Ahhh, the joys of fuzzed-out garage punk. Guys paying homage to 1980s postpunk retro maniacs like Mudhoney who themselves were paying homage to 1960s do-it-yourselfers like the Sonics. While such a swirling mishmash of influences might sound complicated, it’s really not. Think lo-tech. Think basic rock. Think pre-Sgt. Pepper.
It’s rock, unvarnished, and it’s awesome. Energetic hard-bashed drums, guitar with distortion turned to “11,” little if any keyboards, and no production values whatsoever. Think “Dirty Water” by the Standells. Think “Baby Please Don’t Go” by the Amboy Dukes. Think “Smells Like Teen Spirit” playing over a not-quite-tuned-in AM radio station.
It adds up to The Ultra Twist, an Italian punk band not quite a year old, who features all of the above, and a little (OK, a lot) of punk attitude.
The only high-tech digital artifacts detectable in the Ultra Twist’s Tracks–at least at MySpace sampling rates–is the deliberately added vinyl-like hiss and pop at the beginnings of the tracks. It’s a cheap trick, but hey, it shows the world where their priorities are, somewhere far south of Nelly Furtado’s quality control standards. And it’s good.
Warning: Flag-waving Amur-kans aren’t necessarily going to agree with all their sentiments–although, scratch that: Polls indicate that even staunch patriots are parting ways with our president, and the band’s anti-Bush rant is classic punk: An instrumental punctuated by three words. Albeit three incendiary words, to some folks.
Most punk fans would find it hard to disagree with The Ultra Twist’s main anthem, “No Beer No Fun,” so the band offers an opportunity for us to all set politics aside and mosh until our noses bleed, and our sinuses are finally cleared of all that Furtado. Anyway, dig the tunes and no, don’t adjust your speakers–it’s supposed to sound that nasty.
Ben Folds used to awesome. In concert, he still is, a consummate entertainer, and MySpace-aware fans point to his October 2006 live MySpace concert–requests only, the site’s first such event of its kind–chronicled on the Live at MySpace DVD as evidence of that.
But on the studio recording side, many of his fans are right to feel his songwriting has become almost too serious, his lyrics too jaded, to bear. Gone is the insouciance of the Ben Folds Five of the 1990s, the light drama of “Emaline,” the innocently poignant “Brick,” the simple chords . . . the subtle aspects of Folds that are gone and replaced–at least for the moment–with heavy-handed songs like “Bastard” and “You to Thank,” two back-to-back cuts on Songs for Silverman that sound like classic Folds pop but are so bitter and whiny that they just leave one cold.
Tim Halperin
Enter Tim Halperin, a TCU student and Folds devotee.
In between classes and other pressing needs that hamper the fun of dorm-dwellers (like having a television too small to read the score of the football game he and his pals are watching, chronicled in his “Life in the Dorm Room,”) this guy records whimsical piano-pop loaded with the delicious chordal curlicues we Folds fans love to hear.
These low-budget productions mean that his voice, piano, and songwriting skill must carry the day in cuts like “Nice to be Free” and “Mary.” They aren’t encumbered by effects and rich sonic backgrounds behind which the singer-songwriter can hide. It’s just his voice, his piano, and very basic backing tracks. Halperin’s vocals and piano playing stand up to the test.
And perhaps that is what is missing from Folds’ layered, heavily produced studio creations of today: That low-budget innocence of his 20s. Halperin’s stuff, while perfectly original in its own right, recalls the Naked Baby Photos era of the Five. Go give him a spin, and if you want his cuts on your iPod, go to his Garage Band page and download away. He claims he’ll let us know when a CD’s coming out; we’ll hold him to that.
Welcome to the first of a series of blog posts featuring great stuff spotted on MySpace Music. It can be good, bad, and ugly. Or, as we’re about to explain, worse.
The NFL’s investigating whether or not Pac-Man’s shield logo infringes on league trademarks.
Poor Pac-Man Jones. He goes on Real Sports with Bryant Gumbel to share his side of the story–translated loosely, in a few words, “I am not really remembering what Mr. Commissioner Goodell told me about keeping my nose clean. What was it he told me, again?”–and yet he just can’t seem to hold on to the headlines to save his life, because Mike Vick’s antihero PR machine is outflanking him at every turn.
But he persists.
Following in the steps of pro sports miscreants-cum-rappers Jim “Punky QB” McMahon, Allen Iverson, and Ron Artest, Pac-Man’s livin’ da streetz life with his National Street League rap label, a collaboration (coll-abortion?) with producer/henchman Spoaty. The raps are about–you guessed it–spending lots of money. “I spent a hundred grand all in one night!” they sing on the almost completely mindless “Yah Nah Mean.”
Just like Pac-Man allegedly did in Vegas last winter after the NBA All-Star game, when the most notorious of his myriad suspicious activities went down. Witnesses claim Pac-Man took nearly that much money into a strip club and was “making it rain,” euphemism for throwing dollar bills around.
Anyway, maybe if you’re a big rap fan and someone like Pac-Man is singing about poppin’ rubber bands off bundles of $100 bills, he comes across with some sort of street cred. Unlike a lot of rappers setting their stories to a rump-thumping beat, you know for sure that Pac-Man’s living his. The music doesn’t sound very good to us, but give Pac-Man some time. If he pops a few more rubber bands and buys some serious studio time, Mariah Carey and Janet Jackson prove that throwing the best technology at a recording really can help make a big hit, no matter what you’re starting out with. Of course, if he’s making records, that means he’s not working. And if he’s not working, the Titans certainly aren’t passing out more rubber-banded bundles of Benjamins.
Russian-born Regina Spektor makes quirky, piano-driven music for the hipster set. She scored a minor hit this year with “Fidelity” from Begin to Hope, her fourth full-length release, but her catalog features several great songs. Where possible, I included links to a live performance or the proper video for each song (hosted by YouTube). I also included links to iTunes and/or Amazon for convenient purchase. Let’s get to know Regina Spektor.
“Fidelity” – Begin to Hope
This song is insanely catchy, from the lovely melody to the creative chorus. It’s one of the few of her songs that doesn’t feature the piano, but it works nonetheless. iTunes | Amazon
“Samson” – Songs / Begin to Hope
This track is also available on Begin to Hope, but the version on Songs is longer (and therefore, better). “Samson” is Spektor’s signature tune. Her voice and the piano are gorgeous and the lyrics are inventive. iTunes | Amazon
“Buildings” – 11:11
This song is about an alcoholic wife who is enabled by her husband. Despite the subject matter, it’s quite lovely. iTunes
“Ode to Divorce” – Soviet Kitsch
This haunting track is about a breakup. Spektor hits one out of the park when she asks, “Won’t you help a brother out?” iTunes
“Modern Girls & Old Fashion Men” – Reptilia (by The Strokes)
The Strokes brought Spektor in for this duet, which is a little bit harder than most of Spektor’s usual fare. The song still shows off her considerable singing chops. iTunes
“On the Radio” – Begin to Hope
Like “Fidelity,” this song is meant to be radio-friendly. The strings and piano at the beginning are inviting and the lyrics (which describe listening to “November Rain” on the radio) are quite witty. iTunes | Amazon
“Us” – Soviet Kitsch
This track shows of Spektor’s great voice and illustrates the beginning of the stuttering singing style she later used in “Fidelity.” The video is pretty quirky, not unlike her music. iTunes
Spoon is the brainchild of frontman/guitarist Britt Daniel and drummer Jim Eno. Hailing from Austin – the home of the University of Texas – the band’s sound feels as if it were shaped in a college town, benefiting from all the creativity and calculation in the air. With help from co-producer Mike McCarthy, Daniel pays great attention to detail and each of the band’s tracks is pleasurable to the ear in one way or another. Over the past decade, the band has released five albums, and while their early punk stuff drew comparisons to the Pixies, the band has been able to refine its sound over its last four releases, developing a kind of rock that is both melodious and thoughtful. Spoon is working on a sixth album, tentatively titled Trouble Minx, for release sometime in 2007. But for now, listen to these 11 songs, and pay special attention to what’s going on in the lower frequencies. Daniel’s ability to create interesting, repeating bass lines and piano riffs is almost unparalleled. When possible, I included links to the songs at iTunes and Amazon and also included either a proper video or live performance for each song (from YouTube). Spoon is a terrific live band, so if you get the opportunity, be sure to see them perform. Spoon MySpace Page | Official Site
BE Reviews: Girls Can Tell | Kill The Moonlight | Gimme Fiction
“The Way We Get By” – Kill the Moonlight
This is the first song I play for people when I’m trying to get them into the band. Daniel called this track “one of the most immediate” of his tunes, going on to say, “Once I sang that chorus the first time and got it on tape, I kind of knew it was going to be a good one.” It’s catchy from the start – he sings over an infectious yet delightful piano riff. It was also a breakthrough of sorts; the song ended up on the first Music from the O.C. mix. You can watch a decent live version here or watch an “O.C.” video below, which has the song as its soundtrack. iTunes | Amazon
“I Turn My Camera On” – Gimme Fiction
This track has a dance vibe that surprised even Daniel, who said, “Jim [Eno] – the drummer – was the guy that sent it into sort of this dance feel. I didn’t really have that idea for it. I wasn’t sure what it was going to be, but he really sent it off into that direction.” Daniel’s Jagger-like falsetto completes the track. The band got more love from another TV show – the song ended up on the “Veronica Mars” soundtrack and Daniel even appeared in an episode, singing a karaoke version of Elvis Costello’s “Veronica.” iTunes | Amazon
“They Never Got You” – Gimme Fiction
Daniel described this track as one that “was more of a personal tune to me, about what it felt like to me growing up.” The message is clear: it’s OK if you don’t fit in. Notice the gorgeous bass line. If this track were required listening for every teenager, high school would be a lot easier. iTunes | Amazon
“Everything Hits at Once” – Girls Can Tell
This is the most accessible track from 2001’s Girls Can Tell. You can hear the band’s sound developing in the subtle keys and the interesting guitar in the bridge leading up to the catchy chorus. Daniel describes the song’s genesis: “I remember thinking that once I had it, that I was really excited about the melody…[we] went through four or five different choruses trying to come up with one that really stood out and made it a great song.” The band put together an animated video for the song, which you can watch below. iTunes | Amazon
“My Mathematical Mind” – Gimme Fiction
The piano riff that drives this track is so simple, yet so emotive. This song was written when Daniel left Austin for Galveston for a while to focus on his songwriting. He describes the process: “‘My Mathematical Mind’ was one that just came up there and it was like – ‘Let’s just throw this down. I know I’m not going to be able to use it, but let’s just throw this down and put it on tape.’ And those are sometimes the best songs, those that you just think like, ‘Ah, let’s just throw down this stupid idea.’” The guitar gets a little rough at the end, mirroring the frustration he felt about his songwriting. iTunes | Amazon
“I Summon You” – Gimme Fiction
This melancholy track seems to be about the pain associated with a long-distance relationship. Some of the lyrics – “The law enforcement’s impressed you’ve survived to this age/ Strapped-up soldiers / They’ll lock you in a cage without goodbye / For a nickel bribe” – could be describing someone who’s in jail, or maybe they’re just emotionally incarcerated. iTunes | Amazon
“Small Stakes” – Kill the Moonlight
This track starts with a quickly repeating guitar riff and never lets up. Daniel uses an echo on his vocal, which is rare for him. The ascension in the verse is especially dramatic. The track seems to be about the contrast between those that chase their dreams and those that don’t. iTunes | Amazon
“The Beast and Dragon, Adored” – Gimme Fiction
This is my favorite Spoon song, but I must warn you, it takes a little while to sink in. The title of the song comes from the name of a French tapestry in one of Daniel’s grandmother’s art books from the ‘50s. He describes its inspiration: “…that was when the Iraq war was starting and I was watching way too much (CNN) Headline News. It was basically on all the time in my shitty little apartment and the world was feeling a little bit apocalyptic.” It’s appropriately dramatic, and the random guitar screeches portray a feeling of anger. After about five listens, you’ll either think this song is insanely good or you’ll never want to hear it again. iTunes | Amazon
“Utilitarian” – A Series of Sneaks
Spoon’s second full-length effort, A Series of Sneaks, was a transition of sorts for the band, as it moved from punk to a cleaner rock sound. This track features a strong opening guitar riff that is the backbone of the song. It’s a fairly simple track, but still effective. iTunes | Amazon
“Sister Jack” – Gimme Fiction
This track has a good beat and an infectious chorus. It’s the band’s fifth most downloaded song at iTunes and is more immediate than most of the band’s work. Video at YouTube | iTunes | Amazon
“Vittorio E.” – Kill the Moonlight
This stark song joined “The Way We Get By” and “My Mathematical Mind” on the soundtrack to Will Ferrell’s movie, “Stranger than Fiction.” The lone guitar conjures up feelings of isolation and introspection. The song’s title comes from a subway stop in Rome; Vittorio Emanuel was the first king of a united Italy in the late 1800s. See, you learn stuff when you listen to Spoon. iTunes | Amazon
