Concert Review: The Love Language

“Hello. We are Best Coast. We’re excited to be here to play some songs for you. Thanks for coming out on this Sunday evening to see us.”

At the concerts I usually attend, such an opening declaration usually does not turn heads. Though these words are certainly not void of sentiment and significance, they do tend to be more routine and ritual. They signify the beginning of a set; they allow the lead singer to kill the awkward tension while the guitarist tunes his instrument; they are a final beckon to rally the audience away from the bar (three dollar, 24-oz PBRs in hand) and towards the stage. They may rouse some excitement about the start of the show, but these words certainly do not turn heads.

On September 12, 2010, this claim would’ve proven itself yet again true, had I found myself at the Cannery Ballroom. However, I was across town at the Exit-In. After much consideration (which is required when these rare scheduling conflicts occur), I had deliberately chosen to see the lesser-known but equally up-and-coming indie band “The Love Language” that night instead of Best Coast. Unfortunately, though, not many other music fans had come to this same decision – there were only thirteen of us at the Exit-In that night. The Love Language band members certainly recognized the situation, thus inspiring the joke. I certainly appreciated their sense of humor, as did the rest of the crowd. Although their introduction as Best Coast (ha) instinctively raised a few eyebrows, it ultimately garnered laughs from all of us in attendance – thus setting a congenial tone for the show. The best part? Things only got better from there.

I had high hopes for the Love Language, as I had fallen in love with a couple of tracks off of their recently released sophomore album, “Libraries,” over the summer. Although I already had high expectations, their show still managed to take me by surprise – in a good way! I have to admit, I was not sure at first, mainly because of the incredibly low attendance. I love that the Exit-In is a bit more “intimate” and usually isn’t that packed, but seriously – thirteen people? (To put this number into context: out of these thirteen people in attendance, four were members of the opening band, and two were parents of the opening band’s lead singer, as the opening band was from Nashville.) I was already nervous because I had dragged two of my non-concert-going friends to this show. I am quite personal about my music and feel like any recommendation that I make is a reflection of my own good judgment and opinion, so I was really hoping they would like the concert. Needless to say, arriving to a practically empty Exit-In did not quell this fear.

As soon as the Love Language went on, though, my doubts were appeased. I quickly realized that they are a band that sounds even better live – a gem of a quality that I love to stumble across when checking out a new band. Structurally, the band is made up of two guitarists, a bass player, a keyboardist/tambourine player, and a drummer. The drummer was quite curious; he can best be described as a crossbreed of Shaggy (from Scooby Doo) and a rugby player/rower. He reminded me of Shaggy because he had that same “my-hair-is-too-long-and-thus-will-hang-in-my-face,” beard, and goofy/dopey combination going on. However, this served as a stark contrast to his build – he was quite large, standing (easily) over 6’3”, and he wore a tank top that did nothing to hide his large biceps/arms (thus the rugby player/rower similarities). Though his appearance was interesting enough, perhaps his most “curious” aspect was his drumming style. To preface: I always like watching the drummers of bands, especially during songs that are more intensive/complicated/beat–ridden. Each drummer seems to have his own style of keeping the band’s rhythm, and I appreciate noticing this. However, this being said, I’ve never really walked away from a concert, thinking, “Wow… that drummer may have stolen the show.” And yet this is precisely the first thing my friends and I talked about as we made the trek back to campus once the concert was over. To us mere observers, it seemed like “keeping the beat” was a coincidental by-product of the drummer’s desire to frenetically bang away at the drums (just like a seven-year-old who just got his first drum kit from Santa). There was just something quite magnetic about his presence and performance. It was so compelling to just sit there and stare at the drummer!

However, to dwell any further on him could potentially be misleading about the balance of musical talent (or implied lack thereof) between band members. Towards the end of the concert, just when I began to conclude that the drummer was my favorite member of the band, the lead singer made his strike. After finishing up a song, he glanced at the set list and then muttered a few words to the other band members. They responded with nods, giving him permission to deviate from whatever they had originally scheduled. What happened next was something I was not prepared for. Instead of launching into a full-on song, the lead singer began to sing one of their songs sans instruments, while the rest of the band stood back in the shadows and watched on with the audience. He started off quite softly, cupping his hands around his mouth. As he reached the chorus, he began to project more, ending very loudly with his arms thrown wide open and his head tilted a bit towards the ceiling, as if singing praises to the gods.

Though the lead singer had sounded great all night, our mouths all dropped open a bit when we heard him sing a capella. His own vocal performance isolated, we all realized how talented of a singer he is. His voice was arresting; I felt shivers running up and down my back multiple times while listening to him sing. This is something I’d expect if I were at the concert of singer well-known for his/her voice. However, on this night, I didn’t even see it coming; rarely have I felt so transfixed by a singer’s voice – especially when belonging to the unknown singer of a practically unknown band. His control of his voice was quite impressive; he was able to manipulate his sound when singing different parts of the song. I particularly remembering him matching the clarity of his pitch and tone to the significance of the lyrics he was singing. I cannot recall much else about his performance, because in that moment, I was so completely enthralled with his singing. At that moment, making an effort to actually remember seemed much less vital than focusing on being in the moment completely. And then, much too soon, it was gone; his band joined him starting with the second verse and the remainder of the song. I was snapped out of the spell I was under just as quickly as I was lured into it. Glancing around at my friends to see if they had just witnessed the same feelings, I was relieved to see that they too had to take a couple of deep breathes and blink their eyes a few times. They were obviously similarly engrossed in the moment.

The other band members were also talented and enthusiastic, although no other truly “musical” moments stood out quite like the one I just described. However, there was one other time during the concert that was quite special and made my personal experience so great. Three songs into the set, I was quite excited to hear one of my favorites off of their album. Although I did not know all of the lyrics, I sang along quietly for as much of the song as I knew. Because the concert was so empty, my four friends and I were able to stand quite close to the stage, distancing ourselves from the band by only by four or five feet. Apparently, the bassist had been watching me sing, because upon completing the song, he went up to the microphone and spoke for the first time that night. “Wow, someone actually knows some of our lyrics… that’s awesome!” he stated, glancing at me. I felt my face begin to flush, which only deepened as one of my friends held his hand up in the air, pointing at me and saying in a low voice, “Megan…” My other friends let out a couple of laughs and smiled at me, pleased to know that I was enjoying myself. Later on, after the show, we were hanging around and talking to the band at their merchandise table. The bassist approached me and said, “Sorry, I didn’t meant to completely call you out like that… you stopped singing the lyrics after that!” I explained to him that my lack of continued singing was more a function of my not knowing the songs; I had only recently become a fan and only knew the lyrics to two songs of theirs. “Ok, just as long as I didn’t make you feel embarrassed! I thought it was awesome that you knew our stuff!”

I went to the Love Language’s concert with high hopes, and was greatly pleased to find that reality far exceeded what I could’ve imagined. The Love Language proved to be a fantastic live band. They were musically gifted – realized both through demonstrations of personal talent as well as through their strong songs with powerful lyrics. And the show was so much more than a concert. It was not merely the Love Language showing up to perform for those in the crowd. Instead, the experience was so much more personal; the band was friendly and engaging and relatable.

Watching the Love Language is akin to being invited to watch a good friend’s band rehearse some new numbers live – especially when the band is great and you come away thinking, “Wow, I feel privileged to have been a part of that, because these guys are really going places.” Though at first I was nervous about the small crowd, I feel selfish admitting that I ended up being glad that no one else came out. The intimate atmosphere played a large role in shaping the experience for me, and I do not wish to imagine that it could’ve been any different than it was.

Sometimes, live performances possess a special magical power to transform mere music into something more. Such occurrences can bring people together and inspire emotion in a way few other things can. These days, I often find myself highly stressed, like I am constantly battling the furies of a storm. Music is one of the few things that I can take solace in; much like the eye of the storm, it brings a sense of calmness and being and equilibrium to a life that is otherwise defined by its confusion and hecticness.

I was hoping that seeing the Love Language live at the Exit-In would be a quick escape from day-to-day life. I went hoping it would put a smile on my face, as concerts often do. And yet it did so much more. The Love Language did put a smile on my face, then swept me off my feet and left me speechless. I truly believe this band is going places and is here to stay. Of course, I would highly recommend their album music. And when luck and circumstance collide, I hope you will consider seeing them live; it’s for your own good! It was quite an experience for me and I only hope that others can take pleasure in having a similarly fantastic experience.

Oh, and in case you were wondering, after the concert, there was no doubt in my mind: I definitely chose the right band to see that Sunday night in late September.

Link: Live @ Exit/In: Heart to Tell clip
Link: Live @ Exit/In: Horophones
Link: Live on KEXP: Brittany's Back (toned-down)
Link: Music Video: Heart to Tell (Merge Records version)

Did you miss the Love Language's Fall 2010 tour? Check them out during their Spring 2011 tour!

Free Downloads @ RCRD LBL

Free downloads are available at RCRD LBL:

Nerve Salad - Simian Mobile Disco
Teenage Spaceman (Booka In Space Mix) - Booka Shade
Groove Me (Feat. Theophilus London) (Jneiro Jarel Remix) - Maximum Balloon
Goldfrapp - Believer (Little Loud Remix) - Little Loud
Stop N Go (prod. Diplo) - PRGz
More or Less (Banjo or Freakout Remix) - The Soft Pack

Download these free mp3s (and others) and let us know which are good, which aren't worth the space on your hard drive, and where you get your free downloads at!


The Soft Pack, above

For the Love of the Music: The Living Room Concert

By Doug Polak (New York City)

While not a new concept, the living room concert (LRC) is gaining in popularity in cities across the country. For many reasons, the interest in these events is growing for all involved, the music lover, host and the artist. In addition, web sites have popped up to facilitate connecting audiences, hosts and musicians. Often you will see waitlists involved.

The concept: There are many derivations to the living room concert. But the basic concept is to connect music lovers with talented musicians in a small environment. A host will provide a venue, food and drinks and collect a ‘cover’ charge – 100% which typically goes to the artist. The audience member typically will pay $10 to $30 for access to the show. While some hosts try and profit from the event, the best and most successful LRCs are about the love of the music and to provide exposure to a young, talented musician in exchange for an intimate show. LRC’s are as small as 20 and can grow to 50 depending on space. The artist will play for 30-45 minutes and typically stay for a bit to mingle with the audience afterward. Musicians are also provided a ‘couch’ to sleep if they have no other accommodations. Although, we now see many national acts now pairing their out-of-town shows with an LRC. And these websites allow for scheduling and facilitate organization. And there are numerous LRC’s on YouTube.

Who benefits: Everyone benefits. The artist receives some remuneration and a new fan base. She can sell CD’s t-shirts and the like for added revenue. The host establishes herself as a supporter of music and gains access to relationships with talented musicians. And the attendees, even paying $30 or so dollars, will have a unique and intimate experience. And who really wants to go to big venues like Madison Square Garden these days.

Check into it. While I will not plug any one website, why not check out an LRC in your neighborhood and attend. At worst you will meet other music lovers in your area. And most likely you will have an experience of a lifetime. Who knows, you may host one yourself one day.

Makes Your Heart Melt

"Everywhere I go,
I'm a tourist.

But if you stay with me,
I'll always be at home."



-julian casablancas, 'tourist'

Lollapalooza Schedule Released

Lollapalooza released the schedule for its festival (August 3-5) today. What is your reaction? Who will you go see? (And more importantly, who will you be missing?)

http://www.lollapalooza.com/

A Salute to Co-Ed Duos

Wow. High five to the sudden emergence of guy/girl teams making great music. Namely: Nikki & Rich and Little & Ashley. (With other duos worth mentioning soon enough!)

So first up... Nikki & Rich is a sassy duo hailing from Los Angeles. Their songs – better described as soul singing meets doo-wop beats – are incredibly catchy and infectious. Of course they would be; what would you expect when you lock a hip-hop producer (Rich Skillz) and a gospel singer (Nikki Leonti) in a studio together? (Although the studio part is questionable - I'd be more inclined to think they recorded on the Soul Train stage or in a 1930's speakeasy based on their sound!) One listen – I’d recommend “Next Best Thing” or “Cat & Mouse” – and you may find yourself thinking, “Where has this song been all my life!?!?!?!?” Nikki & Rich’s debut album “Everything” is set to be released this June; I only hope that a tour will follow the debut because I imagine they must be great live!

The second pair worth mentioning is Little & Ashley. More formally recognized as Annie Little and Marcus Ashley, this is another duo from L.A. that has risen to fame because of, well… their jingles! Their songs “Stole My Heart” and “Fly Away” have been used in all of the Amazon Kindle commercials. “Stole My Heart” is a cute number that is reminiscent of something you’d hear in a movie like 500 Days of Summer (had they actually ended up together in the end). The sound itself isn’t necessarily novel – these upbeat ambitious (i.e. lovesick-while still-keeping-a-level-head) ballads seem to spring up all the time (re: Apple product commercials anyone? Flashbacks to “New Soul,” by Yael Naim, “1 2 3 4,” by Feist, “Bruises,” by Chairlift). Maybe this song won’t outlast its 15 minutes of fame. Maybe this song will be discarded as quickly as a mouthful of Listerince once a new spot comes out with the next tune of the moment. Maybe these songs are “ice cream cones,” (re: Elizabethtown) something sweet that lasts for five minutes but then melts away. But who cares? That’s the future. And this is today. These tunes will bring a smile to your face and a warmth to your heart. And who doesn’t like an ice cream cone every now and then?

Check out these bands using the links below, and leave comments with any up-and-coming co-ed duos that you know of!

Nikki & Rich - "Next Best Thing" Official Music Video
Nikki & Rich - "Cat & Mouse" Live
Little & Ashley - "Stole My Heart" (as part of the Amazon Kindle Commercial)(I believe that Little & Ashley may be the actors in the commercial)

Live Show Review: Hockey with the Postelles and the Constellations

I recently saw Hockey, supported by the Postelles and the Constellations, live at the Drunken Unicorn in Atlanta. The Drunken Unicorn is a great venue. It’s a hole-in-the-wall place on Ponce de Leon, occupying a small segment of the bottom floor of a large building. It is a hidden gem –there is no sign for the venue, nor do they have a telephone number. Yet once you find the entrance and make your way into the Drunken Unicorn, it is an enchanting place. When you enter, it is easy to confuse the venue with a high school party in your friend’s basement (the capacity for the Drunken Unicorn is only 250), yet upon closer inspection, you will realize that your friend probably doesn’t have multiple pictures (read: headshots) of unicorns adorning the walls. Anyways it’s definitely worth checking out – regardless of whether or not you know the band scheduled to perform.
(^^ Ok so I forgot to take a picture of the venue, i.e. the unicorn portraits on the wall... this should give you an idea...)

The Postelles

The Postelles were the opening opening band of the night and definitely set the tone and set the bar high. For the opening band, they were great! I can’t think of one specific band to compare them to; rather, as I listened to them, I typed into my phone the following notes on their sound:

- Sam Cooke’s “Change is Gonna to Come”
- Leader singer of Little Joy
- Joseph Levitt-Gordon on karaoke
- Vampire Weekend?

These are the only specifics I can recall from the show. I thoroughly enjoyed their set, including their cover of a Ramones song. I bought their EP after the show and have enjoyed listening to it in the car. However, I must say that I found their studio recordings of their songs to be a bit “cliché” – or even “contrived” – as compared to their live sound. I can’t put my finger on what it is, except to say that their recordings don’t sound as unique – they sound like songs any up-and-coming band could’ve recorded. Their live show, in comparison, is really where you will hear “The Postelles.” That being said, I’d recommend you buy their EP (it is still great even if it isn’t as good as their live performances) or see them in concert. They will be at Bonnaroo this year!

The Postelles - "Can't Stand Still" Live
The Postelles - White Night (Free Download)

The Constellations

The Constellations, a large band from Atlanta, GA – definitely enjoyed their homecoming show. Upon arriving, I was surprised to find a rather packed house for Hockey (considering the band is relatively unknown) – but as soon as the Constellations came on, I realized the reason for the crowd. Most people there were their former high school classmates or family there to support their friends' band.

The Constellations are a rock band made up of anybody and everybody. The lead singer, a plaid-donning Kurt Cobain-esque figure thoroughly enjoying his fifteen minutes of fame with his hometown crew, found it hard to keep his pants pulled up as he downed his beers and whiskeys on stage. To his left stood two girls who provided backup vocals as well as tambourine jangles. These girls were decked out in LBDs (Little Black Dresses) and flower headbands; when we saw them standing around during the Postelles, we thought they were high school girls eager to flirt with band members (and how we were wrong!). One of the guitarists (or bassists?), a younger guy who was actually quite attractive (very cleaned-up as compared to the other male band members) was dressed in skinny jeans, converses, and a plaid shirt – almost more of a university hipster. Another band member (keyboards?) was affectionately nicknamed "WolfPack" by my friend, as he bore a striking resemblance to none other Alan from the Hangover. The other couple of band members also had their own look. Their discoordination was almost rather confusing. The best analogy I can come up with: in the same way that Edward Sharpe and the Magnetic Zeros are an eclectic bunch, so are the Constellations. (E.S.&M.Z : folk/hippies :: the Constellations : rock.) The Constellations have a sound just as eclectic as their band. Their songs were all different from one another. Sometimes I found myself not particularly enjoying their angry rock songs, yet other times I did enjoy their more upbeat, indie sound. You'll just have to check them out for yourself!

Hockey

HOCKEY! This blog’s name is inspired by a Hockey song - so you must imagine how excited I was to see them live. Hockey was fantastic; their setlist consisted of songs off their debut album “Mind Chaos.” Unfortunately, their set was cut short because the Constellations went over their allotted time; at least once the Constellations finished their set, a few of their fans left, thus freeing up some dancing space in the venue for those of us there to see Hockey.

The lead singer, donning brown leather hunting boots, washed out skinny jeans, an oversized sleeveless-ish white shirt of sorts, and a winter snow cap (?), sang really well – even as he jumped back in surprise in the middle of a song after his mic shocked him. Hockey’s live performance didn't sound widly different than their album, but seeing them perform live was a treat (as live shows tend to be more enjoyable than the monotony and two-dimensional nature of listening to recorded tracks). Perhaps the star of the show was the lead singer. His dancing/movements/mannerisms were at times quite spastic - questionable at worst but entertaining at best. During various instrumental parts of songs, he'd turn away from the mic and pick up large mallets that he’d use to bang on (what I think were) kettle drums. It was like watching a tribal leader leading his troop in rhythm.

Hockey’s songs are not like those of many indie bands today. Many bands today put out songs with obscure and almost existential lyrics that are best left to interpretation and make you wonder how many drugs the band was on when writing the album. Hockey's sound is refreshing and their songs are catchy as hell and the lyrics are actually quite relatable. And the band puts on a great live show! My favorite moment of the night was dancing and singing along to “Song Away” – especially as I was clearly the only person in the venue who knew the song that well. I must admit, I was a tad bit disappointed that this song (and only this song) was almost a bit lackluster live as compared to its sound on the album. Still, it was great. And why not? Oh, tomorrow’s just a song away… a song away… a song away….
(click above for free download!)

Hockey - "Learn to Lose" Live
Hockey - "Too Fake" Live (watch to see the erratic behavior of the lead singer)
Hockey - Work (Free Download)

LOLLAPALOOZA HANGMAN

HELP US FIGURE OUT THE LOLLAPALOOZA LINEUP. Lineup is in form of hangman until Tuesday, when the complete 2010 lineup will officially be released.

So far, from a couple of glances, have figured out: THE STROKES, Edward Sharpe and the Magnetic Zeros, the Soft Pack, hopefully Lady Gaga (can't tell for sure), Arcade Fire, the Temper Trap, Green Day, Soundgarden.

Help figure out more that are missing!!!!


http://2010.lollapalooza.com/

Leave answers in comments section.

The Wind Cries Jamie

“These are the days that I’ve been missing / Give me the taste / Give me the joy of summer wine” – “These Are the Days,” Twentysomething (Jamie Cullum’s 2004 debut album)

Just like the summer wine that he sings about, Jamie Cullum is completely intoxicating. Jamie is an incredibly talented artist who puts on one hell of a show. I came away from the concert completely enamored; what a love to feel!

Jamie Cullum a British jazz-pop artist who is relatable to his contemporaries, while also standing out in his own unique way. Like Michael Buble, he has mastered a tone that melts away, but unlike Michael Buble, he does not limit himself to the love ballad genre. Like Rufus Wainwright, he has a certain earnestness in his singing that is reflected in the (at times) dry, coarse, and smoky sound of his voice. And yet he differs from Rufus Wainwright in that Rufus is more of a storytelling artist. Like Ben Folds, Jamie Cullum is trained in piano and is not afraid to show it while performing. Both artists stand up, throw their heads and hair around to-and-fro, bang at the keys, etc. when they’re overcome by the melody. It is truly inspiring to watch both Jamie and Ben perform for this reason. However, Ben is more of a pop-piano artist and performs clever, witty, singer-songwriter songs, while Jamie is more of a jazz artist and plays whatever inspires him at the moment. [Honorable mention goes to Norah Jones (comparable because of great voice, great range of songs) and Lily Allen (comparable because of British nationality, witty songs).]


Jamie Cullum was truly a delight to see live because he truly performed as a “jazz” artist, in the sense that he presented a spontaneous, live-by-the-seat-of-your-pants form of art. While he played songs off his record, he’d often digress into his own interpretations of the song or into completely random tunes on his piano (one can only wonder if these were pieces he had learned at an earlier time that he suddenly felt like playing, or if he was ad-libbing and letting the tune play itself). Jamie warned the crowd of his constant deviations and also warned that once he gets going, he often finds it hard to stop. At one point during a detour, he got “going” so much that he turned his head away from the piano, covered his eyes with his left hand, and proceeded to play the entire tune (complex, fast-tempo, and all) with his right hand for a good minute or two. It was wildly impressive. Perhaps even more entertaining, though, was to watch his band’s reaction when this happened. Anytime he’d stray from the song, his band would stop and rest their instruments, fixated on him like attentive pets, waiting for their cue to join back in. However, this time, they might have been a little less loyal to Master Jamie; it was as if, for a brief second, a smirk came over each of their faces and they glanced at one another with raised eyebrows and rolling eyes as if saying, “what a showoff,” or “there Jamie goes again…”

The highlight of the evening, in my opinion, was when Jamie went off on a tangent – only to circle around and play one of my favorite songs of his. He started by playing/singing a cover of John Mayer’s song “Gravity.” After only a couple of lines, (“Gravity is working against me / Gravity wants to bring me down / Gravity stay the hell away from me… cause….. gravity…y…y…. ”) Jamie laughed along with the audience as he admitted that he didn’t actually know the words to the song but he thought it’d be “fun song to try.” However, this lack of direction didn’t stop him. He continued to chop away at the piano and somehow managed to find an opportunity to transition into a cover of Ray Charles’s “I’ve Got A Woman.” [Why not throw in a cover... or two... or three?] After singing a few lines about having a woman across town who wants to take his money, Jamie transitioned into “These Are the Days” – one of my favorite songs, off of his Twentysomething album. The first verse of the song goes “these are the days that I’ve been missing / give me the taste / give me the joy of summer wine // and these are the days that bring you meaning / I feel the stillness of the sun / and I feel fine.”

Jamie proceeded to sing this verse again at the end of the song, and to repeat the last line over and over again – “I feel fine.” At one point, he left his piano and walked around the stage – eyes closed and fingers snapping their own beat – cooing the line over and over to his own rhythm. He ended the procession by making his way to the center of the stage, without his microphone, standing in front of the crowd with his arms spread open, encouraging everyone to sing along with him those three simple words – “I feel fine!”

The evening was truly magical; it was such a privilege to be invited into Jamie Cullum’s special world. At times I felt my heart rise into my throat and my breath catch in my chest; I was relieved to know the dark auditorium disallowed anyone from seeing my cheeks blushing as I listened to Jamie serenade the crowd. I do not believe it is fair to assume that my heart was racing because of some schoolgirl fantasy of Jamie Cullum; rather, I think my emotions were caught up in the ideas that Jamie’s performance conveyed. Jamie played with such passion, such intensity, such focus, while at the same time maintaining a rowdy, joyful, light-hearted nature. As I watched Jamie play his piano and sing his songs, I found myself seeing love in his behaviors. And shouldn’t this be what love is all about? Shouldn’t a full-fledged love be full of incredible force and happiness and veracity? It was almost easy to miss these fine points of Jamie’s performance – but perhaps these were the most important. Seeing Jamie perform made me hope that someday I find a love in my own life that is on par with the level of affection in his performance. I’m not sure if my exact feelings quite translate when put into words, but as I’ve said, it was quite a magical feeling. I would recommend to anyone and everyone to see Jamie Cullum live in concert.

For the last song during his encore, Jamie took the liberty of modifying the popular song “Wind Cries Mary.” The audience found a last laugh in unexpectedly hearing him sing the words “and the wind….cries…. Jamie!” While this action easily could've been viewed as a cocky joke, the audience totally bought in; everyone took part in echoing his sentiments, much like worshippers singing out of a hymnal. It is only proper that my final words on the matter relay this consensus –

All hail the gospel of Jamie.

Jamie jumping off his piano at the end of his concert in Atlanta.

Jamie's cover of Rihanna's "Don't Stop the Music"
Jamie singing "Gran Torino" (theme from motion picture) live at Carnegie Hall
Official music video for "All At Sea" [Jamie's first single, released on his album Twentysomething]

MGMT Concert + She & Him

I was in London last week, and I was one of the lucky few hundred to score tickets to MGMT's concert there. They picked a very small venue called Heaven. It was great to see them up close and to be one of the first to hear their new album live. They alternated new songs with old material.

How was it? I have mixed feelings. The general consensus is that their sophomore album, Congratulations, features a new sound from them: they intentionally did not write anything like "Kids." I personally really like it: I think they're a band that genuinely tries to expand their sound and in different directions. They could have continued in the same vein as Oracular Spectacular, sold tons of records, opened for GaGa/U2/Coldplay and embraced the mainstream celebrity status. But they didn't, they took a riskier path and rejected "selling-out." No, I'm not a big fan of "Flash Delirum" (cluttered and aimless, in my opinion) but I think the album as a whole (which is streaming on their website) is strong.

However, this made for a rather awkward concert experience. The album had not been streamed or leaked online before the concert, so all we knew of their new material was "Flash Delirium" and some interviews. MGMT is not particularly charismatic live. The sound level was low. So people mostly stood around during the new songs and only became energized when something familiar was played. No one really knew what to expect. At the end, a lot of people were upset because they didn't play "Kids" at all, despite the fans chanting for it. While "Kids" isn't my favorite song by them, I do think that they should have played it, simply because the crowd obviously knew it and loved it. Deliberately leaving it out felt rather like a snub to the fans. However, I also understand that the night was supposed to be about their new album and a departure from their old sound.

Anyway, MGMT is hitting a few college concerts (Brown, Yale) so perhaps you'll see them soon. Listen to the new album and see what you think! Leave a comment and let me know.

Also, She & Him's wonderful new album, Volume Two, was released 5 days ago in the US. It's currently streaming in full here. The pairing of Zooey Deschanel and M. Ward continues to be charming and endearing; fans of Volume One won't be disappointed.

Field Music - In Context

I recently came across Field Music and their music video "In Context." To be quite honest, after watching the music video, I cannot quite recall the song - only because the music video is so enthralling. I merely remember the song as the tolerable background noise that accompanied the music video that I was completely fixated on. Even though the song/video was released in 2006 [ie not recent], I still wanted to share it. (PS the song is pretty decent, now that I'm listening to it a second time.)

Here's the music video: Field Music - In Context

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THANKS

MGMT RETURNS

Ben Goldwasser and Andrew VanWyngarden are back! MGMT is set to release their sophomore album, Congratulations, on April 13, 2010. In anticipation of the release, they are offering a free download of one of the album's tracks on their website. I JUST downloaded the song and am about to listen for the first time - hopefully it will be just as great as when the psychadelic, synthesizer-heavy "Fated to Pretend" was released as their first single a little over two years ago.

Download Flash Delirium for free and then leave a comment with your thoughts!

Adventures in Ghostland

By Jessica Capps

Add this to your list of things to do before you die.

When they come in town, I tell my friends that—even if they don't particularly like electronica music—they will not regret going to a Ghostland Observatory show. In the last calendar year, I have seen Ghostland three times (apparently they can't get enough of Nashville's Cannery Ballroom, and the feeling is mutual). The first time I saw them, I clearly remember turning to my roommate Margaret and declaring, “I could do this every night for the rest of my life, and never get tired of it.” It could be built into our nightly routine: we eat dinner...do homework...brush teeth...go dance around with lasers/balloons/electronic riffs...go home to put our retainers in...then sleep. 8AM anthropology.

By November 2008, I'd happened across a few Ghostland songs on Myspace (www.myspace.com/ghostlandobservatory), and I liked them enough to buy tickets for two friends to join me at their concert. I'd read very favorable online reviews of their concerts, but nothing prepared me for what I was about to see.

First, Thomas Turner (in his trademark blue cape) comes onstage inconspicuously and plays an intro on his synthesizer, full of dramatic electronic scales, which eventually slow down to a few brief, tense seconds of total silence. Suddenly, frontmanAaron Behrens (in his signature long braids and round, Hunter S. Thompson sunglasses) emerges from stage left, to the pounding beat of “Piano Man.” Also at this moment, stupefyingly powerful lasers shoot out from the stage, moving in perfect choreography with the song. Periodically, a full panel of colored lights stretches out and sweeps over the crowd. The lasers and colors envelope the smoke overhead, creating a visual effect that makes the air look like water hovering overhead. Then the crowd gets an eyeful of Behren's infamous stage moves: something between a belly dancer and Mick Jagger, they are every bit as captivating as the light show (see video below).

For the first 30 seconds of the opening song, my friends and I stand stock-still, looking upward at the spectacle, in supreme awe. Our gaze eventually slides downward to show each other identical expressions of total confusion and amazement – a look that reflected the fact that we were being shown things that we didn't know were possible. (That was when I had the epiphany that, for $18, you can either get (A) approximately one t-shirt from Target that will become worn-out in about six months' time, or you can get (B) your mind blown. )

We quickly regain consciousness and start to really enjoy ourselves. We dance for the next hour and a half, buoyant with happiness, in the inexplicable joy that can only come from bouncing around underneath a sea of changing colors and neon balloons.

All of this from just two men from Austin, Texas, who met through a newspaper ad (Austin Music & Entertainment). Turner creates the beats with his synthesizer and drums, while Behrens plays electric guitar and does vocals (the likes which have been compared to Freddie Mercury [Rhapsody] and Prince [Myspace]). On their Myspace website, it says that Ghostland's influences include Daft Punk, Green Velvet, andDavid Bowie (there's certainly a parallel between ol' Ziggy Stardust and Behren's own androgynous stage persona).

A Ghostland concert playlist moves fluidly from one song to the next, with only minimal commentary from the performers. The abundance of colorful stimulation coming from the stage makes this acceptable, and adds to the general feeling that Ghostland's aim is to give the audience an experience that is both visually and auditorily scrumptious, and not just to enhance their own egos. This slight detachment from the crowd also maintains a sense of mystery about the identity of these two quirky guys, which is an attractive concept in our world of over-exposed,Twitter-happy artists.

Now that I have seen Ghostland multiple times, I know what to expect -- the three shows I've seen have been essentially identical to each other. This predictability may be due to the fact that Ghostland has toured relentlessly since the release of their 2008 album Robotique Majestique, which means that their song repertoire hasn't been updated in a while. However: even though I know exactly the songs that they'll play, and exactly what the light show will be, I have yet to go to a Ghostland show without smiling for a solid 90 minutes. It may be predictable, but it is still nothing short of delightful.

Some songs are more melodic (e.g. "The Band Marches On"), while others showcaseBehren's unique half-scream singing (e.g. "Move With Your Lover"). The lyrics are typically about relationships, love and lust—songs that are not particularly thought-provoking, but simple enough to catch onto, so that even if you're a Ghostland newbie, you'll be singing along with Behrens -- yet another reason why anyone can have fun at this show.

Primarily consisting of twenty-somethings, a typical Ghostland crowd is about 1/3 glowstick-wielding Bonnaroo veterans, and 1/3 non-descript college-aged kids—both categories which are crammed shoulder-to-shoulder up front, pulsating happily to the beat like a glowing amoeba, sweating furiously and unabashedly. The final 1/3 are people who you really don't expect to see – frat guys and over-dressed girls who stand towards the back, so as to not get too sweaty (did they wander over from theAsher Roth concert?). Remarkably, this eccentric electronica duo has begun to boast not only a cult following, but also popularity in more mainstream circles.

As Ghostland continues to take the electronica world by storm, be sure not to miss the opportunity to see them--regardless of whether you like their music on an album, you will not be disappointed by their live show. Their concert is virtually unparalleled, their charisma unstoppable; their songs demand to be danced to, and the experience is, as a whole, ineffably fabulous.

Listen to: “Silver City” (Delete.Delete.I.Eat.Meat)

Video from Dec. 10, 2010 at the Cannery Ballroom (Nashville, TN)

*Ghostland gets its lasers through Lightwave International.

For a GREAT video of Ghostland's laser light show & more info on them, check out http://www.lasershows.net/content/view/87/92/

Boone, Lawrence. "Ghostland Observatory." Austin Music & Entertainment. 01 15 2010. Austin Music & Entertainment, Web. 2008. .

Sherburne, Philip. "Ghostland Observatory." Rhapsody Music. Web. .

A Night at the Exit/In with Bassnectar

By Jessica Capps

If you're in this band's audience, you're caught in a dance mob of hoodie-clad

twenty-somethings; you may or may not be wearing a costume, and chances are, at any given moment, you're wondering where the ganja smell's coming from. Even if you aren't under any sort of influence, you're definitely smiling uncontrollably, because you're in the middle of the most mind-boggling two hours you've ever spent (not counting the time you saw that movie Fight Club).

Enter Bassnectar, a team of visual artists and musicians. The collaboration's creative leader,Lorin Ashton, and his computers are the centerpiece of the stage, but the audience's attention is drawn to everything else around him – especially the lights that project laser beams over the crowd, and the gigantic LCD panels emitting a constant stream of dreamlike visuals.

At the Exit In for my first Bassnectar concert, I'm surprised to find a distinctly Woodstock-esque vibe in the crowd. In the corner, a bowl is passed around and shared amongst concertgoers. When I run into a former classmate, he introduces me to his giggling friends, and then whispers amusedly, “Don't mind them, they're all on acid.” Later, someone asks me if I'm on ecstasy; not waiting for an answer, he says benevolently, “I have some extra in my pocket, if you want any more!” As I start to politely decline, he disappears – only to return a few minutes later with a Dixie cup of water, explaining very seriously that it's important to drink a lot of water to stay hydrated. I am not on any drugs at all, but all the same, I appreciate this general spirit of camaraderie. Thanks for lookin' out for me!

This sense of community is appropriate for a Bassnectar concert, since (as Ashton himself says), the group represents an endeavor to not only “merge music, art, and new media,” but also “social involvement and community values” (“Bands.tv”). This makes it difficult to place Bassnectar squarely in any one genre, but it is a form of dub music called “dubstep,” which carries on the Jamaican reggae and dub musicians' tradition of reflecting a belief in the importance of social community (in fact, Bassnectar makes an homage to dub music's origins with the song “Kingston”).

Bassnectar's songs are complicated and vary in their structure. They're melodic, but with such heavy bass that, as the Nashville Scene warned concertgoers before the October performance, "this double-dose of way-out EDM [Electronic Dance Music] is bound to rumble your lower GI in ways you never thought possible" (Maloney). There are usually no lyrics in Bassnectar songs, except those that are sampled.

As you might guess, technology is a major part of the Bassnectar experience. The music itself requires computer technology that welds together different genres, creating sounds that closely mimic those that might be heard during an acid trip. Aside from that, the light show uses powerful instruments that project the laser light show far into the crowd. And of course, there are the LCD panels that complete the Bassnectar concert, which generate non-stop visuals, of everything from Discovery Earth-like landscapes, to animated breakdancers, to giant floating bubbles in fluorescent colors (see video below). Bassnectar's ambitious pursuance of new media has produced results that are as intriguing as they are delightful.

On Bassnectar's Myspace website, Ashton cites his influences as ranging across Nirvana, Run DMC, Frank Zappa, and native American flute music. He explains that his music is “an amalgamation of every sound I've ever heard, mixed with ultra wicked basslines.”Bassnectar allows Ashton the flexibility to combine any and all genres, with the option of pulling music from every nook and cranny of musical history. His samples come from a wide range of older music (for example, his dub with the Pixies' “Where Is My Mind” got a huge reaction from the crowd at the Exit/In), yet he also incorporates original ideas which come from his many collaborators. Almost every genre has been represented in Bassnectar's repertoire, which now includes eight albums. Some of the instrumentation that this includes is acoustic guitar, keyboards, theremin, snare drum, bass, and sequencers that make any other sound possible. The combined usage of these different sounds creates a texture that is sometimes described as a “soundscape.”

There are certainly some parallels between Bassnectar and earlier acid rock – undeniably, Bassnectar's concert is enough to make a completely sober person feel like they're on hallucinagens (without any risk of nausea or heart palpitations! *thumbs up*) With complicated structures and lengthy songs that are usually entirely instrumental, Bassnectar is a DJ sub-species of the jam band. Like other jam bands who are descendants of the fathers of acid rock, Bassnectar is dedicated to enhancing its live audience's experience,through visuals, light shows, and danceable music.

The appeal of a live Bassnectar show is huge today, at a time when people have a great appreciation for affordable ways of being uplifted. Go see Bassnectar and you'll be immersed in an environment where people believe in the possibility of positive change and human fellowship. And you needn't fret about what to wear to the show, since your dance partner will probably be wearing a dinosaur costume or a onesie—regardless, no one will care about your outfit, because everyone will be happily hypnotized by the spectacle on stage. This year, many of us were looking for an escape from term papers, the monotony of minimum wage jobs, the stresses of navigating a desolate economic climate. This is how I can justify spending all of my extra money on live music (that is to say, the money I don't spend at Smoothie King, which I could devote another entire blog to). The Bassnectar experience was beyond impressive, it was inspiring; which is why I've named this blog after a Bassnectar song.

Listen to: "Bomb Tha Blocks," Bassnectar (Underground Communication)

Video from Oct. 7, 2009 at the Exit In, Nashville, TN

"Bassnectar Profile." Bands.tv. 2007. Bands.tv, Web. 14 Nov 2009. <http://www.bands.tv/musician.php?item_id=5045>.

Maloney, Sean L. "Bassnectar & DJ Vadim at Exit/In." Nashville Arts. 01 10 2009. The Nashville Scene, Web. 14 Nov 2009. <http://www.nashvillescene.com/2009-10-01/arts/bassnectar-dj-vadim-at- exit-in/>.

NEW Broken Social Scene!!!

It's been a real long time since Broken Social Scene has done anything. This year they are coming out with a new album. I'm really excited. With what other band are you going to get to hear people like Feist and Amy Milan from Stars together.

They have recently released their first single "World Sick". It's 6 minutes long, but after it gets going around the 2 minute mark its pretty good. It's a lot simpler than their older stuff which used to seem like a wall of sound.

Along with the youtube video above, here is a link to download the song from Pitchfork. Just type in your email address and they'll send you a link to the song.

Also for the hell of it, here is the video to 7/4 Shoreline. That was my favorite song back in the day.

Grizzly Bear

Hey Guys,

Since everyone seems to be posting some of their favorite music from last year, I figure I had to talk about Grizzly Bear. They are a 4 piece band from Brooklyn, that you can classify as psychedelic folk. Imagine the Beach Boys on intense acid. This past year they released their 3rd album, Veckatimest, and I've basically been listening to it non-stop.

The first song I wanted to post is "Two Weeks". It's probably the one you've most likely heard before. The video is goofy as hell but I like it.

The second song I wanted to post is While You Wait for the Others. It's a little more alternative, and the video is even weirder and trippier than the first.

Eddie

WE ARE ART.... VS..... SCIENCE!

While spending a semester in Australia, I was exposed to so many great artists - great artists who, for whatever reason, haven't made it big in America (yet). I'll probably write on each of them, because even now, a year later, I'm still obsessed with many of these bands.

For now, though, I'd like to talk about one of the coolest Aussie bands ever - ART VS. SCIENCE. I was fortunate enough to see them live twice, once at my college's informal (where I got to hang out with them before their show; they were pretty legit) and again at Splendour in the Grass, a huge music festival up in Byron Bay.

These guys are awesome - they're different* than any other band I've ever heard. Their sound is kinda weird** and eclectic (is that a spaceship landing?*** nah, just A v. S); they take electronic to a whole new level. Definitely cool. Not to mention, these guys put on THE BEST show ever. At their shows, the crowd gets SO into the music, even if they don't know the songs being performing! Seriously: one of the most fun shows I've ever been to. Both times I saw them. True story.

* Yes the first time you hear them you'll think "....ummm, what is this?"
** Even the second, third time you listen, you may still be saying, "??????"... normal.
*** Soon you will come to know and love this distinctive sound as an indication that an ART VS SCIENCE song is being played! Which means rage rage rage!
PS Whenever these guys play, they bring their signature inflatable penguins on stage with them and then throw them into the crowd. The penguins then proceed to crowd surf. sa-weeeeeet.
PPS: Hanging out with the band in the bathroom? Score!

"Flippers" - Art Vs. Science
"Parlez Vous Francais" - Art Vs. Science
Live vid of Art Vs Science at Splendour - Boom Shake the Room
*I was up at the front by the stage - sooo awesome
Live vid of Art Vs Science at Splendour - Parlez Vous Francais?
*extra credit to whoever knows what these song's lyrics translate to (so great)