – Citi Wang Theatre * – onsale through CPAC March 2nd at 10am EST
04-10 Chicago, IL – Aragon Ballroom * – onsale through TM March 3rd at 10am CST
04-11 Chicago, IL – Aragon Ballroom * – onsale through TM March 3rd at 10am CST
04-14 Oakland, CA – Fox Theatre * – onsale through TM March 4th at 10am PST
04-15 Oakland, CA – Fox Theatre * – onsale through TM March 4th at 10am PST
04-17 Santa Barbara, CA – Santa Barbara Bowl * – onsale through TM March 3rd at 11am CST
04-18 Indio, CA – Coachella
* with Flying Lotus
TM = Ticketmaster
CPAC = Citi Performing Arts Center
Pre-sale tickets are being sold on W.A.S.T.E. Tickets (Radiohead’s ticketing site) on the following schedule:
New York – Roseland Ballroom – April 5th & 6th – On sale through Tickemaster
Boston – Citi Wang Theatre – April 8th – On sale through CitiCenter
Chicago – Aragon Ballroom – April 10th & 11th – On sale March 3rd via W.A.S.T.E.
Oakland – Fox Theatre – April – 14th & 15th – On sale March 4th via W.A.S.T.E.
Santa Barbara – Santa Barbara Bowl – April 17th – On sale March 3rd via W.A.S.T.E.
My astute brother recently turned me on to three very different covers of Vampire Weekend’s “Cape Cod Kwassa Kwassa”, off the band’s self-titled debut Vampire Weekend (2008). The Hot Chip & Peter Gabriel collaboration wins out. Peter Gabriel’s name is actually in the song, which creates some beautiful irony. Slightly silly, but he sings, “It feels so unnatural. Peter Gabriel, too. And it feels so unnatural to sing your own name…”
It’s great to see Gabriel back on the scene. He’s reemerging with a covers album, Scratch My Back (March 2, 2010), that includes his versions of songs by Radiohead, Arcade Fire, Bon Iver, David Bowie and others. All of the artists whose songs Peter recorded for the album are returning the favor by recording a song of his. These creations will be heard on a forthcoming companion album justly called I’ll Scratch Yours.
The Very Best’s version of “Kwassa Kwassa” brings together singer Esau Mwamwaya of Lilongwe, Malawi, Africa with Belgian DJ/production duo Radiocli, infusing the tune with an Afro-Western mix of dance, hip-hop, pop and the traditional music and language of Malawi.
I’ve never been much of an Of Montreal fan, but I’m currently in love with their video for “Wraith Pinned To The Mist & Other Games”. It follows the psychedelic, Yellow Submarine-esque, slightly violent journey of little square-bodied cartoon characters and friends. Love the purple one’s dance moves at the end (3rd from the right!).
The style of their music still doesn’t entirely capture me, but… as it often seems to be, there can be things you quite like hiding around the corner from a band you thought you disliked.
Said style is theatrical techno-pop glam, one that seems to have changed over the years from a more quirky, indie pop sound. They also tend to fuse gloomy lyrics speaking to apathy, loneliness and death, with bouncy, upbeat melodies and hooks. Certainly, the music is catchy in some bizarre, deranged, and fantastical way.
One more tune. Listen to “She’s a Rejector”, just to hear Kevin Barnes sing the following:
There’s the girl that left me bitter
Want to pay some other girl
To walk up to her and hit her
It seems the Swedes have cornered the market on innovative, ambient electro pop. The intentionally cryptic new group jj are another example of this breath of fresh air. The group fuses lushly atmospheric electro-pop and world music with sultry female vocals to create a rather exotic sound. What results is irresistibly beautiful and blissful.
The duo released their debut single jj n° 1 in early 2009 and several months later released their stylistically brilliant debut album jj n° 2. It’s a short opus of nine tracks of island infused synth pop, akin to the music of fellow label mates The Tough Alliance. But the duo emerges on the softer side due to the pervasive lush vocals of Elin Kastlander. Like their peers, jj show a propensity towards sampling, irritable pop hooks, and stylistic diversity to create something gorgeously intricate that shows admiration for both the expansive realms of world music and minimalistic electro-pop. jj sit aside The Tough Alliance and Air France, on one of Sweden’s best and most consistent labels, Sincerely Yours, founded by TTA in 2006.
jj’s dance pop is built on ethereal string and synth samples along with exquisite vocals that float freely through their tracks. The songs are deceptively simple, incorporating a vast array of musical influences from reggae to electronica, new age to hip-hop. The dream-like quality of Elin’s voice is lusciously smooth and textured taking the music even further.
The group’s full-length debut jj n° 2 changes styles slightly with every song, which makes listening to the 27 minute album an unpredictable yet alluring experience. Even when they explore 90′s ambient-house, they still allow emotion to flood through the textures. jj expand on the reach of ambient music — defined, as Brian Eno once did, as music that “suggests, a place, a landscape, a soundworld which you inhabit” — offering it a new essence .
“Things Will Never Be Again” opens jj nº 2 sounding much like The Tough Alliance, tying together synth samples of steel drums and MIDI Strings, with Elin’s low vocal tones and harmonies. “From Africa to Malaga” is by far my favorite track with Elin’s celestial, reverb-effected vocals riding atop synthy Caribbean percussion. The sounds wash over you and the winds referenced sweep you up into a blissful state of ecstasy. “Ecstasy” unexpectedly drops a sample of Lil Wayne’s “Lollipop” creating a track that is trippy and drug-hazy, turning the sound of the album drastically on a pin. (jj released another track with a Weezy sample in January, titled “My Way”. ) Later the album moves into more lilting folk-pop, and further into the laughing and hammer-dulcimer sampling “Intermezzo”. With jj nº 2, the duo created a visionary new sound that is bound to generate more buzz in 2010.
Fascinatingly, jj has kept to almost absolute internet silence. Seriously, not even a MySpace. Info on jj was literally nonexistent until recently, save for a few cryptic sentences, download links, and blood-splattered album artwork on their label’s site. It seems to have made the music all the more endearing and enchanting. Quite a surge of conversation has lived surrounding the identity of jj. Some rightly thought that it might be a side project of The Tough Alliance or Air France, but the mystery quickly unfolded. The enigmatic jj consists of multi-instrumentalist Joakim Benon and vocalist Elin Kastlander. The story almost ends there for now, although I did come across a fabulous interview with jj published on the Drumming On Tabletops blog several weeks ago. Here are a few excerpts.
Where does the name “jj” come from?
jag & joakim. joakim & jag. (“jag” means me or myself in Swedish)
What’s the plan for live shows? Did you originally ever expect to perform live? I ask that because it seems (from the various YouTube videos I’ve watched anyways) that the stage show is really based around the recorded music and projected images rather than the typical “live performance”.
We have grand plans for our public executions, it will be magic, soon enough. Now when we’re out there Elin is just trying to get over her social phobia and anxiety. She sings for her life, as always. And I’m (Joakim) trying to learn everything I recorded, and decide if I should play the guitar solo or the piano, the drums or the flute, or maybe get someone else to do it; so many decisions. Maybe we’ll get James Cameron to do the visuals, and perhaps Kanye will have some ideas. Whatever we do I hope people will understand that being on stage is a fucked up situation in the first place, where everything can happen: you can live more than you’ve ever lived or be wanting to die, feeling things will never be the same again.
The newest album, jj nº 3 has already leaked online. What does it feel like to have to deal with a leak? Do you mind it considering that almost every album leaks online now before the release date?
Beautiful, sad, scary, nice, confusing. It (jj nº 3) should’ve been released in September though, so it’s all good. A slightly fairer chance for anyone to keep up with us.
How much are drugs involved with your music (the song ecstasy, the pot leaf on the cover of jj nº 2)? Do you feel like the two can be separated or are they intertwined?
Our music is dope, you know that.
In December, jj signed with the indie label Secretly Canadian who will release the duo’s next LP, jj nº 3, in the U.S on March 9th in conjunction with the release on Sincerely Yours in Sweden. Following, they are set to perform 14 American dates with fellow lowercase, double-lettered electro group, The xx. These shows, along with SXSW, mark the first U.S. live appearances ever for jj.
JJ tour dates:
3/22 – Spanish Moon, Baton Rouge, LA w/ The xx
3/23 – Bottletree, Birmingham, AL
3/24 – Variety Playhouse, Atlanta, GA w/ The xx
3/25 – Cat’s Cradle, Carrboro, NC w/ The xx
3/28 – Sixth & I Historic Synagogue, Washington, DC w/ The xx
3/29 – First Unitarian Church Sanctuary, Philadelphia, PA w/ The xx
3/30 – Knitting Factory, Brooklyn, NY
3/31 – Webster Hall, New York, NY
4/2 – Paradise, Boston, MA w/ The xx
4/3 – Le National, Montreal, QC w/ The xx
4/4 – Lee’s Palace, Toronto, ON
4/5 – Wexner Center, Columbus, OH w/ The xx
4/6 – Buskirk-Chumley Theater, Bloomington, IN w/ The xx
4/8 – Lincoln Hall, Chicago, IL w/ The xx
4/9 – Varsity Theater, Minneapolis, MN w/ The xx
4/12 – The Nightlight Lounge, Bellingham, WA w/ The xx
4/13 – Commodore Ballroom, Vancouver, BC w/ The xx
4/14 – Crystal Ballroom, Portland, OR w/ The xx
4/16 – Bottom of the Hill, San Francisco, CA
I was absolutely startled by St. Vincent when I first heard “Now Now” off her debut album Marry Me (2007). The ringing harmonics, vocal overlays, orchestral crescendos juxtaposed with guitar plucking, penetrating bass lines, plus the final ripping electric guitar solo, together sent me over the edge.
St. Vincent is the moniker under which multi-instrumentalist Annie Clark performs. Her tunes are unpredictable, quirky and bizarre enough to stand out in a sea of emerging indie artists. Clark offers a new sound and voice. She twists catchy melodies into unique arrangements filled with her rich, yet fragile voice. The music warbles with cacophonous eruptions of sound and disturbing, thought-provoking lyrics and electric guitar solos woven with the classical instrumentation of piano, flute, horns, drums and violins.
Clark began playing guitar at 12 and as a teenager, worked as the tour manager for her uncle’s band. Her family moved from Tulsa, Oklahoma to Dallas during her high school years and for college she traveled to Boston to attend the Berklee College of Music. Prior to venturing out on her own, Clark performed as part of both the Polyphonic Spree and Sufjan Stevens’ 2006 live band. Touring extensively in support of Marry Me with artists including Death Cab for Cutie, The National, and Arcade Fire, Clark began to excite attention from audiences nationwide. The album landed critical acclaim and Clark a No. 90 spot on the U.S. Billboard charts.
St. Vincent’s sophomore album, Actor (2009), is denser and more melancholy. While Marry Me was a colorful splash of divergent sounds, Actor is a more subtle matter. Clark again blazes a new trail filled with beauty and darkness. The first track, “Stranger”, truly soars above the rest. Flute and synth spiral among blurry eruptions of sounds providing the music with strange warps and bends. Clark’s smooth and delicate voice lilts throughout whether transformed by effects or fully bare. And the rager that Clark is on guitar is yet again unleashed with loads of distortion in between sweet accordion-laced melodies.
Clark’s live performances are unusual, confident, mesmerizing and inspired. They bestow her artistic vision as she precisely articulates it will full band in tow. Definitely a marvel to witness. I’m excited to get a taste this weekend in Denver!
Feb 13 – The Bluebird Theater, Denver, Colorado
Feb 15 – Bottleneck, Lawrence, Kansas
Feb 16 – The Blue Moose TapHouse, Iowa City, Iowa
Feb 17 – Turner Hall, Milwaukee, Wisconsin
Feb 18 – Metro, Chicago, Illinois
Feb 19- The Pike Room at The Crofoot, Pontiac, Michigan
Feb 20 – Outland on Liberty, Columbus, Ohio
Feb 21 – Diesel Club, Pittsburgh, Pennsylvania
Feb 23 – Jefferson Theatre, Charlottesville, Virginia
Feb 24 – 9:30 Club, Washington DC, Washington DC
Feb 25 – First Unitarian Church – Sanctuary, Philadelphia, Pennsylvania
Mar 12 – Yu Gong Yi Shan, Beijing, Beijing
Mar 13 – Yuyintang, Shanghai, Shanghai
Mar 15 – Recital Studio, Esplanade, Singapore
Mar 18 – Pacific Blue Festival Clu, Wellington, Wellington
Mar 28 – Big Ears Festival, Knoxville, Tennessee
Mar 30 – Highdive, Champaign, Illinois
Mar 31 – MusicNOW Festival – Memorial Hall / University of Cincinnati, Cincinnati, Ohio
Jul 18 – Pitchfork Music Festival, Chicago, Illinois
For those of you already enamored by The Avett Brothers and especially those who aren’t yet, check out this view of “Murder in the City”. It captures the brothers candidly sharing their song about family. The video is frank and touching, sweet and intimate. The song is off of The Second Gleam EP (2008).
Their upcoming tour begins at the end of the month and takes the Avetts across the states and beyond to both Europe and Australia.
The energetic, Swede pop perfection of The Tough Alliance immediately entangled me when I first heard “Neo Violence”. It’s spring loaded, synth heavy, techno-tropic and gets you giddily dancing. I adore their wry humor at the end. I finally dove into their last two releases and got turned on to more TTA. The songs are bright, emphatic, and uplifting, buoyant with constant explosions of sounds. I’m surprised they haven’t yet hit the scene harder in the U.S.
Check out the rad video for “Simple Games” from the New Waves EP (2006). It’s got girls jumping rope in the breathtaking, sun-dappled outdoors and projections of breaking waves (a recurring visual motif of theirs).
Childhood friends Henning Fürst and Eric Berglund formed The Tough Alliance in 2003. The Göthenburg, Sweden duo have polished their glammy blend of pop and electronica through a series of EP and album releases, first on the locally based Service label (home to Jens Lekman and Studio) and then on their own label, Sincerely Yours, beginning in 2006. Each critically acclaimed creation helped to establish them as a central force within the Swedish indie music scene. TTA began attracting greater international attention in 2007 due to outstanding reviews for A New Chance (2007) and American distribution.
Adding some color to their story, The Tough Alliance amusingly have an infamous reputation for their live appearances and receive frequent attention in the Swedish media for lip-synching to their backing tracks while ambiguously wielding baseball bats. The resulting accusations of glorifying violence and hooliganism haven’t gone unnoticed. TTA directly confronts all detractors in the lyrics of “Neo Violence”, which ascended to number 13 on the Swedish album charts in 2007.
No U.S. dates at the moment, but keep your eyes out for The Tough Alliance.
Neo Violence
No no need for a baseball bat
Don’t need no knife for a sharp attack
No excuses, no looking back
We think too much about the things we lack
This neo violence
Pure self-defiance
This neo violence
The Tough Alliance
I hardly noticed your short romance
Your careless manners and your anxious glance
Kissed and telled, got paid in advance
You’re far behind now love you missed your chance
This neo violence
Pure self-defiance
This neo violence
The Tough Alliance
Truly sorry thought you’d get the wink, it’s in our nature to be out of sync
Truly sorry thought you’d get the wink, it’s in our nature to be out of sync
This neo violence
Pure self-defiance
This neo violence
The Tough Alliance
This neo violence
Can’t stand the silence
This neo violence
The Tough Alliance
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