Kaiser Chiefs - Off With Their Heads

Off With Their Heads? More like Off With Their Ears!

If you’re looking to pad your collection with indistinguishable Brit rock, add Kaiser Chiefs. Their third release is perfect for fist-pumping frat boys in Hoboken bars who desire some semblance of indie cred but are too lazy to research something less generic and slightly under the radar. This would require thinking, but then again so does most subterranean rock worth listening to. Their interesting debut, Employment (2005), flirted with new wave and 70’s punk, but commercial success has made their sound mass produced for, well, mass appeal. Quite frankly, fuck marketability if it’s at the expense of losing that certain something that had initially put them on the map. Even producer Mark Ronson did little for this derivative music than give it a shiny, polished sound.

“Spanish Metal” is their “badass” intro. The vocals excited me since they were reminiscent of Alice In Chains’ lead singer Layne Staley (may he rest). Alas, the thrill wore off since I ended up turning on Jar Of Flies instead. With a catchy chorus and watered down Gallagher (see: Oasis) vocals, “Never Miss A Beat” is actually one of the more tolerable tracks. But if blatant un-originality tires you, this song will put you to sleep faster than Nyquil. Unworthy of mention are the uninspired songs “Can’t Say What I Mean” and “Good Days Bad Days,” boasting lyrics that are equal parts cliché and utterly annoying. The punchy guitar that introduces “Like It Too Much” is nothing but a Spoon “I Turn My Camera On” baseline knock-off, but not in a good way. Plus, I’m not even a Spoon fan! And “You Want History,” with wailing guitars and big background vocals, is a mélange of sounds from forgettable 80’s bands not even worth the lackadaisical mention.

Overall, this album is far from groundbreaking and misses the very beat they claim to “Never Miss.” Had they covered familiar territory from a unique vantage point maybe they could’ve developed more worthwhile lyrics, but no dice. Plus, the music has been done before... and better. Suffice it to say, I’ve seen fake Prada wallets sold by NYC street vendors with more style and originality than Kaiser Chiefs.

Jenny Lewis - Acid Tongue (2008)

Several weekends ago, I got engaged (awesomeness!) and to celebrate I bought Jenny Lewis' new record. I am a huge fan and was expecting to instantly get my socks rocked off. Unfortunately, it took me many roundtrip car rides from LA to Huntington Beach to warm up to the CD. The first 4 tracks are repetitively boring and I always skip over them. My least favorite song is "Last Messiah." It feels like a 24 minute long jam session and she could have nailed it in about 4 minutes flat. The CD takes a turn for the better with "Acid Tongue," and then "Fernando" treats us to a country punched tune that reminds me the beginning of Ryan Adams' "Shakedown on 9th Street". To my delight, Elvis Costello joins Jenny in the upbeat and vocally strong duet "Carpetbagger." The highlight of the album is "Jack Killed Mom" because it's boisterous and fun to sing. So, should you run out and buy the album at the record store? Nein! The CD comes in an eco-friendly sleeve accompanied with 4 photos that you find on her website - total weak sauce. I would just download the songs mentioned above and watch "The Wizard."

Secret Machines @ Webster Hall

Openers TK Webb & The Visions put on a great set perfect for guitar junkies and general rock enthusiasts alike. Their sound is all over the musical map and they totally put on a stellar performance that showcased not only their debut album Ancestors, but just how unique their musical vision can be. And seeing them live transformed my casual interest into actual intrigue.

Currently on tour in support of their eponymous third studio release, Secret Machines got their space rock on for a crowd chock full of longtime devotees. They played a healthy mix off their previous two releases Now Here Is Nowhere and Ten Silver Drops as well, including my favorite track “Nowhere Again,” which is an erotically charged number that grows in intensity and always gets the audience’s collective pulse racing. The music just swells and throbs in all the right places.

Secret Machines are, at best, a three-prong rock outfit that really electrified the place with larger-than-life drumming, heavy guitar riffs, atmospheric keyboards, and the kind of vocals that grab you by the lapels and don’t take NO for an answer. Even their stage set-up was eery and dark as they performed in this cage that resembled some sort of steel cable cobweb. I kinda dug it.

Annuals - Such Fun (2008)

I like the Annuals. I like their shambolic indie rock and the first half of the album is lots of fun. It's a little more polished than Be He Me, more along the lines of their song on the Wet Zoo split EP. Over all, the band sounds tighter. They work in a little punk guitar strum before breaking into pop shimmer, never straying to far from a melody. I especially like the rhythmic guitar on "Hot Night Hounds" and the stuttering drums on "Springtime". "Down The Mountain" adds a little country to the mix. However, none of the songs on the second half of the album stand out, slipping by pleasantly, but without leaving much of an impression. I had higher hopes for this album.

Andy Bopp - This Guitar Kills Singer Songwriters (2008)

This was one of those albums that I immediately wished I sampled before I downloaded it off eMusic. In spite of its name, I loved Myracle Brah. That band lead me back to Love Nut, which was also awesome. Andy Bopp fronted both bands. And this new album is on Rainbow Quartz, my go to power pop label. I can't help coming in with high expectations.

It's not that it's a bad album, just disappointing. With his voice only accompanied by an acoustic guitar, the songs feel more intimate with a greater focus on the lyrics. I have different versions for 7 out of the 12 songs on the album and in a head to head comparison the new stripped down versions just don't hold up. His voice still sounds good, but I miss the buzzing guitar and thumping drums. The songs are just less catchy. It seems like an album to sell at shows on a solo tour.

Eli "Paperboy" Reed @ Lola's Room

Mr. Reed is a showman. And his band kicks ass. He croons, he screams, and his banter is rehearsed and friendly. The crowd was sparse, but the band came to play and put on a show. They were raw, they were rough, and they sounded great. Their music filled the room and more than made up for the lack of audience. I could feel the horns' vibrations in my beer. Over the course of the set, I heard in his voice a number of soul stars that I love but never got to see live because I was born too late, including a little Otis Redding, a little Wilson Picket, and a whole lot of Joe Tex. But he also reminded me of some of the other lesser known southern soul singers like James Carr and Arthur Alexander, emotive southern singers coming out of Muscle Shoals. His voice is gritty and warm and he nails the deep and scratchy scream. I can just imagine him running the Chitlin' circuit, working the crowd until they are sweaty and tired from dancing. This was one of those concerts that seals the deal, moving me from a casual appreciator to a fan. I'd go see him again live in a heartbeat. I can only imagine what he'd do with a full house.

John Legend feat. Andre 3000 - Green Light [single] (2008)

Stylish, elegant, sexy, modern, hip, fresh, unique... these are all words I'd use to describe the inimitable John Legend. Being a longtime fan of his raspy voice and innumerable musical talents, I'm totally in love with "Green Light," the first single off his upcoming third studio release, Evolver. Teaming up with another unique voice in modern hip hop, Outkast's own Andre 3000, was a smart choice. While adding his hip hop musings, it sounds more like scatting than rap and always ups the creativity factor.

"Green Light" deals with the usual themes of eye candy, dancing, hitting "the club," wanting to get down, and finding a new woman worthy of sharing your last name... but this is John Legend, so he doesn't stop there. The music is like hip hop's equivalent of big-band style beats that are catchy, ultra danceable, different, and definitely better than most danceable hip hop music these days. But hey, I expect nothing less than innovative vision from a performer who selects "Legend" as his surname.

This track is cuter than a tired pick-up line! Legend brings the sexy, 3000 brings the quirk, and the lyrics are silly, creative, and hysterical. Where Legend remains sweet ("Do I have girlfriend... technically, no... will you be my girlfriend?, then I'll make it so...") and asks for the permission to get closer the entire song, Andre 3000 contrasts this by being cocky and brash ("I just want you woman, hey... if I were you then it would be me that I go home with"), damn persistent ("That's just what I'm telling you, should be in bed with you, like I've been in jail for two") and, well, funny ("Let's hop a cab, and split it... just kiddin! We both going to where you livin', ha!"). And the playing-hard-to-get female is always entertaining ("She said, what kind of girl do you think that I are? The kind that you meet in a bar? You think you can get whatever you want 'cause you some kinda star?"). Ahh, witty banter.

The sweet R&B crooner, the over-the-top and ridiculous rapper, and the unimpressed video vixen set to a fun and danceable beat is a formula that never gets old. Plus, the music video... it's like one of those awesome Bailey's commercials with extended shots of some glamorous party that you wish you were at. Nothing but good times.

Minus The Bear - Acoustics EP (2008)

Keeping up with my Seattle kick of late, Minus The Bear (or Menos El Oso for our Spanish-speaking readership) has put out an Acoustics EP that is available for digital download. Or for those who prefer physical copies, they'll be for sale at merchandise booths on their current tour (can't wait, 10/26/08!).

Being one of my favorite math rock bands, I'm enamored with their experimental rock feel, melodic chords and that signature atypical rhythmic structure that always reel me in. If those aren't reason enough, lead singer Jake Snider perfectly complements the music with a sleepy sexiness in voice that is forceful and entrancing, yet so laid-back. Lyrically, Snider tends to focus on the perennial themes of sex/getting wasted/having fun, but manages to do so in this punch-drunk, romantic way without being too touchy-feely. So why the Acoustics EP? I was hesitant and feared stripped down versions might minus the Bear out of their sound completely...

...well, I was wrong since this 6-track EP ain't half bad. It's actually a full-band acoustic that maintains their indie rock sensibility, while adding an intimate and jazzy feel. There's a new track "Guns & Ammo," 4 of the best off 2007's Planet Of Ice ("Burying Luck," "Knights," "Throwin' Shapes," and "Ice Monster"), as well as fan-favorite "We Are Not A Football Team" off 2002's Highly Refined Pirates. But the track that stole the show is "Pachuca Sunrise" off 2005's Menos El Oso. Already gorgeous in its electric version, the acoustic adds this whole new chill element that still works with some of the most effortlessly romantic lyrics I've ever heard. The imagery is so lush that each time I play this song, I literally am transported to the same Mediterranean beach, watching the “luster from the city lights, on the waves that kiss our feet.”

I only wish they'd included "Monkey!!! Knife!!! Fight!!!" (my first taste) or all-time favorite "Absinthe Party At The Fly Honey Warehouse" (both off Highly Refined Pirates), but no dice. If you're new to MTB, I'd suggest checking out "Absinthe..." The guitar-driven intro spanning the first minute + 30 seconds of this track is enough to get a Minus The Bear novice out of hibernation. See for yourself.. it's just plain ridiculous.

Bear Hands - Golden EP (2007)

Another promising "bear" band rises out of Brooklyn's indie rock scene (Grizzly Bear, Panda Bear)... this time it's Bear Hands with their 4-track Golden EP. They've generated quite a bit of buzz in the NYC indie scene and their EP is a perfect teaser for what is hopefully to come once their full-length debut drops. I'm not sure how long that will take considering they don't even have an official website yet! I researched these guys when I learned they were opening for the upcoming Les Savy Fav show I have tickets for and was pleasantly surprised. I hardly roll up to a show these days just to hear an opening act, so it's a welcome change to find one worth getting to the venue early for-- especially since they don't suck.

Lead singer Dylan Rau sings with a rawness that is reminiscent of Craig Nicholls of The Vines (whatever happened to them? They were good...), particularly on my favorite track "Long Lean Queen." With a polished garage rock sound, their music flirts with post punk and indie rock, while managing a hybrid of alternative rock with a smidge of 90's emo. I attribute the latter to angular guitar riffs and the occasional dash of sadcore, especially on "Golden." But emo-haters can relax. There's still a bit of punchy guitar and vocals on "Sickly Brunette" for those who prefer something that wails. And "Bad Blood" is Modest Mouse-y at best, in its disjointed guitar and chaotic yet melodic vocals... but in a good way.

Girl Talk - Feed The Animals (2008)

Pittsburgh's Girl Talk (real name: Gregg Gillis) is a former biomedical engineer who quit his day job to pursue his real art and craft: DJ-ing. Specializing in the creation of incredibly catchy “mash-ups,” he incorporates the best highlights from popular top 40, 80’s, hip hop and alternative rock songs we all know and love, to make brand new tracks for us to continue loving. Diddy might claim to have invented the remix, but Girl Talk took said remix, shook it up, and served it on the rocks with a twist of lime.

To understand his mission, he has said: "The whole basis of the music is that people have these emotional attachments to these songs… being able to manipulate that is a really easy way to connect with people." Ahh, the genius in conceptual simplicity that makes you wish you’d come up with it first! Feed The Animals boasts 14 stylized and ultra danceable tracks that are dizzying as they are intoxicating. Quite simply put, this shit is musical schizophrenia of the functional kind. Mixing upwards of 300 [unauthorized?] samples from artists ranging from (hip hop) Jay Z and Ludacris, to (electronica) Aphex Twin and Kraftwerk, to (mainstream pop) Rihanna and Britney Spears, to (classic rock) Pete Townsend and Steve Miller Band, Girl Talk has moxie. In fact, according to The New York Times Magazine, Girl Talk is a “lawsuit waiting to happen” and this is just as enjoyable to watch as tabloid fodder of good old-fashioned trainwrecks is to read (see: Amy Winehouse).

He’s even gaining a reputation for off-the-wall stage antics, all of which include the spontaneous removal of most, if not all, of his clothing during his set. Apparently, nudity never gets old. But half the fun is trying to identify the artists that are being used in each track [sometimes 18+]. Plus, his mixing choices are unique as hell. Who else would think to mix The Police’s “Every Little Thing She Does Is Magic” with Busta Rhymes’ interjection of thoughts on making “booty clap?” File all this mad genius under Girl Talk, whose style will soon render traditional DJ’s obsolete. Seriously, just put this record on and the party will come to you. And if he doesn't make you dance, get your ass to a doctor immediately to check for vital signs.

Oh, and I couldn't resist:

Fleet Foxes @ Webster Hall - NYC

Pogonophilia was alive and well last night! Fleet Foxes folked things up hardcore at their second NYC show, much to the delight of some pretty enthusiastic fans. The Seattle quintet describes their music as "baroque harmonic pop jams." Yeah, I just call it "awesome." Playing tracks off the Sun Giant EP as well as their eponymous debut, lead singer Robin Pecknold and company entertained with some of the most gorgeous vocal harmony I've heard in a while. Their records are undeniably good, but seeing it live is a whole 'nother level of musical genius. After their set, I seriously wanted to gallop off into the Seattle sunset on a horse (with no name).

The music was flawless as the vocals were impeccable. Even the stage lighting was elegant-- they had a backdrop that resembled a starry night sky, joking that "New Yorkers deserve one night of actually being able to see them" (hey!). Pecknold ripped on The Big Apple a few times, but then made it up by telling us how much they love stopping here on tour. Hilarity ensued when a loud fan inquired how he spent his day; he regaled us with stories about exploring Williamsburg, Brooklyn (everyone smiled/giggled, of course) and the fancy coffee he sipped there. He then rhetorically asked questions about the who's/what's that invented complicated coffee flavors and why it was so damn hard to find simple java. This is NYC, so of course rhetorical questions never go unanswered. A smartass fan in the audience shouted "Blame Seattle for that!" and we all busted out laughing, as Pecknold smiled and said "touche."

The witty banter amongst the band and with the audience only enhanced their great live performance. They even showed off an awesome new track, "Silver City," and Pecknold sweetly begged, "Don't put it up on YouTube, it's not finished yet." They played for about an hour and a half (to make up for no encore...what?!) and informed the crowd they're heading back to Seattle to record their new album. They won't be touring again for some time, so I highly recommend catching them while you still can. Until then...

Raphael Saadiq - The Way I See It (2008)

Do you love Motown? Because if you do, you need to pick up this album. Raphael Saadiq's traded in the processed 90's R&B of Tony! Toni! Toné! ("If I Had No Loot" is pretty rad) for straight up 60's and 70's Detroit soul. His smooth and silky voice is a perfect fit. The romantic and tender songs are mostly backed by group harmonies, lushes strings and and lots of clapping and tambourine. All but one song sounds like a B-side off a Temptations/Smokey Robinson/Four Tops album. And then there is Jay-Z. Really. It sounds totally out of place only because the rest of the album sounds 40 years old. It's as if a classic soul album sampled a rapper for a change. Preferring gritty southern soul to it's smoother more refined northern counterpart, I like the more upbeat numbers best ("Big Easy" and "Staying In Love"), but the whole album is really good, definitely worth a spin for the retro soul fan.

Hockey - Mind Chaos (2008)

I know my Jay Reatard reviews have made me sound like a total fanboy lately, but I've listened to a lot of bands this year and this may be the one I was looking for. Only time will tell if the concert high wears off. They combine my love of gritty soulful vocals, funky baselines, and indie rock. While not nearly as noisy and wild as their live show, the album still captures that allusive cool, yet fun sound. The vocals are just more discernible.

Like MGMT and the Virgins, there's no denying that they love the 80's party jams, but like the former, they mix it up enough to keep it sounding fresh. It's only nine songs long and they are all pretty damn good, but if you made me choose I'd say you need to check out "Too Fake", which sounds like LCD Soundsystem fronted by Rod Stewart, and "Work", which combines world weary lyrics and dancefloor groove. As strong as the songs are, I still I prefer their more feral state. Until you can see them live, crank it up loud.

Human Highway - Moody Motorcycle (2008)

Chalk another one up for the mellow and melodic. Nick Thorburn, of Islands, The Unicorns, and a handful of other bands, teams up with another dude (Jim Guthrie, Woody Guthrie’s grandson, according to people who know about these sorts of things) to put together pleasant harmonies over mostly soft, strummy guitar and sedated percussion. The Islandy, “All Day” comes across as an ode to lazy days spent soaking up rays on a chaise, while “Duties Of A Lighthouse Keeper” and “Get Lost” make me want to lounge around inside. The duo picks it up a bit with the pop tracks, “The Sound” and “Moody Motorcycle,” but never get too crazy. This is a nice sleepy album to supplement a cup of coffee and a nice big law book. Trust me.

The Wishbones: A Novel (1997)

This novel follows another bunch of relatively unsuccessful musicians. These are losers of the Rob Fleming variety - unromantic failures living in suburban New Jersey, in their mid-30s but still staying with their parents, trudging through crap jobs, with only their wedding band providing them with any pleasure in their lives. Also like Rob, they seem to be stuck in perpetual inertia about moving forward in their lives, whether that means getting married, finding a job with with consistent hours, or at least not driving while slogging down cheap beer. The main character, Dave, stumbles through the narrative thinking about, but not actually making decisions. Rather, he seems to content to let life happen to him. As a result, his life kind of sucks. It's a quick reminder how the rock n' roll lifestyle that seems carefree and glamorous when you're young, seems sort of pathetic once you no longer are.

Hockey @ Holocene

Holeeeeee shit. These guys are awesome. I decided to check them out when the write up described them as new wave/soul and referenced LCD Soundsystem. But judging from their live show, that really doesn't do them justice. They are soulful, funky indie rock. And somehow they prove that isn't an oxymoron. They have a great live show that's full of energy with a back beat to move your ass. To give you an idea, it even got the bearded hipsters dancing spastically (yes, I felt at home), even the ones towards the back. And like a good soul band, their live show is tight. For all the wailing and pounding, they still stop and start on a dime. Check their site and make sure they are coming to your city. You need to see them. They'll be your new favorite band. Or at least you'll know what I like.

The Dirty Heads - Any Port In A Storm (2008)

Working with a similar influential underpinning of hip hop, ska, pop-reggae and/or reggae-rock as the likes of Sublime, Pepper, Slightly Stoopid, and Santa Cruz's own, The Expendables (the list goes on), Any Port In A Storm has, what I would call, a "Dr. Jekyll and Mr. Hyde" sensation to it. What I mean is, on this album, the combination of the two primarily used influences—reggae & "white-boy" hip hop—make for a drastically conflicting tempo, intensity, and therefore, overarching feeling, from track to track. For example, I enjoyed the mellow & melodious—albeit familiar for anyone who recognized the aforementioned bands—pop-reggae tracks such as: "Everything I'm Looking For," "Know That I," "Chelsea," and the clear standout, "Stand Tall," that gave more weight to the reggae influence. However, I found myself immediately skipping over tracks like "Hip Hop Misfits," "Morning Light," and "Check The Level," because they entirely shifted style, tone, and approach and agitated the mood and theme that the other tracks had developed. I know that the variation of influence and flux in disposition is natural and appealing for some, and may be stimulating in a concert setting; however, the fluctuations in style make Any Port difficult to enjoy in its entirety.

Jay Reatard - Matador Singles '08 (2008)

More Jay Reatard. Hell YEAH! Wait, another singles collection? Apparently, the vinyl versions of these Matador singles are heating up eBay and for good reason. The CD is packed with 13 short bursts of awesomeness, each song being more of what I've come to expect from Jay in his solo state: fuzzy guitar hooks, catchy choruses, and tons of energy, all in (usually) around 2 minutes. "An Ugly Death" has me gleefully singing "For YOU, for ME, for all to see-e-e-e" about the ugly death of a pretty girl just shortly after singing about how "She creeps me out" on "See/Saw" and before the creepy "Trapped Here". Dude has some issues. Ladies may want to heed the warnings that string through his best songs. But he rocks hard and "Always Wanting More" (figuratively) kills me. It's simple lo-fi garage crunch at its best. Thank Jay Reatard for bringing back pop punk's good name.