Tag: Eat Sleep Drink Music (Page 19 of 31)

Rufus Wainwright: All Days Are Nights: Songs for Lulu


RIYL: Leonard Cohen, George Gershwin, deathly seriousness

All musicians should have Rufus Wainwright’s ambition, with a reach that far, far exceeds their grasp the way his does. The only catch, of course, is that there is no guarantee that you will like what he’s reaching for from one album to the next. He’s like Neil Young in the ’80s, only without the whole ‘fuck you Geffen’ thing.

There are two clear phases to his career at this point: the pop years (his 1998 debut, 2001’s Poses, and 2003’s Want One), and the stage years, which is everything he’s released after Want One. Hell, the man did a show as Judy Garland, so Broadway clearly appeals to him more than conventional popular music. And that’s okay: the man is nothing if not melodramatic, so he’s wise to play to his strengths.

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This time around, though, the ‘melo’ to ‘drama’ ratio is tilted mightily in favor of the former. All Days Are Nights: Songs for Lulu, Wainwright’s first studio effort since 2007’s Release the Stars, is Rufus armed only with a piano, a stark contrast to the elaborate productions he’s been assembling for the last, well, ten years now. It’s pretty, but hot damn, is it maudlin. Wainwright’s pulse quickens only three times here, and they wisely opened the album with one of them: “Who Are You New York?” has the album’s biggest hooks both vocally and musically, with “Give Me What I Want and Give It to Me Now” not far behind. Someone needs to talk to him, though, about his tendency to draw out the syllables to the point where it doesn’t sound like he’s singing actual words. Entire songs can go by without a single lyric leaving a mark, and when it’s one of the, ahem, many ballads that All Days Are Nights sports, the experience of listening to the album can get laborious in a hurry.

In a business where promising careers get smashed by simple-minded executives who want to put a square peg in a round hole, Rufus Wainwright is one of the few artists who could stand to benefit from a little direction. Unless, of course, Wainwright is actually trying to make albums that appeal to fewer and fewer people, in which case he should continue doing exactly what he’s doing. All Days Are Nights is fine for what it is, but if he doesn’t watch it, Wainwright’s subsequent releases will be given the same fanfare as a new album by Sarah Brightman. (Decca 2010)

Rufus Wainwright MySpace page
Click to buy All Days Are Nights: Songs for Lulu from Amazon

The Apples in Stereo: Travellers in Space and Time


RIYL: ELO, The Beatles, Cliff Richard

If the early returns are any indication, 2010 is the year that musicians realized that it was all right to admit that they like ELO. The power pop circuit has been cribbing from Jeff Lynne for years, of course, but they have about 600 records sold to show for it. Perhaps that’s why bands like the Apples in Stereo and the Silver Seas (wait until you hear their song “What’s the Drawback”) waited until they developed a devoted fan base before dropping the news on their fans that yes, they like ELO, too. For a band that was so successful, the ELO name carries a curious amount of baggage.

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Don’t be surprised if Travellers in Space and Time, the new album by the Apples in Stereo, changes that stigma some. This is not the first time the Apples have dabbled in Lynneisms, but Travellers ups the ante by exploring different aspects of the ELO sound. “Hey Elevator” is this album’s “Sweet Talkin’ Woman,” while “Dignified Dignitary” is a clear descendant of both “Do Ya” and the band’s own song “Go.” “Wings Away” is the album’s big Beatles moment, with one of those instantly recognizable ascending progressions in the chorus. The album does explore other catalogs besides ELO’s, though, as “Next Year at About the Same Time” sounds like Squeeze covering David Bowie’s “Blue Jean.”

At 16 tracks, the album does feel a tad long, even with two of those tracks being interludes. Still, it’s nice to see a band tackle the whole in-crowd notion of indie pop and declare the party open to anyone and everyone interested in attending. Get your Vocoder on. (Yep Roc 2010)

Apples in Stereo MySpace page
Click to buy Travelers in Space and Time from Amazon

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

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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.

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