Category: Alternative (Page 31 of 155)

Big Audio Dynamite: This Is Big Audio Dynamite (Legacy Edition)


RIYL: Public Image Ltd., Primal Scream, The Clash

Big Audio Dynamite are kind of a “lost” bands of the ’80s. Sure, you may still hear “The Globe” a cut from the band’s second incarnation Big Audio Dynamite II, on retro playlists, but aside from that they’ve all but vanished from the pop culture lexicon, not that they were that big a presence on it to begin with. The band’s measured success remains befuddling when you consider it was Mick Jones’ baby, the group he put together after getting fired from the Clash in 1983.

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Hopefully this new Legacy Edition re-issue of the group’s 1985 debut will open the band up for re-evaluation. The importance of This Is Big Audio Dynamite has faded over time, but when it came out it was a technological wonder, the first rock record to embrace the sampling movement of rap music and take it to a direction never heard before. While singles like “E=MC²” and “The Bottom Line” may seem a little quaint now, they were revolutionary at the time in how the took samples from movies and other sources and seamlessly incorporated them into the music. It’s a style you saw resurface just a few years later in bands like Massive Attack and Portishead. Ahead of their time back then, it now sounds dated in the most charming of ways.

The bonus disc is what makes this re-issue really worthwhile though, because while the album versions of their singles were always good, the 12” remixes was where the band really shined. Making the package an even sweeter deal are excellent b-sides such as “Electric Vandal” and the forgotten title track, which is a condensed amalgamation of nearly every sample that appeared on the album. Even the goofier bonuses, such as the vocoder version of “BAD” and the beyond-silly “Albert Einstein Meets the Human Beatbox” are welcome time capsules of a bygone era where stuff like this was groundbreaking and cutting-edge. A must-buy for fans of the band as well as fans of dance-punk who want to see where it all started. (Columbia 2010)

Me, Myself, and iPod 4/21/10: Little Boots’ money shot

esd ipod

Why is this week’s installment of “Me, Myself and iPod” subtitled ‘Money Shot,’ you ask? Because last week’s column produced the largest number of downloads this site has ever seen, and I’m still not sure if that is a testament to Amanda Palmer’s fiercely loyal fan base, or if it’s because I used the words ‘blowjob queen’ in the title. Either way, I’m not messing with success. Plus, this week’s headliner, um, makes me tingly.

Little Boots – Remedy (SPEAK Remix)
SPEAK makes their second appearance in the three weeks of this column’s existence (they covered Daft Punk’s “Digital Love” in MMI’s debut) by tackling one of the best songs from Little Boots’ album Hands. The mix is a bit of a Frankensong, as the music track doesn’t really mesh with Boots’ vocals, but I’d love to hear someone take the chords in the verse and write a song around that. Now if you’ll excuse me, I’m off to watch her “New in Town” video. Sweet Jesus, is she hot.

Slow Club – Giving Up on Love
This cute boy/girl song also has a great video, but it’s a different kind of great than the Little Boots clip. MacKenzie Crook, a.k.a. Gareth from the UK version of “The Office,” lip syncs the song on a ferris wheel in a one-take clip. As for the song, think the Raveonettes, only poppier.

Eyes Set to Kill – All You Ever Knew
We’re still trying to wrap our heads around this one. The instrumentation in the intro brings to mind Primus, but the male vocals are pure Cookie Monster screamo. And then, this lovely female voice appears in the chorus, and the body that voice comes from, that of Alexia Rodriguez, is equally lovely. Odd, melodic, and thrashy. New record Broken Frames out in June.

See Green – Goldmine
Courtenay Green first caught my eye roughly a year ago when she released the video for her song “Beyond Therapy.” The song was all right – truth be told, I was a bigger fan of the old-fashioned video – but armed with a new band name and an updated, more muscular sound, Green appears to be ready for her close-up. Her Violet EP comes out May 4. Haven’t heard it yet, but you can bet that this song has officially whet my appetite.

Minus the Bear – My Time
Truth be told, my eyes rolled whenever I saw this band’s name. I’m a stickler for band names, and believe that it tells you next to everything you need to know about a band. Upon seeing Minus the Bear, I thought, “pretentious twits.” Wrong. This nifty little synth-friendly rocker fits nicely next to Jupiter One’s recent material, resurrecting the open frontier that was the late ’70s and early ’80s rock scene.

We Have Band – Honey Trap
Look for these guys to burn up the blogosphere. Armed with a drum machine straight off of the Human League’s Dare, this song will appeal to anyone who dug Calvin Harris’ “Merrymaking at My Place.”

The Love Language – Heart to Tell
Jangle pop! Who wants jangle pop? Merge’s latest act blends super-catchy ’60s-style melodies with more contemporary percussion riffs (think “Hollaback Girl”). New album Libraries comes out July 13. Please let the rest of it sound like this.

Elogy – London
The press release compares this trio to Coldplay, Muse, and Thirty Seconds to Mars. I definitely hear the first band, don’t really hear the second band, and am going to try to forget that I ever saw them compared to the third band. If Coldplay made a drum ‘n bass-type record, or at the very least something a little more glitchy (think Everything but the Girl’s Walking Wounded), it would probably sound like this.

Gadi Mirhazi & Soul Clap – Beautiful Thang
Time for a little Deep House Dish. The sampling in the beginning is a little annoying, but then this “Trans Europe Express”-type keyboard settles in, and it’s all smooth sailing from there.

Jeremy Messersmith – Violet!
It was not at all surprising to discover that Dan Wilson is a fan of fellow Minneapolis pop boy Jeremy Messersmith. Armed with a chorus Burt Bacharach and the Red Button would kill for, this tuns is sure to have the Audities set buzzing.

Talking to Walls – Came to You
The press release for this New Haven quartet compared them to the Cure, but to my ears, they’re closer to the Call. Big, earnest, anthemic.

Seen Your Video: Editors, Eat Raw Meat = Blood Drool”

“Steamboat Willie”-style insects running a freakish post-apocalyptic assembly line. There is no other way to say it: this is one of the creepiest videos we’ve ever seen. Cool, but creepy.

The song, though, is one of our favorites from Editors’ most recent album, In This Light and On This Evening. Kind of like a modern-day “Being Boiled”…with eyeball-removing insects. Yikes.

Embedding is disabled for us American Anglophiles, so to see the video, you’ll have to click here. Trust us, it’s worth a look. Bonus points if you go back for seconds.

Seen Your Video: LCD Soundsystem, “Drunk Girls”

In the interest of full disclosure, you should know that I do not for one second understand the critical and music geek slurpfest that LCD Soundsystem has basked in since its inception. And the thing is, I should understand it. They like the same bands I like. They play the kind of music I like to listen to. But I do not like LCD Soundsystem. From where I’m standing, they are quite possibly the most overrated band alive today. Indeed, this is how I ended my review of their last album, Sound of Silver:

“The band never rises above their influences, and James Murphy can’t sing. In the end, though, none of that matters. All that matters is that LCD Soundsystem is cool, and if you like them, then you’re cool, too.”

So…are you cool?

Fortunately, I gave up on being cool a few years ago, and let me tell you, that was a wonderful thing. Trying to stay hip is hard – there is a very popular blogger whose name I could cite as an example of someone bending over backwards to maintain their hipster cred, but I won’t; she’ll find out the hard way soon enough – and here’s the thing that aging, former hipsters don’t tell you: you’d be amazed to discover how much better music sounds when you stop acting so pious and elitist about it. Does that mean I’ve lowered my standards? Not at all. It simply means that I couldn’t care less what anyone thinks of my musical tastes anymore. And that includes anyone tempted to use the comment section below to tell me how stupid I am, so don’t waste your time.

Now, back to LCD Soundsystem, the cool band of the moment. This is the second one-take video I’ve seen this week (Slow Club’s is the other), showing that the OK Go ripple effect is in full swing. The clip begins amusingly enough, with the aforementioned singer who can’t sing standing in front of a test pattern screen, trying to sing while guys in animal costumes (dogs? Panda bears?) pester Murphy, Al Doyle (at least I think it’s Doyle) and Nancy Whang as they try to sing along to the track. Pretty soon, the inappropriate touching gives way to truly obnoxious behavior. Nancy gets egged, but not before getting a bullhorn blasted in her ear. Doyle gets hit with fire extinguishers, stripped and has trash dumped on him. Murphy and Whang are duct taped together and written on with markers. The subtext is not hard to read: LCD Soundsystem are the drunk girls, and the guys in suits are frat boy douchebags. The video ends with everyone partying and completely defacing the set.

The clip will definitely get people talking, and while I get and appreciate the point it’s trying to make, it’s still pretty ugly. Besides, the video’s moral, as it were, will be lost on the majority of its audience anyway. Doyle is even seen drinking with the animals at the end, which sends all sorts of mixed messages. Do the drunk girls deserve what they get? Hmmmm.

Ah, but no one’s going to talk about the video’s message. All anyone cares about is that this band that is perceived as cool made a “controversial” video that got the blogosphere buzzing. Their fans will line up to tell them how wonderful they are, and the press will say that it’s the best record since their last record. And in the end, I’m aware that I’m contributing to this phenomenon, even though this piece is in dissent.

But for God’s sake, man, someone had to step up and say it – LCD Soundsystem are just not that good. They probably could be, if they tried a little harder. But this, this is just piss take music, all arch, pretend irony and posturing without an ounce of genuine emotion. If some band with a lower hipster rating released this song, everyone would say it was shit. And the song isn’t shit, per se, but it’s not awesome, or even good. It’s just music by a band lucky enough to be popular with the cool kids. Imagine how popular they’d be if they actually put some effort into it.

Original Cast Recording: American Idiot


RIYL: Green Day, “Rent,” “Glee”

Here’s the God’s honest truth about the Broadway cast recording of “American Idiot” – it’s neither as good nor as bad as you’ve heard it is. These kinds of projects serve as a knives-out snarkfest for the more weak-willed music critics, who are then assaulted by the band’s faithful followers in the comment sections. Don’t take sides; they’re both right, and they’re both wrong.

The album features Green Day’s landmark 2004 album American Idiot in its entirety – they even included some B-sides from the Idiot sessions – along with a few tracks from the band’s 2009 album 21st Century Breakdown. The backing tracks are by and large Green Day’s original recordings, though “Last of the American Girls” starts off with a knowing wink to “Eleanor Rigby.” This makes for some smooth transitions from CD to the stage, though “Jesus of Suburbia” sports one of the most jarriing key changes you’ll ever hear when it’s the female lead’s turn to sing.

Perhaps the most shocking thing about American Idiot is the fact that Green Day’s original recordings of these songs are in many ways more musical than the musical versions. Stacked vocals are stripped away for the purpose of building to the big choral effect, though they don’t do that big choral effect nearly enough. Indeed, many songs are frankly undersung. The songs are already larger than life; the Broadway versions of them should be massive, like Godzilla-destroying-Manhattan big. The title track pulls a nifty layered vocal build-up during the break, and “Whatsername” capitalizes on the song’s soft-LOUD arrangement to make for a triumphant finale. “21 Guns” is the album’s showstopping moment, with the most theatrical arrangement and a vocal to match. The album could use more moments like them. “Wake Me Up When September Ends” has the pretty string touches, but for a musical about a post-9/11 landscape, that song of all songs should have been sung to the heavens.

The band were unquestionably treading a slippery slope in adapting their music for the stage, and they must have felt pressure to keep the spirit of the originals intact. Ironically, American Idiot could have benefited from a little more tinkering. It’s great to hear a Broadway score rock like this, but it would have been better to see them fully embrace what people love about Broadway in the first place. (Reprise 2010)

Click to buy American Idiot from Amazon

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