Monday, March 30, 2009

Video: Handsome Furs Live in Minneapolis



*MP3: Handsome Furs - "Legal Tender" (Live in Minneapolis 3/28/09)
*MP3: Handsome Furs - "Evangeline" (Live in Minneapolis 3/28/09)
*MP3: Handsome Furs - "Handsome Furs Hate This City" (Live in Minneapolis 3/28/09)

Handsome Furs played at the 7th St. Entry on March 28 and we're awesome. Here are three songs we shot, which includes the fantastic performance of "Handsome Furs Hate This City."



Watch in HD here.



Watch in HD here.


Watch in HD here.

(Ian Anderson/Alyssa Kleven)

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Wednesday, March 25, 2009

The Shins Leave Sub Pop

http://thelastgasp.files.wordpress.com/2008/06/381741.jpg

*MP3: The Shins - "Kissing The Lipless"

According to Pitchfork, The Shins have left Sub Pop Records. This feels weird to me, thoughts?

(Ian Anderson)

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Wednesday, March 11, 2009

Best New Music: Handsome Furs - "Face Control"

http://betterpropaganda.com/images/artwork/Face_Control-The_Handsome_Furs_480.jpg

*MP3: Handsome Furs - "Legal Tender"
*MP3: Handsome Furs - "I'm Confused"

The new Handsome Furs record, "Face Control" (Sub Pop), is great. Add to the list of an already amazing year of music. "Face Control" contains just as haunting and as well-groomed songs as "Plague Park," but possess a certain quality of exploration that really moves the album forward and stakes the claim that this is a progression for the band.


Handsome Furs "I'm Confused" from Sarah Marcus on Vimeo.

Upcoming tour dates:
03/12 - Ottawa, ON @ Mavericks
03/13 - Toronto, ON @ Horseshoe Tavern
03/14 - Champaign, IL @ Blind Pig
03/15 - Chicago, IL @ Empty Bottle
03/16 - St Louis, MO @ Off Broadway
03/17 - Columbia, MO @ Mojo’s
03/20 - Austin, TX @ Club Deville
03/21 - Dallas, TX @ The Loft
03/23 - Lawrence, KS @ Jackpot Saloon
03/25 - Fargo, ND @ Aquarium (Dempsey’s Upstairs)
03/26 - Mpls, MN @ 7th St Entry
03/27 - Ames, IA @ Maintenance Shop
03/28 - Iowa City, IA @ The Mill
03/30 - Newport, KY @ Southgate House
04/01 - Rochester, NY @ Bug Jar
04/02 - Syracuse, NY @ Spark Art Space

Buy "Face Control" on iTunes HERE.

(MySpace)

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Monday, May 12, 2008

New (and Old) Mudhoney - "I'm Now" and "In 'N' Out of Grace"



Download: Mudhoney - "I'm Now"
Download: Mudhoney - "In 'N' Out of Grace

In a lifetime, 20 years old is nothing. However, in the context of the music business, 20 years might as well be 4 million years in Narnia, assuming that this Caspian fellow isn't just pulling my leg. Trends and styles come and go, but one pattern in music is certain: everything old becomes new again, albeit in a way that's slightly off-kilter--or, conversely, blander--than what came before. So, despite the fact that what was once local, community-oriented music with leftist politics that fused the aggressions of both metal and punk became a marketing sensation, it started out with humble enough beginnings. But that approach may be coming back. Grunge pioneers Mudhoney are not only re-issuing their seminal debut Superfuzz Bigmuff, but are also kicking it new style by releasing their latest effort, The Lucky Ones, on the same day. Check out MP3s (including the remastered "In N Out of Grace") from both releases at the top of the post.

Mudhoney MySpace Page

(Jonathan Graef)

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Thursday, November 08, 2007

Sub Pop Creates Digital MP3 Store



Download: The Thermals - "A Pillar Of Salt"
Download: Iron and Wine - "Sodom, South Georgia"
Download: The Go! Team - "Doing It Right"

Sub Pop opened a digital download store, where you can buy music by their artists online. So far, the Go! Team, the Thermals and Iron & Wine have posted their current releases, along with about 200 other offerings from the label's catalog. Once you've bought an mp3, you can download it multiple times, so when you're computer crashes, or if you're iPod magically clears itself, you're covered. And when bonus racks are added to a record, you can download those without incurring extra costs, too! Smashing Pumpkins, eat your heart out.

The website seems to be lagging a fair bit right now, but as someone with no place to put an ever-burgeoning CD collection, I will definitely be using this service in the future.

(April Wright)

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Friday, July 06, 2007

Jennifer Gentle - The Midnight Room



Jennifer Gentle
The Midnight Room (Sub Pop, 2007)
Grade: A-

Download: Jennifer Gentle - "Telephone Ringing"
Download: Jennifer Gentle - "Electric Princess"
Download: Jennifer Gentle - "Take My Hand"
Download: Jennifer Gentle - "The Ferryman"

As an album, The Midnight Room is like experiencing the world's strangest, creepiest, carnival ride or hall of mirrors. Jennifer Gentle merge the psychedelic sounds of late-period Beatles with the psychedelic sounds of Syd Barrett-era Pink Floyd. Needless to say, there's some trippy, dementedly melodic, music on this record.

The trippyness of the album derives more from the melodies themselves, and less so from atmospherics or production values (though, like Frank Zappa, Jennifer Gentle's Marco Fasolo likes to speed up his vocals to the point where it sounds like he took a big hit of helium before he started singing). Interestingly enough, The Midnight Room starts off with one of its most ambient tracks, "Twin Ghosts." The ringing organ plays an spooky arpeggio and creates a mood not unlike Liars' Drum's Not Dead. But instead of a hailstorm of pants-shittening drums, two angelic voices sing disjointed harmonies over bells and guitar. The effect is simultaneously soothing and disturbing.

From there, the record segues into “Telephone Ringing,” which sounds like the soundtrack to a particularly ironic twist at the end of a Twilight Zone or Tales from the Crypt episode. In fact, the entire record is filled with musical moments like that, whether its the whimsical, Beatles-esque "Take My Hand" and "Electric Princess" or the bouncing, minor-key, hallucinatory pop of "The Ferryman." I can't tell you how much fun it is pause The Midnight Room at any random moment and bust out the bad Cryptkeeper puns like "Be careful what you AXE for, BOILS AND GHOULS, because you just might GET IT! Mua HAhahahahahahaha Haaaaaaaaa!"

"Mercury Blood," meanwhile, feels like a church service on a acid trip, while "Quarter to Three" is one of the album's slight missteps, (the other being "Granny's House,"as the song is simply too repetitive to enjoy). A lot of The Midnight Room's songs use similar composition devices, so one might think that all of the songs sound the same. It's certainly something that I had thought upon my second listen. But after repeated listens, the album's initial repetitiveness because an astonishing cohesiveness. This is a record that was made for headphone listening, while on solitary walks in the city late at night. It's an album that definitely rewards the listener that puts a lot of effort into hearing it.

Most strangely, the real reason why I love this album is because listening to it makes me incredibly uncomfortable. That’s an unusual quality to admire in a album, to be sure, but the hypnotic power of Jennifer Gentle’s The Midnight Room is so strong that any reaction other than sheer addiction is next to impossible.

MySpace Page

(Jonathan Graef)

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Wednesday, March 28, 2007

Let Low eat cake!

I don't think I have to tell you how awesome this is.


(David Brusie)

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Monday, March 26, 2007

Low, Drums and Guns



Low
Drums and Guns (Sub Pop)
Grade: B

Download: Low - "Violent Past"
Download: Low - "Pretty People"
Download: Low - "Hatchet"


In truth, I feel that Low are a band for whom I have great admiration, in terms of the creativity of their sound. However, I don't actually, actively listen to them when I want hear something for pure enjoyment. To put it more concisely, I find Low more intellectually stimulating than emotionally appealing.

So, while you will certainly find albums such as Things We Lost In The Fire in my record collection, you won't necessarily find me whipping it out at Friday night parties in order to impress friends (the record, you pervert).

Low are arguably slowcore's defining band, with Mimi Parker and Alan Sparhawk's haunting harmonies hanging like spectres above the most minimal of instrumental arrangements. When Low started experimenting with their sound on their last record, The Great Destroyer, mainly by turning up the volume and kicking up the temp, I finally found myself becoming more engaged with their music.

The Great Destroyer was the band's first record for Sub Pup. Maybe the changing of labels help give Low the kick in the pants that they needed, because Drums and Guns continues the evolution of the band's sound (with Dave Fridmann continuing his production duties). But they also retain the hymnal, austere quality of earlier works, so much so that I felt like I was listening to 21st century gospel music (with elements of folk intertwined at set at the pace of a dirge).

While music like that is amazing from time to time - particularly on the first track, "Pretty People" - after a few repeated listens, Drums and Guns sounds like the musical equivalent of wailing and the gnashing of the teeth. Again, it's something I don't necessarily listen to frequently. But it is also something I nonetheless find compelling.

As you might expect based on the title, Drums and Guns is all about war and violence, mainly the toll that war can take on the human spirit. Even the soft electronic drum touches that Low add sound like distant gunfire. The album is fulled with world weary resignation from the very first lines - Sparhawk intones that "All you soldiers/are all gonna die" - and on through psalm-invoking tracks like "In Silence" and the introspective examination of "Violent Past."

There is exactly one moment of levity on Drums and Guns, and that's "Hatchet," a song about seeking reconciliation "like The Beatles and The Stones." The song is comparatively upbeat to the rest of the album's material, and "Hatchet" serves as a nice contrast to the bleak nature that fits the rest of Drums and Guns.

Low continue to do an amazing job of expanding their minimal sound, but the bleak and repetitive nature of Drums and Guns makes listening to the album a frustrating mix of monotony and grand reward.

(Jonathan Graef)

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Thursday, March 01, 2007

Rogue Wave Covers The Beatles, Well


Download: Rogue Wave - "All You Need Is Love"

I stumbled upon this last week, sort of blew it off as something that was "kinda cool," but I kept finding myself singing it softly to myself. So, in turn, here is Rogue Wave's cover of "All You Need Is Love" by the Beatles.

It's pretty great. They tip their collective hats to the fab four, but they make it their own enough to keep it fresh -- as fresh as a cover can be. Honestly, this just makes me want to go buy some Rogue Wave records.

MySpace Page

(Ian Anderson)

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Wednesday, February 28, 2007

The Thermals @ the Triple Rock Last Night


2/27/07: The Thermals at the Triple Rock Social Club

Fire and heat jokes, ahoy! The Thermals blazed through a blistering set Tuesday, Feb. 27 at the Triple Rock Social Club.

The show opened up with Middlepicker. The name is about right – they were pretty average. The highlight of the set was when that guy showed up. Anyone who has ever been to a concert knows that guy. The guy looks like he could be 16, maybe a little older, and because he's so moved by the music, feels compelled to run up right in front of the stage and dance. The fact that the band wasn't playing dance music and that he does not, in fact, know how to dance does not deter this guy.

So he shuffles about, sure with his feet, but unsure with his arms. So, he ends up pointing to each band member as if to say "You are my sunshine. My rising star. Thank you." Part of me wanted to go dance with him, to show him he's not alone in this world.

But a bigger part of me wanted to go Jeff Tweedy on his face. And no, I don't mean tenderly sing a moving rendition of "Ashes of American Flags" while gazing into his eyes. I mean I wanted to flip out and punch him.

Well, it's a good thing I didn't, because I would have been kicked out. I would have missed the awesome second opener The Big Sleep. I don't normally like openers, but they were epic. From the skill of all three band members (In particular bass player Sonya Balchandani had superb technique. Just being able to watch her hands was worth it.) to the Earth-shattering force of their sound, I was impressed with all facets of their show. I'm a huge fan of both Sonic Youth and Spoon, and this band hit that sweet spot right in the middle of rhythm and noise.

And the Thermals just fucking rocked. It's so hard to say anything else about them. Everything about their performance was right on and I just don't know where to start.

I guess I'll start with their presence. I saw the Thermals the last time they were here, and they really have grown as a stage band since then. In particular, front man Hutch Harris has developed a much more identifiable stage presence. Especially with the delegation of some guitar duties to Joel Burrows, a tour guitarist who looks suspiciously like John Darnielle, Harris has really been able to come into his own. He dances around like the bastard child of a televangelist and Burt Bacharach. It's hotter than it sounds; trust me.

Naturally, the band drew heavily on material from their newest record, The Body, The Blood, The Machine. Since they played my favorite songs from their older records, I really can't complain. There's no shame in playing to your strengths, and the new record really puts solid rock songwriting at the forefront.

The band just pushed it throughout the entire show. Their records are so ridiculously high energy that it's hard to believe they could be topped. I have no idea how they do it, but The Thermals mounted an all-out auditory assault that makes their studio albums seem tame.

MySpace Page

(April Wright)

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