The Annual Re-Launch

Hello again, and welcome to the beginning of another season of semi-regular updates to this blog. I had aspirations to keep this place at least somewhat up to date over the summer but, alas, it was not to be. That's not to say I didn't have a pretty great summer vacation, which included a trip to Pittsburgh for the inaugural New American Music Union festival (more on that shortly) and the chance to finally see A Place to Bury Strangers live in Columbus (well worth the wait, I'll discuss that as well). However, the lack of a decent internet connection at my house this summer resulted in a decrease in ALL online activities, and this blog perhaps suffered the most. But now, with summer safely behind me, and after surviving a beginning-of-the-school-year-harddrive-crash, I find myself back at school with a little bit of free time on my hands.

The first thing to talk about is the New American Music Union in Pittsburgh. The festival exceeded my expectations, and was extremely well attended, suggesting that it may stick around for at least one more year. Friday night's highlights were a high energy set from Ohio's own Black Keys (although it's a shame they didn't play the same day as Gnarles Barkley and enlist Danger Mouse on organ) and a great show by The Roots, who I was pretty unfamiliar with, but have gained a new appreciation for as a result of seeing them live. Saturday was a much longer day of music (and standing around waiting for said music to start), all of which culminated in a performance from Bob Dylan. However, before the self promclaimed poet-lauriet of rock and roll took the stage, the crowd was treated to a string of great bands. First up was Gnarles Barkley, who packed pretty much every song you could ask to hear into their tight 45 minute set. It was just cool to see Danger Mouse in the flesh, playing the organ, xylophone, samplers, etc. on stage. Spoon played next, but with the expception of the songs on which they were aided by a horn section, I wasn't too impressed with their performance in comparison to my experiences with them in the past. Maybe it was just concert fatigue, but nothing really seemed to click for me, with the exception of a great rendition of "Underdog", a song that begs for the horns present on its studio version when played live. As the sun began to set, the Raconteurs took the stage, proceding to put on a show that was definitely on par with the energy the Black Keys had displayed the night before. The whole band was animated and looked like they were having a good time, especially when they were in the midst of playing highly modified renditions of their older material. Also, I'm now almost positive that Jack White and John Mayer had the same guitar-solo-facial-expressions coach. I won't spend much time talking about Dylan's performance, suffice to say that he pandered to the crowd a little bit with his choice to kick off the show with "Rainy Day Women #12 & 35" (imagine 10,000 people singing 'Everybody must get stoned') and "It Ain't Me Babe". But from there, Dylan pretty much meandered through the rest of his performance, as he often does these days; playing newer songs that aren't really what anyone came to hear. There were a few more glimmers of hope, namely "Tangled up in Blue" (although the impact of this song was reduced greatly by a sluggish tempo) and "Ballad of a Thin Man". And of course, there was the encore of "Like A Rolling Stone" which the audience attempted to sing along with, but quickly realized that they could not match Dylan's new syncopation of the lyrics. It wasn't the grand climax it should have been, but then again, no one really should have been expecting it be. For the price, it was definitely worth it, and with the reaction they got this year, I can easily see them doubling ticket prices and expanding the fest next year.
Now let's fast forward to a few weeks later; Skully's Music Diner, A Place to Bury Strangers has just taken the stage at about 1:00 in the morning after a string of some of the worst opening bands that Columbus has to offer (although that may just be my tired, impatient, grumpy side talking). The show was pretty much everything I imagined it would be, namely loud as hell. The band played a fairly short set, not more than an hour long, but they packed in just about every notable song off of their debut record, as well as a few b-sides from their bevy of 7" releases. Once the strobe lights kicked in towards the end, and the drone reached a peak, I think it was probably comparable to how people felt when they saw My Bloody Valentine back in the early '90s. At least that's what I'm telling myself, because I certainly can't afford to attend one of those reunion shows. It was a really good time, and I even snagged a copy of their new single.

So, there's the catch-up. Stay tuned, update your bookmarks, there's more on the way.

(Black Keys picture by Jana Robinson, APTBS picture courtesy of dotkom111)

Favorite Albums of 2007

Let me get you up to speed; yesterday we took a look at some albums that should have been on today's list, if not for a few missteps or the simple fact that they didn't make it out this year. It's always interesting to look back through the year's music and rediscover a few neglected tunes, or realize just how much you're (still) listening to releases from the past year. I'm always a little bit worried that I'm neglecting new music; I've done a much better job of keeping up with new releases this year, but I'm the still kind of guy who also likes to complete the back catalogs and find interesting old stuff to listen to. Anyways, here it is; my favorite albums of the year arranged alphabetically by title:

Armchair Apocrypha - Andrew Bird
This one has been criminally overlooked on all of the year-end lists I've looked through so far. Bird's latest not only tops his previous record, the critically lauded Mysterious Production of Eggs, but also substantially improves upon the unique style which powers his work. The addition of Dosh into Bird's inner circle of collaborators is one of the most perfect matches ever made, and the results are some of the best tracks on the record.

Boxer - The National
The subdued arrangements and flat vocals are an acquired taste, but once this one grows on you it's hard to stop listening. The National deliver a hauntingly beautiful record that strays from the all out rock of their previous release, instead concentrating on building an atmosphere and accentuating the subtleties.



Challengers - The New Pornographers
I initially panned this one for not living up to it predecessor, the high energy whirlwind of Twin Cinema. Since then, I've come to appreciate this as the Porno's maturing, so much so that the few bombast moments left in the wake sound forced in comparison. A.C. Newman and company have become an entirely different animal; this is the album where the New Pornographers stop sounding like a supergroup and start sounding like a band.

Drums and Guns - Low
Low's latest takes the band back to their slowcore roots, shying away from the more rock-oriented direction of their 2005 release The Great Destroyer. The songs are just as beautiful and sparse as ever, vocals in the foreground with instruments providing texture and context. Drums and Guns brings the slowcore genre comfortably into present day, with pertinent lyrics and the same old haunting sound.

Ga Ga Ga Ga Ga - Spoon
By now, Spoon is a well oiled machine and any album they decide to put out is met with impossibly high expectations. The band's latest manages to deliver, providing a marked improvement over it predecessor. Britt Daniel upholds his title as reigning master of the pop-rock song, and even manages to inject a little bit of studio weirdness without seeming pretentious. Jim Eno also gets a shout out for immaculate production, and some of the most precise drumming around.

I'll Follow You - Oakley Hall
I discovered this group just in time for their inaugural Merge release, which was good timing on my part. I'll Follow You tones down some of the noisier elements of the group, likely to appeal to a wider audience, but keeps all the alt-country vibe intact. From the vocal harmonies to the Skynard-esque guitar solos, it all makes for one heck of a solid record.



In Rainbows - Radiohead
With only ten day's notice, the world's premiere reclusive rock band released their best album since OK Computer. In Rainbows doesn't fizzle out (Hail to the Thief) or get too weird for it's own good (Kid A), it just delivers in spades. The band has never sounded better, so much so that it might even be worth picking up the forthcoming physical release, if only for the miniscule jump in sound quality.

Liars - Liars
The art-rockers tone it down a notch and release their best record to date. There's still plenty of deft studio manipulation and a healthy dose of electronics, but it's all packaged into some of the most rocking songs the band has ever wrote. It's a dark, at times abrasive, record but it's one of the most continuously enjoyable listens of the year.



Mirrored - Battles
Before this year the term 'math-rock' would have been met by most (myself included) with blank stares and disinterest. Battles' first full-length puts the genre firmly on the map with an album that sounds as fun as it is nonsensical. Somewhere between kraut-rock and aimless noodeling, Mirrored is one of the more unique records to hit my speakers this year.

Neon Bible - Arcade Fire
While not quite on par with their impeccable debut, the Canadian rockers' second release is far from a sophomore slump. Neon Bible is a bigger, bolder statement from a group that has the talent to make such melodrama work in their favor. The instrumentation, from booming pipe organs to swelling strings, is just as lush as it needs to be. I'm still listening to it well after its early 2007 release, so just like its predecessor; it has some staying power.

Sky Blue Sky - Wilco
Not the weird record that everyone expected for Nels Cline's first trip into the studio with the band, but certainly not a disappointment by any means. The album oozes with the ambience of laid back classic rock, while the spiraling solos on tracks like "Impossible Germany" and "Side With the Seeds" plant it firmly in the present. It's the next unexpected evolution from a band that seems comfortable in any number of genres.

The Good, The Bad & The Queen - The Good, The Bad & The Queen
I think many people wrote this album off as just another one of Damon Albarn's side projects, which doesn't make much sense because Albarn has an amazing track-record within the side-project arena. Couple that with the fact that this is more of a British supergroup than anything, and you're in for a very interesting record. Albarn and company churn out what can only be described as apocalyptic brit-pop. It's dark and seething at times, but all catchy as hell.

Podcast No. 3 (The Holidaze Edition)

It's that time of year again, time to curl up in front of a crackling fire and plug into the latest in my expanding line of podcasts. Rest assured, there aren't any Christmas carols, Hanukkah ballads, or Kwanzaa tunes in this edition. My new hosting service is still carrying the last podcast, so I'll keep using it for this one as well. I'll also try and migrate the older one over at some point (for the two of you who want to relive that 'classic'). Shoot me an e-mail if it goes down, and enjoy!
Tapes on the Floor Podcast No. 3
(Intro: "The Neon" - David Witham)
1:45 "Hljómalind" - Sigur Rós
8:07 "I Wanna Be Your Lover" - Yo La Tengo
12:46 "A Tender History in Rust" - Do Make Say Think
18:24 "You Got Yr. Cherry Bomb" - Spoon
21:53 "Happy Holidays" - Jim O'Rourke

A Slew of Reviews

After a few months devoid of new content, it's time to play a little catch up. In an effort to present myself as an opinionated contributor to the blogging community, I present you with a grab bag of concise reviews of recent releases within the realms of music, film and comics.

Ga Ga Ga Ga Ga- Spoon
After the incredibly solid, yet unsurprising Gimme Fiction, many expected Spoon's next effort to be something very different. While not the groundbreaking record eternally expected from them, Spoon's newest does push the envelope a little and is my new favorite studio recording of the band. This is Spoon record, it sounds like Spoon (with a dash of the avant-garde tendencies of Britt Daniel and Jim Eno), and there really aren't many suprises, but it's prehaps their most solid release to date. "The Ghost of You Lingers" and "Finer Feelings" show that the Spoon formula can be shaken up to great success, while "Underdog" punches up a standard Britt Daniel tune with the help of a killer brass section and the production expertise of Jon Brion. Everything else sounds vaguely familiar, but that's not a bad thing. Spoon has found their niche, and they're not trying to sound like the next big thing, just Spoon.

Stephen Colbert's Tek Jansen Issue #1
A comic based on a satirical cartoon, derived from a satirical news program!? Could such a formula ever work? My biggest fear was that the writing wouldn't sufficiently translate the campy, irreverent humor and over the top imagery of the cartoon onto the written page. Surprisingly enough, the first issue is an unabashed success. Containing two separate narratives, one part of a continuing storyline and the other a side-story set within the Tek Jansen universe, issue one keeps the introductions short and cuts straight to the Alpha Squad 7 humor that viewers of the cartoon shorts will feel very familiar with. The art style strays slightly from that of the show, but finds a happy medium between the televised look and a more conventional comic art feel. Overall the results are better than I would have expected, definitely worth a look if your a fan of the show.

The Simpsons Movie
The long-promised Simpsons movie finally arrives, and to no one's surprise, it's exactly what we expected. A 90-minute version of the TV, replete with some fancy special effects (computer generated backgrounds à la Futurama) and celebrity voice talent. The story is predictable, Homer and company must set out on a quest to save Springfield from certain doom. The only problem with this is that it takes our heroes away from the town for so long, that much of the cast of the TV show are relegated to cameo appearances. The movie also makes blatantly obvious Homer's glaring character flaws. On television 22-minutes of stubborn stupidity is tolerable, but 90-minutes of these antics come very close to being annoying. All in all, it's the film most fans were hoping for with series in-joke abound, and plenty of stabs at pop-culture to entertain casual viewers of the show. Not a classic by any means, but still a great way to waste a summer afternoon.

Spooky Action- The Celebrity Pilots
I was lucky enough to receive an advance copy of this album a few weeks back, and I'm glad to report that Spooky Action is a worthy successor to Beneath the Pavement, a Beach!. Chris Sheehan and company deliver yet another solid collection of psych-pop tunes that improve upon the formulas set forth on their debut release. The songs still fall into one of two catagories; synth-driven rock anthems and quasi-pensive acoustic numbers with wavering vocals. The former still fairs the best, with songs like "Happy Bloom Day" and "Festival of Flies" standing shoulder to shoulder with rockers from their previous effort. The acoustic numbers are much improved (perhaps my least favorite moments of their debut record) but still feel somewhat out of place. The best of the bunch is "Our Dumb Century", which finds Sheehan lamenting about the stupidity of humanity over a cascade of cheerful piano chords. Worth a look for fans of bands such as the Apples in Stereo and Ted Leo/Pharmacists, it should hit record shops sometime this month.