Tag: Eat Sleep Drink Music (Page 14 of 31)

Seen Your Video: OK Go, “End Love”

Sweet Jesus. OK Go has done it again.

What I love about “End Love” is that the stop motion photography reminds me of Zbigniew Rybczyński’s groundbreaking videos in the early ’80s, particularly the Art of Noise’s “Close (To the Edit)” and Lou Reed’s “Original Wrapper.” Only, of course, OK Go takes the concept into outer space by turning the clip into an all-nighter and, in the end, a giant group production. Along with a few very curious geese.

Tim is clearly the best dancer of the bunch here, but that’s almost become an in-joke of sorts. If Dan and Andy suddenly learned how to be as fluid as Tim, it wouldn’t look right. The occasional inclusion of super slo-mo shots was a nice touch too, but nothing touches that human cyclone at song’s end. And now that they have gained control of the album and released it on their own label, we don’t have to worry about any of that ‘no embedding’ nonsense. Get comfy. You’re going to need to watch this one a couple times to catch everything.

Devo: Something for Everybody


RIYL: Jerking back and forth, whipping it, playing peek-a-boo

Jimi Hendrix, Janis Joplin, Jim Morrison and Kurt Cobain lived and died in less time than the gap between Devo’s last decent album and the present. (Add a year if you want to go back to their last truly good album.) The band’s last album, Smooth Noodle Maps, is almost old enough to buy its own beer, all of which is a flowery way of saying that it’s been a long, long time since Devo was even close to being on their game.

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Or maybe they were just biding their time. After all, there was no point in Devo releasing new music in the ’90s or even the first half of the ’00s, as the musical climate would have been indifferent at best and hostile at worst. Now, on the other hand, is a damned good time to be Devo, on a number of levels. Between the New New Wave movement (most of which, frankly, stinks) and the emergence of former alt.rock chart giants dominating the kids music circuit, Devo, for the first time in decades, has options. And they’re striking while the iron is hot.

Something for Everybody, Devo’s first album in 20 years, is an embarrassment of riches. The songs are insanely catchy – “What We Do” and “Human Rocket” are among the best songs the band’s ever done – and the production deftly blends classic Devo (think Freedom of Choice, New Traditionalists and Oh No! It’s Devo) with modern-day flourishes. The lyrics are still oddball, but tamer; there’s no talk of slapping mammies or altruistic perverts, and that’s just fine. Not everything here works – “Cameo” tries a bit too hard, and “Sumthin'” is too slavish in its attempt to channel “Whip It” – but this is far better than anyone had a right to expect from a band nearly 30 years removed from its commercial peak. Bravo, gents. (Warner Bros. 2010)

Devo MySpace page
Click to buy Something for Everybody from Amazon

Tom Petty & the Heartbreakers: Mojo


RIYL: Lucinda Williams, Jackson Browne, aging white dudes who like to toke up

Mojo is the strongest set of songs from Tom Petty & the Heartbreakers in over a decade and a half. Ever since “Mary Jane’s Last Dance,” the singer and the band have tried time and again to come up with a classic album that meets the standards of their earlier work. As the band has aged into one of the stalwarts of rock and roll, they have produced music that may be biting in the lyrics, but musically and production-wise lacked a certain edge.

During the Heartbreakers rise to success in the ’70s and ’80s, there was a danger in their music, perhaps because the band members were constantly at each other’s throats. Hostility brewed beneath the surface, from the fights between Petty and former drummer Stan Lynch, to the drugs and alcohol that affected the lives of bassist Howie Epstein and keyboardist Benmont Tench. At one point, Petty punched his fist through a wall, breaking his hand because he couldn’t get a song right. That kind of passion either cause a band to implode, or the members find a way to compromise and mellow with age. For the Heartbreakers, both kind of happened. Lynch quit the band and Epstein was asked to leave; he eventually OD’d on heroin. Meanwhile, Petty achieved nova-like success and decided that it was good to be king and that he didn’t want to fight all of the time.

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The past fifteen years have seen some good Petty songs, but not necessarily good Petty albums. From the sound of it, Petty and the band set out to really change that with Mojo.

“Jefferson Jericho Blues” shares some of the same looseness of early Heartbreakers deep cuts, while Mojo’s first single, “I Should Have Known It,” is the cousin of “Mary Jane’s Last Dance” and “You Don’t Know How It Feels” (from 1995’s Wildflowers). Elsewhere, there are some tender ballads, which Petty never gets enough credit for, like the country-tinged “No Reason to Cry” and “Something Good Coming.” The latter holds up with some of Petty’s best heartbreakers.

Petty once claimed that he didn’t like repeating himself and the band continues to explore other genres besides the Americana rock they are famous for playing. “First Flash of Freedom” is an extended jam featuring fine guitar interplay between Mike Campbell and Scott Thurston. It feels like it may have been inspired in a haze of second-hand smoke during some of the Heartbreakers gigs with the Allman Brothers Band. “U.S. 41” is a swampy blues stomp; “Takin’ My Time” is embedded deep in the blues; and “Don’t Pull Me Over” has a reggae groove that will likely go over well in concert.

Throughout the album, Campbell and Thurston trade guitar licks with relish and Tench displays some of his finest organ playing and piano textures in all of the Heartbreakers long history. As usual, Ron Blair (the band’s original bassist who came back to the fold after Epstein was canned) holds things down with sturdy, unobtrusive bass playing.

Still, there is a sameness to this lot of songs that, unfortunately, must be attributed to drummer Steve Ferrone. The longtime session player plays with such precision and technical prowess that it lacks any personality. If the Heartbreakers are one thing, it’s a band full of personalities, from Blair’s dyed black hair to Campbell’s dreads to Petty’s entire personality. There are some tracks on Mojo in which Ferrone seems to find that Heartbreaker groove, but these are only moments. Frankly, it just doesn’t sound like the Heartbreakers, at least, not the Heartbreakers we’ve all come to love. Alas, it’s not our band but Petty’s; and if he’s happy with a human metronome behind the drum kit, then fans will have to live with it (seriously, the drums on “Let Yourself Go” and “Running Man’s Bible” could have been programmed in Tench’s organ, they’re that lifeless).

For this reason, despite the strong number of songs (there are a couple fillers- the curse of the CD age) repeated listens of Mojo may breed familiarity of the songs, but none of them really scream “classic.” (2010, Reprise)

Tom Petty & the Heartbreakers official site
Click to buy Mojo from Amazon

Me, Myself, and iPod 6/9/10: They work in bars. Whether they are all on drugs remains unknown

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Strange. I thought that the closer we got to summer, the more awesome mp3s I’d have for all y’all. Instead, it appears the opposite is happening. Like I said, strange.

The Chap – We Work in Bars
I’m not 100% sold on this London band, but there’s a spirit to the work that I find appealing. Definitely want to hear more before officially passing judgment.

The Mercury Program – Arrived/Departed
This made the cut for one reason: the delay-driven guitar line at the beginning of the song is a near note-for-note copy of the beginning to the song “Outside” by the late, great band Tribe. These guys obviously took it in a much different direction (an instrumental, moody jazzy direction, that is), and that’s cool.

Hot Hot Heat – Goddess on the Prairie
You have to feel a little bad for these guys. When people start making jokes about the ’00s, these guys will be near the top of the One Hit Wonder joke list, and the worst part is that even the members of the band don’t like that song and wish they had never recorded it. This song, from their new album Future Breeds, which came out this week, shows the band, well, pretty much where the world left them. Give them points for not suddenly pretending to be Franz Ferdinand.

Parlovr – Pen to the Paper
Is Montreal the new Brooklyn? Or was Montreal Montreal before Brooklyn became the destination of choice for musical immigrants? Either way, this song has a driving quality to it that brings out the New Order fan in me.

We Are Scientists: Barbara


RIYL: Weezer, Franz Ferdinand, Sloan

After spending two albums and roughly four years shuffling around the EMI family tree – Virgin released their 2006 album With Love and Squalor (a.k.a. The Kitty Album), while 2008’s Brain Thrust Mastery was released by Astralwerks – New York smart alecks We Are Scientists are going out on their own (with the help of R.E.D. Distribution) on their fourth album, Barbara. Now that the band is paying the bills, it should come as no surprise that they jettisoned the sonic experimentation of Brain Thrust Mastery in favor of the ‘record only what we can play’ approach of With Love and Squalor, though in fairness to them, economics are only half of it; the band has a new full-time drummer in the form of ex-Razorlight skinsman Andy Burrows, so you can see why head Scientists Keith Murray and Chris Cain were eager to get back to sounding like a live band rather than a studio creation.

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The album is not a carbon copy of Squalor, though. Yes, leadoff track and first single “Rules Don’t Stop” will have fans of “The Great Escape” jumping for joy, but Murray isn’t ready to give up on the melodic territory he explored with his vocal tracks last time around. “I Don’t Bite” has a high, ringing vocal that was nonexistent on Squalor, and “Pittsburgh” has the album’s best pure pop chorus. Pity the band phoned in the album’s artwork, which looks like it was assembled in the cab on the way to the printing plant. (Masterswan Recordings 2010)

We Are Scientists MySpace page
Click to buy Barbara from Amazon

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