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Paul Thomas Anderson’s There Will Be Blood is perfect for 17 or 18 reasons. Daniel Day-Lewis and arguments utilizing milkshake analogies are two of these reasons. Jonny Greenwood’s (the real genius behind Radiohead) intensely unsettling soundtrack is a third. Dissonant string compositions and violent dynamics (along with the fact that the soundtrack is an integral part of the film, not just background noise) will help cement these scores right up there with Nino Rota’s music for the Godfather films and any of John William’s work. If you don’t remember the music, you either didn’t see the movie or were too busy trying to touch Jenny’s inner thigh. Anyway: Excerpts from Greenwood’s BBC award winning piece “Popcorn Superhet Receiver” can be heard, and fit perfectly. Pick it up and give some paranoid classical music a try. Personal suggestion: Don’t listen while trying to get to sleep. It just makes things ugly.
–Billy Yost
I shouldn’t be here. I shouldn’t be writing. My band takes off for Spring Break tour right after I give a speech on the futility of human effort. I was loading up my iPod for break and realized I needed some new tunes. Luckily, former Marvelous 3 frontman and (gulp) current Pink/Avril Lavigne hit-maker/producer, Butch Walker, has offered up his new double album, Leavin’ the Game on Luckie Street, for 5$ or nothing. Walker writes the best pop songs of our time, straight up. That’s all about Butch.
If you stop by Saul Williams’ (Trent Reznor junkie) website you can also pick up a cheap (or free) copy of his critically acclaimed (and Reznor produced) The Inevitable Rise and Liberation of Niggy Tardust. Sounds too much like NIN to you? It’s okay. Just let it happen. Happy Spring Break. See you in the cities.
–Billy Yost
I haven’t heard it yet, but judging by Trent’s inability to say anything particularly well in the past few years, I’d say that things could go either way on this release. The big news on NIN’s Ghosts I-IV is that it can be downloaded for free or, for those of you with dignity, can be purchased for $5. Following Reznor’s split with his major label, it was obvious that he was excited to stick it to the man, women, or transvestite. This Radiohead-esque release certainly works (bias sources tell me Reznor was a little peeved that he didn’t get more of Radiohead’s credit for the “free” idea because he did it (sort of) first). A $10 CD or a $70 conglomeration of stuff (disc, Blue Ray disc, DVD) is also available at the band’s website and, rather than going to execs in suits, your cash will probably be geared more towards former junkies and sex addicts. That is something I support. For you hardcore fans with the makeup, the leather, and the whatnot, a $300 “ultra-deluxe-limited edition” can be purchased and includes vinyl, probably some more leather, and Reznor’s own John Hancock. Did I mention the album is instrumental? Seeing as this writer’s favorite NIN track is “Just Like You Imagined”, I’d say we’re in biz.
Life is hard. Especially when you wear leather undies.
–Billy Yost
If you’re like me, and God help you if that’s the case, you can’t think of a much better combination than that crazy chick from Natural Born Killers & Dave Grohl…eh? Yeah, it’s not exactly my first choice either. Granted, Grohl makes even crap like Cat Power seem alluring (assisting on some of the technical aspects of some album…blah…blah who cares), but what happens when he sits in (after The Licks drummer departed) with a band that seems oddly perfect for his hard rock drumming? 2006’s Four on the Floor announces that verdict: a semi-lame rock album with really decent drum fills. Yeah, it took me two years to track down this album, I’m over it.
Lewis doesn’t take on anything particularly lyrically invigorating. She wants to do it, and she would like you to be aware. She comes off dead sexy at times and Joan Jett ridiculous at others. Take it or leave it. Grohl is solid and listening just for the drums reveals his patented “how the crap did he fit all those notes into half a measure” drum rolls. If you’re an angry woman or looking for some silly, but damn catchy, rock n’ roll, try Four on the Floor.
Bonus: Watch Grohl recording tracks for Four on the Floor
–Billy Yost
As previously mentioned, my capacity for local local local local independent music is little to none, namely because I’m involved in the local music scene and most of it is terrible. That leaves Tom to sort out that mess. That’s the nature of most music, though, so don’t get down. 99% of the garbage you hear is…well, garbage. It’s searching for that 1% that defines your mornings, your walks to class, your first sexy time episode; those bands and songs stick with you for the rest of your life.
The UK’s Arctic Monkeys are my antidote for modern living. If you haven’t heard, their first release, Whatever People Say I Am, That’s What I’m Not, became the fastest selling debut album in the history of British music. They’re keen on releasing music (releasing a 5-song EP only months after their blockbuster album) and take themselves as seriously as someone who doesn’t take themselves seriously at all. When introduced on British television, frontman Alex turner introduced the band as “We’re the Arctic Monkeys. Don’t believe the hype.”
They’re latest effort, Favourite Worst Nightmare, features the Monkeys taking a few new sounds without digressing heavily from what made them famous. However, the softer side of Turner is heard on such beautifully crafted songs as “Only One Who Knows .”
For you die hard fans, I suggest jumping on your favorite file sharing program and searching for the hard-to-find demos that made the Arctic Monkeys a huge Internet sensation. The band made money (lord knows gigs are paying less and less these days) by cutting demos and selling limited (due to monetary constraints, not a crappy Pearl Jam move) copies at shows.
While you’re at it, check out Youtube for their great covers of The Strokes “Take it or Leave It”, Amy Winehouse’s “You know I’m no Good”, and whoever’s “Diamonds are Forever.” Check it.
–Billy Yost
Editorial Note: Billy boy was called out for sure on the AM not actually charging money for their demos. They gave them out, which makes them even cooler. A quick Wikipedia check would have sorted this out. My b-b-bad.
Larry Bird is the first. We can argue about that later.
Indie rock gets a bad rap…and for good reason. Most of it is crap. Mmm, 95% if you’re keeping track. “Hey look at us, we recorded this ourselves and it sounds like garbage and rips off the Velvet Underground a lot.” Listen to a Pavement record and you’ll understand where I’m coming from. Actually, skip that. It’s not worth your time. But fear not, there are some real classy indie acts that are both praised by their vest-wearing counterparts and are actually pretty damn good. Or, in this case, freaking rule.
Andrew Bird has found a perfect balance in inconsistency. His gentle voice and world-class whistling, for some reason, seem to mesh perfectly with any random instrument he comes across. His harmonies are frustratingly, simply complex; his arrangements perfectly constructed. Record to record, he tries his hand at the un-ordinary, and it usually works. Select “singles” like “Heretics” and “Plasticities” showcase Bird’s uncanny talent for creating genuine hit songs in a much truer medium.
Check out Bird’s latest full-length releases, Armchair Apocrypha, for the man’s finest record to date.
-Billy Yost
In a list of heavy rock acts that consistently get the shaft, Lemmy and the like will probably not appear on the list…because they’re a heavy rock act that consistently gets the shaft. Motorhead has always been a meeting ground for the punks and the metalheads, the Brits and the Yanks, the heavies and the heavy-wannabes. You may not like metal, but you’ve got to love Motorhead. Unless you’re an idiot.
Video: Motorhead performing on the long-discontinued “Young Ones”
- Billy Yost
Raconteurs and Gnarls giving it to reviewers like frat boys on formal night
March 26, 2008 in General Commentary | by Billy | Leave a comment
With little or no hoopla attached, Gnarls Barkley and The Raconteurs quietly released sophomore records this week to an unprepared public. They committed a major music biz faux pas by not pre-releasing their work to music journalists to review and mull over. Instead of the usual pre-release –> review –> actual record release, the bands are (more or less) attempting to get the music into fans’ hands before reviewers tell them what they should think about it. Raconteur and White Stripe alike, Jack White, especially, expressed concern in regard to the current state of the music industry and is attempting to make a change. Some critics are outraged as they see the preemptive releases as the decline of “scholarly criticism” and encouragement of any and everybody to write their own reviews instead of listening to experts (like watching Boogie Nights and then shooting your own porno). As a total elitist and resident d-bag, I can see their point. However, I have had several records ruined for me by reading reviews before I heard it for myself. While it’s my own fault, I can’t help but wonder what a nice change it would be to make my own musical judgements after a week of listening and not have to privately compare my day-old verdict to Rolling Stone or, even worse, Pitchfork. As a musician and a fan, screw the industry. Yeah, I’m tough.
–Billy Yost
Check out:
The Raconteurs- “Consolers of the Lonely”
Gnarls Barkley- “The Odd Couple”