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Kelley Ryan: Twist


RIYL: astroPuppees, Nina Gordon, Juliana Hatfield

As slight and pretty as a sundress on the first day of June, Kelley Ryan’s Twist finds the astroPuppees frontwoman making a deliberate shift away from what she calls “the rock boy way” of doing things, and toward a gentler sound, driven largely by acoustic guitars and layers of lush harmonies. Ryan’s in good company here, too: She recorded Twist with Don Dixon and Marti Jones, drafted Van Dyke Parks to lend string arrangements to a pair of tracks, and dug into the Beck songbook for a cover of “Lost Cause.” All solid marks in Twist’s favor, to be certain, and when the album lives up to its pedigree – as on the shimmering, gently descending opening track, “About a Girl” – it feels like a long-lost artifact from the golden mid ‘80s era of jingle-jangly singer-songwriter pop. Too often, though, Ryan uses her stylistic shift as a license to hide behind arrangements that don’t do much besides lie there and look pretty, or rhyme “love” with “above.” The end result is an album that might leave you feeling like you’ve just woken up from a pleasant dream – it’s soft, and warm, and no more than five minutes after it’s over, you won’t remember a thing. It’ll add an interesting wrinkle for astroPuppees fans, but there’s no shortage of similar-sounding records, and for anyone who isn’t already familiar with Ryan’s work, this really isn’t enough of a Twist. (Manatee Records 2010)

Kelley Ryan MySpace page

Bonnaroo turns lineup announcement into all-day event

Bonnaroo

Most music festivals simply announce their lineups all at once. While that’s all well and good, I’m pleased that the coordinators behind this year’s Bonnaroo Music & Arts Festival decided to take a different approach. Throughout the day, the festival slowly unveiled the acts on its Myspace. The shows run from June 10-13 in Machester, Tennessee.

The announcements came to a halt at 9 PM ET. A complete list of the bands and artists is after the jump.

Bonnaroo 2010:

Dave Matthews Band
Kings of Leon
Stevie Wonder
Jay-Z
Tenacious D
Weezer
The Dead Weather
Damian Marley and Nas
Phoenix
Norah Jones
Michael Franti and Spearhead
John Fogerty
Regina Spektor
Jimmy Cliff
LCD Soundsystem
The Avett Brothers
Thievery Corporation
Rise Against
Tori Amos
The National
Zac Brown Band
Les Claypool
John Prine
The Black Keys
Steve Martin & the Steep Canyon Rangers
Jeff Beck
Dropkick Murphys
She & Him
Against Me!
The Disco Biscuits
Daryl Hall & Chromeo
Jamey Johnson
Clutch Bassnectar
Kid Cudi
Baaba Maal
Kris Kristofferson
Medeski Martin & Wood
The xx
GWAR
Dan Deacon Ensemble
Tinariwen Wale
Deadmau5
The Melvins
The Gaslight Anthem
Miike Snow
The Nitty Gritty Dirt Band
Dr. Dog
They Might Be Giants
Punch Brothers
Isis
Blitzen Trapper
Blues Traveler
Miranda Lambert
Calexico
OK Go
Trombone Shorty & Orleans Avenue
Martin Sexton
Lotus
Dave Rawlings Machine
Mayer Hawthorne and the County Japandroids
Jay Electronica
Edward Sharpe & the Magnetic Zeros
Ingrid Michaelson
The Dodos
Manchester Orchestra
The Temper Trap
Cross Canadian Ragweed
Big Sam’s Funky Nation
Carolina Chocolate Drops
NEEDTOBREATHE
Tokyo Police Club
The Entrance Band
Local Natives
Brandi Carlile
Mumford & Sons
Rebelution
Diane Birch
Monte Montgomery
Julia Nunes
The Postelles
Lucero
Here We Go Magic
Hot Rize
Neon Indian
B.O.B

White Stripes angry with song use in Super Bowl ad

White Stripes

During the Super Bowl, an Air Force ad ran featuring a song strikingly similar to the White Stripes’ “Fell in Love with a Girl.” Like most bands, the White Stripes don’t appreciate having their songs ripped, and they were swift in letting the culprits know about it.

From Rolling Stone:

“We believe our song was re-recorded and used without permission of the White Stripes, our publishers, label or management,” the band writes in a statement on their official Website. “We have not licensed this song to the Air Force Reserve and we plan to take strong action to stop the ad containing this music.” Watch the offending commercial on the Air Force Reserve site. UPDATE: The video and page housing it have both been pulled from the Air Force Reserve site.

“The White Stripes takes strong insult and objection to the Air Force Reserves presenting this advertisement with the implication that we licensed one of our songs to encourage recruitment during a war we do not support,” the Stripes write. “The White Stripes support this nation’s military, at home and during times when our country needs and depends on them. We simply don’t want to be a cog in the wheel of the current conflict, and hope for a safe and speedy return home for our troops.”

Bad move, Air Force. The Super Bowl is the last place you want to advertise if you’re trying to avoid copyright infringement.

Massive Attack: Heligoland


RIYL: The Specials’ “Ghost Town,” Radiohead’s In Rainbows, film noir soundtracks

If you read enough reviews of Heligoland (spoken as ‘Hell Ego Land’), Massive Attack’s new album and first in seven years, you’ll eventually be able to play Bingo with them. At some point, the phrases “dark,” “brooding,” “trip-hop,” “atmospheric,” and “guest vocals” will pop up in the majority of them, and as overused as those expressions are, they fit. Of course, the other reason many reviews will say these things – again – is because, well, what else is there to say about Massive Attack? They have carved such a unique niche for themselves that talking about their music is akin to dancing about architecture. Some bands just are. Massive Attack is one of them. It’s a sweet place to be if you can swing it, but it makes objective analysis of their music almost impossible.

Massive_Attack_01

Up to this point, however, no one has ever needed to write “twelve years removed from their last good album” when discussing Massive, but that is exactly where the band finds itself; you have to go back to last century’s Mezzanine (‘last century’ is a trick writers use for dramatic effect) to find their last consistent piece of work, so the band needs this one to stick. And for the most part, it does, certainly when compared to the 2003’s hazy 100th Window; with a more focused approach on songwriting rather than groovemaking, Heligoland plays like Radiohead’s In Rainbows if they had gone the Santana route and recruited a slew of guest vocalists. (Bingo!) Longtime friend Horace Andy sings on the odd “Girl I Love You,” which begins in the vein of “Angel” but ends with a horn section jazz-out not unlike Radiohead’s “The National Anthem,” and the skittery “Babel” is like “Bela Lugosi’s Dead” done as a drum ‘n bass track. That’s a good thing, in case you were wondering.

Massive’s achilles, however, has always been their tendency to stay in a groove until it becomes a rut, and Heligoland is no exception. There is a lot to admire about the album, but it’s difficult to love; for as much time as they spend exploring dark themes both musically and lyrically, it’s lacking in emotional impact, and not even Damon Albarn can save the album’s final third from coasting to the finish line. Still, bringing the band back to a duo (100th Window was basically a solo project by Robert “3D” Del Naja) was a step in the right direction, but now that they’ve made two albums without Andrew “Mushroom” Vowles, it’s evident that present day Massive Attack is much like Think Tank-era Blur without Graham Coxon. The band still exists, but things will never be what they once were. It is now up to us to accept this and hope for the best going forward. (Virgin 2010)

Massive Attack MySpace page
Click to buy Heligoland from Amazon

Dave Matthews & Tim Reynolds: Live in Las Vegas


RIYL: Dave Matthews, Dave Matthews Band, owning multiple versions of the same song

Record labels have always been eager to sell music fans repackaged goods, and since the dawn of the CD era, the marketplace has been more flooded than ever with remixes, so-called “deluxe” versions, remasters, and all manner of different versions of the same thing. Still, even during a century that has brought us three different iterations of The Essential REO Speedwagon, Dave Matthews stands out as a mighty king of the leftover; since 1997, he’s released approximately 375 live albums, not counting the interminable Live Trax series, whose volumes now outnumber the population of Guam.

Adding to this towering stack of repetition is Live in Las Vegas, Matthews’ third double-disc live collaboration with guitarist Tim Reynolds. When the duo released Live at Luther College in 1999, it actually represented a bit of a nice departure for Matthews; the acoustic setting, while not altogether unfamiliar for his songs, added something different to tracks like “What Would You Say” and “Ants Marching.” But then came 2007’s Live at Radio City, which was essentially two more discs of the same thing, right down to the inclusion of four tracks that had been covered on Luther – and because Matthews’ fans will apparently never stop buying this stuff, he and Reynolds have returned for a third go-round.

Matthews is a prolific guy, but if you’ve already guessed that he’s running out of songs that he and Reynolds haven’t already covered, you’re correct: Just about half of Live in Las Vegas consists of songs that popped up on Luther or Radio City (or both). They toss in a few cuts from the Dave Matthews Band’s last studio album, Big Whiskey and the GrooGrux King, as well as a “Kashmir” cover that starts off nifty before dissolving into masturbatory guitar noodling, but on the whole, this is two and a half hours of music you can hear on other albums – and much of it in a musical setting that isn’t appreciably different from what’s on offer here. Unless you’re a hardcore fan, you’ll be hard pressed to tell the difference.

But it’s the hardcore fans that keep lapping this stuff up, of course, which begs the question of at which point Matthews crosses over from dedicated live anthologist to crass exploiter. Really, the only truly interesting thing about Live in Las Vegas is that it exists – that Matthews knows he has plenty of fans who will be willing to buy it, or anything else he releases, no matter how many times they’ve heard it before. Given the extraordinary difficulty the industry has had selling records over the last decade, the RIAA should probably just pack it in and let Dave Matthews run the whole show. If he can sell people Live in Las Vegas, he can sell them anything. (RCA 2010)

Dave Matthews Band MySpace page

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