buffaBLOG - The Buffalo music blog

Listener's Digest: Quadron - "Better Off (Feat. Kendrick Lamar)"

noreply@blogger.com (SK) — Thu, 23 May 2013 19:55:00 +0000

Danish soul duo Quadron features vocalist Robin Hannibal also of Rhye and Coco O. who was featured on The Great Gatsby soundtrack as well as Tyler, The Creator's recently released Wolf. "Better Off" is a soulful track from the band's forthcoming LP, Avalanche with a fluid verse from Kendrick Lamar, whose hit "Bitch Don't Kill My Vibe" samples a track from Coco's previous band Boom Clap Bachelors. As he proved on last year's acclaimed Good Kid, m.A.A.d. City, the Compton rapper is right at home delivering smooth lines over neo-soul grooves. Avalanche is out June 4 on Epic records.

Listener's Digest: Boards of Canada - "Reach for the Dead"

noreply@blogger.com (MT) — Thu, 23 May 2013 19:27:00 +0000

After what seemed like a creepier (secret codes and mysterious videos) version of Daft Punk's lead up to the announcement of a new album, Boards of Canada released a new single today. "Reach for the Dead" opens ominously, with ambient noise giving way to a building melody that finally hits during the last third of the track. Obviously the legendary artists know what they are doing and the song easily evokes the open empty deserts used in promotional stills and footage for the upcoming album. That record, Tomorrow's Harvest, is set to be released on June 11 in the US.

Preview: buffalovefest

noreply@blogger.com (buffaBLOG) — Thu, 23 May 2013 18:40:00 +0000

We usually preview events the day of but this one is way too awesome not to give you a little preview! Next Friday evening make sure you do not miss the inaugural BuffaLoveFest at the Buffalo Zoo! Celebrate everything Buffalo! Sample the goods from local food trucks and breweries, and check out some local artisans and bands! BuffaLoveFest will introduce the BuffaLoveBirds, a band featuring Lance Diamond, Ali Critelli, Eric Crittenden, Vinnie DeRosa, Mike Wagner, & Rob Lynch, some of Buffalo’s all-star musicians, coming together for one exclusive performance. Other notable music acts that will be there include buffaBLOG favorites Andrew J. Reimers CPX, the Jony James Band, the legendary Nelson Starr, The Albrights and The Steam Donkeys. The music alone (and of course the good cause) makes this event one not to be missed.

Buffalovefest is on Friday, May 31st from 5:30 pm - 9:30 pm. Tickets are $20 pre-sale and $30 at the door. 21+ and over. Admission to the event includes 2 drinks. The first 500 people to purchase tickets will receive a commemorative poster. DO NOT MISS IT!!!!

<a href="http://thealbrightsband.bandcamp.com/track/hard-times">Hard Times by The Albrights</a>

Album Review: Boxed Wine - Cheap, Fun

noreply@blogger.com (JS) — Thu, 23 May 2013 18:19:00 +0000

Like boxed wine, Boxed Wine’s Cheap, Fun is cheap fun. Thank you, thank you. I'll be here all day.

Cheap, Fun is one of the most infectious albums I’ve listened to in a while, but it’s not even 30 minutes long. My initial theory is that a good part of its infectiousness comes from the fact that it’s short and sweet; it’s hard to imagine this album being any longer. It’s a classic catch-22; right now, I doubt Cheap, Fun will have a significant, lasting impact on me, but it is damn fun to listen to for the same reasons.

I’m going to illustrate the power of this album, but in order to do so you’re going to have to bear with me as I describe a series of events that may or may not have much to do with the actual album. But I promise you, I’ll get there. I happened to listen to Cheap, Fun as I was making the 5-hour drive from Buffalo to the Adirondacks. I started listening immediately after I left my apartment and it was over before I’d reached the Darien Lake exit, so I thought “Well shit, now what.” I started it over, and it finished as I was somewhere between Batavia and Rochester. It was decent but unremarkable and I really didn’t know what to think other than a lot of the songs sound like Vampire Weekend with less bongo drums and privilege and tribal chants. I switched to Donna the Buffalo and was going to let them take me the rest of the way.

A few hours later, as expected, I grew a little tired of DTB’s rootsy, folk-jams so I put Cheap, Fun back on. Talk about a band thriving in the right context; to understand how much fun this album is to listen to, you may have to listen to the polar opposite for a few hours beforehand. I found myself pushing 60 along tight country roads until I had to slow down just in time to squeeze by an approaching horse and buggy (As a quick aside, it’s not fun when an Amish gentleman stares you down. It really isn’t). That’s when I decided that these guys will get me going. Not get me going as in tapping my left foot while holding a tall boy of PBR; get me going as in aggressively trying to do some kind of shoulder-heavy jump-shuffle.

The first ten seconds of the fifth song, “Spies,” sounds like it could be the beginning of any number of songs on Vampire Weekend’s debut album. The difference is Vampire Weekend was content with being cute and playful on their debut album – with the possible exception of the frenetic “A-Punk,” although even that song has a few spells of mystical flute-playing – while Cheap, Fun is just an unabashed dance party. Highlights of the album include the second song “Cannibal” and the 8^th track “Overboard.” You’ll hear nothing groundbreaking on either song, but if they were going for groundbreaking they wouldn’t have named their album Cheap, Fun.

To be sure, there is a time and place for albums like Cheap, Fun. Excuse my repeat, obvious comparison to boxed wine, but just as there has never been a beverage invented so exclusively for getting you fucked up, this is an album recorded exclusively for getting you up off your seat. Just as you don’t purchase boxed wine to sip, swirl and spit, you don’t listen to Boxed Wine to impress people. You drink and listen to both for the fun, and if you can accept that about yourself, you’ll be okay.

Grade: B+

You Can Pick Your Friends, But You Can't Always Pick Your Fans

noreply@blogger.com (JG) — Thu, 23 May 2013 16:59:00 +0000

Last Sunday at the Flesh Temple, about 25 people, half of them members of bands on the bill, showed up for a hardcore show.

I came late and missed Societal Rot (sorry, guys). Local stalwarts Resist Control played solid; they played loud; they played good. Lotus Fucker, a DC-based outfit, crushed their way through a fast, heavy set. Most people, I assume, showed up for Terveet Kädet: a Finnish d-beat hardcore act founded in 1980, now touring the States with but one original member. Not being an aficionado, I can't tell you if they were good or great. The emotion was there - they seemed glad to be playing, even if it was for a handful of us mostly-sleepy weirdos in a for-rent brick box on the West Side. They even gave us an encore, which was odd, given there was no stage to exit from and dramatically return to, but it was awesome just the same.

What I saw of them, the bands were good. The sideshow for the night, though, were four kids from Rochester (I say "kids," but they might have been 35 and living in Henrietta). They were deep in the thrall of anarcho-punk, or chaos punk, or whatever gnarled branch of the punk rock family tree that bears fruit wearing mohawks and studs and reeking like a soggy scrotum.

There was the well-behaved guy with the ponytail and beard; the red-eyed dude with a nose ring, mohawk, and black vest decked out in spikes; then there was Bi-hawk and his girlfriend.

Bi-hawk had cut a strip of hair down the middle of his head and one off the side, as if to say, "look out, world, this nut's cracked!" The girlfriend, all of maybe 5 feet tall, wore studded bracelets that kept popping off and sliding across the floor in the middle of the flailing, four-man pit.

Bi-hawk set about pissing people off as soon as he got there, pinching butts, flipping the bird in people's faces, and wiping his sweaty self on folks clearly uninterested in a Sunday night throwdown in the mosh pit. The worst came when Bi-hawk pulled down his pants and started rolling around on the floor, followed by some light fellatio by the girl. It was transgessive. Really crazy stuff.

It would have been especially crazy if a guy friend were on the business end of the blowjob, but it would soon become clear why that wasn't the case.

After flipping off the crowd and screaming "fuck Buffalo" for the last few songs of the band he'd come to see (presumably he was upset that no one reacted to his shenanigans), Terveet Kädet wrapped up, and people started filing out. Then I overheard Bi-hawk, pants down, telling some "faggot" to "suck [his] dick."

Cooler heads prevailed, but not before some shoving and the threat, made with a straight face: "watch out, you might get stabbed!"

Later on, I overheard someone telling one of the out of town bands "yeah, we're not really like that . . . those guys look like they came out of the 'punk rock' episode of some '80s TV show."

Yep.

I came away that night with a few thoughts:

1. It's a bad idea to insult the town hosting the show, then threaten a native with a stabbing.

2. If anarcho-punk is about freedom and doing whatever you want, you can't get mad when it turns out other people want to be left alone, and instead of blowjobs in the pit, they'd rather fold their arms, tap their feet, and enjoy the band.

3. If "faggot" exists in your vocabulary as an insult, you're just as bad as any button-down square you're trying to offend with your cock-eyed hairdo and unwashed t-shirt.

4. This is why we can't have nice things.

Camp Bisco 2013 - Mystery Artist Announcement

noreply@blogger.com (gorm) — Thu, 23 May 2013 16:55:00 +0000

In a surprise announcement today, Camp Bisco revealed that Zeds Dead will be joining the 2013 lineup. The Canadian duo, a collaboration between producers DC and Hooks, have been performing since 2009. No strangers to the Buffalo music scene, the pair have become a touring and festival powerhouse, from their Living Dead tour with rapper Omar Linx to their recent performance at Lollapalooza Chile. Also added to the bill, much to my delight, is drum 'n bass pioneer LTJ Bukem. This addition is sure to delight fans who have seen that genre underrepresented at the festival in past years. His Logical Progression series wore out my CD player for a long time, with it's lighter, jazzier approach making for great armchair listening in addition to rattling dance floors. Also added to the bill are Destructo, Samo Sound Boy and Gravity A, bringing together one of the more well rounded lineups Camp Bisco has seen in a while. VIP passes are still available, as well as layaway options, so go ahead and order that second Big Mac, treat yourself!

Know Your Opener: Moon Hooch

noreply@blogger.com (mike m) — Thu, 23 May 2013 16:06:00 +0000

Tonight the Tralf (622 Main St.) hosts NYC’s rush-hour party band, Moon Hooch. The band is a three-piece dance band consisting of two music-school saxophonists and a funk drummer. They’ll be opening for Boston based festival band John Brown’s Body. Moon Hooch’s horns are reminiscent of live dubsteppy Budos Band with the percussion of !!!. The trio, consisting of Mike Wilbur, Wenzl McGowen, and James Muschler, met at The New School for Jazz and Contemporary Music in Manhattan. Soon after graduation, the trio began as a street act, hustling in the subways and parks for spare change. After solidifying their name (formerly Moon Juice) the band quickly gained popularity in part to their impromptu subway dance parties. If you can get New Yorkers dancing in public at rush hour, that says something. The doors are at 7pm and tickets are $16.

Number 7 by Moon Hooch

Listener's Digest: Broken Social Scene - "Day Of The Kid"

noreply@blogger.com (buffaBLOG) — Thu, 23 May 2013 15:27:00 +0000

As Arts & Crafts Records gears up for it's 10 year anniversary and next month's Field Trip festival in Toronto, the label is prepping the release of X, a compilation of collaborative new tracks from it's rich catalog of artists. The Canadian based label's best act, Broken Social Scene, has released a new track along with label mates Years, titled "Day Of The Kid," for the comp. Sounding like a perfect addition to the band's slightly more ambient and ethereal Bee Hives, the slow building beauty feels like the soundtrack to a sun rise, as delicate vocals and effects creep ever so slowly into the picture. While the big pay off never quite arrives, Kevin Drew's "so you really think that we can say" repeated over and over is as good of a release as the listener gets. Since the tune is not yet public, you will have to listen to it here. Enjoy this song cause we may never get a another one from them if this hiatus stays in put. X will be released on May 28th.

Listen to the New Sonorous Gale EP, The Total Overcomers: A Saga

noreply@blogger.com (JK) — Thu, 23 May 2013 13:41:00 +0000

Sonorous Gale is one of the best Buffalo bands no one's talking about. Sure, they have their built in fanbase, but for how good they are, it's a shame more people don't tune in. I really, REALLY like this band.

Think a darker, heavier Fugazi, or Icarus Line. I'm even hearing some Torche on this new EP, although i'm sure many would disagree. Discordant, angular and pressing, this is slow-driving, sludge building rock'n'roll. Walls of riffs that build upon each other, until the tower crashes, and leaves only the remnants behind. Tension-release personified.

Listen to their new EP, The Total Overcomers: A Saga, on their bandcamp page. It was recorded at Hi/Lo and, like everything else Matt Smith touches, it's pure gold. While you're at it, check SG out at the Polish Library benefit on June 1st. Great stuff coming from these guys.

The Total Overcomers: A Saga by Sonorous Gale

Album Review: The Pastels - Slow Summits

noreply@blogger.com (RW) — Thu, 23 May 2013 13:30:00 +0000

Admired by Kurt Cobain and touted by Sonic Youth, The Pastels ironically always exhibited a more a tender, mousy spirit in spite of the punky undercurrent that propelled them. The Glasgow musicians may or may not have predated Belle & Sebastian in bringing a twee gentleness to Scottish rock n' roll, but their first album since 1997's Illumination finds them comfortably dwelling in the twee camp. Slow Summits is a purposefully slower, less engaging but still endearing offering from a band that has long maintained a dedicated cult following.

With flat vocals flopped over casual pop orchestra grooves, Slow Summits takes listeners into territory Nico once explored. But while Nico was emphatically annoyed by the flutes that edged into her music, The Pastels embrace the charms of the instrument. There is a blissful innocence to Slow Summits that some may find cloying. Others, however, will be enchanted by the child-like glory on display even if its tameness disappoints those accustomed to slightly more vivacious Pastels records.

Throughout the record there is a balanced interplay between the voices of Stephen McRobbie and Katrina Mitchell. Working more smoothly together than as individuals, the pair come together wonderfully for the alt-country twang of "Wrong Light" and the love-strut of "Check My Heart." On the titular track, the more familiar rock presence that established The Pastels makes a winding appearance in elongated, mostly instrumental, form. The breeziness of "Come To The Dance" then promptly ends the album on a giddy note.

Although The Pastels lack the pull and significance they once did, Slow Summits nonetheless proves that even after a sixteen year delay the band is still capable of making artistically viable music. The color and warmth applied to their return record gives the act's moniker new meaning and vitality. Though The Pastels may never expand far beyond the niche audience they have found themselves adored by, they have retained a purity Slow Summits happily demonstrates in temperate hues and soft impressions.

Grade: B

Preview: WBNY Local Show w/UVB-76

noreply@blogger.com (buffaBLOG) — Thu, 23 May 2013 13:03:00 +0000

With heavy rain in the forecast for this evening, its probably to stay inside and tune into tonight's brand new episode of the WBNY Local Show as host Mike Moretti welcomes UVB-76 to the studios. Comprised to Mario Fanone and Sheri Miller, the electronic dance duo have been a mainstay in the live music scene for some time, making regular appearances at the Vault and Soundlab, as well as recent FOUNDRY events and last summer's Music is Art. Other projects, both past and present, under the duo include ABC DJ and Bev Beverly.

The two will hit the studios around 8:30 tonight for a live performance, interview, and will later relieve Mike of his DJ duties to play some of their favorite local tunes. The show kicks off, as always, at 7pm with a nice long block of the area's best new music. Turn your radio dial to 91.3FM or just stream the show live here.

Concert Review: of Montreal

noreply@blogger.com (CP) — Wed, 22 May 2013 22:08:00 +0000

It got more than a little heavy in the hours running up to the of Montreal show Monday night. Mass devastation near Oklahoma City (home of my beloved Flaming Lips), the passing of Doors cofounder Ray Manzarek... it was impossible not have mortality and other heavy thoughts on the mind heading downtown to party. But a party with of Montreal and their psychedelic pageant of funk, art, sex, life and death was the ideal way to work it all out, and of Montreal did not disappoint.

First though I have to give some love to Wild Moccasins, who opened the show perfectly. This young band from Houston delivered an exquisite set of tight yet dreamy new wave pop that in many ways seemed too good to be true. The band looked right from Central Casting, so much so that I actually had to laugh while I danced. Their indie rock as 80's pop was irresistible; the songs were sharp and loaded with hooks, the band was imminently tight, and the vocals of Zahira Gutierrez were impressively powerful, expressive, and... rather alluring, in a vintage pop star way. Because it was hard to say whether they were real or a really great dream, Wild Moccasins totally got me in the right head space for of Montreal.

One of my all time favorite concert moments came during one of the many freak out moments that dotted the now legendary of Montreal and Janelle Monae show from 2010. The lights were flashing, the projections were transifixing, the band was on fire, the cock dragon may or may not have been on stage, and the guy in front of me who may or may not have been wearing an Izod shirt yelled to his buddy "DUDE, WE'RE TOTALLY GOING TO DIE TONIGHT!" Of course nobody was dying that night; the crowd was obviously non violent and we were safe as houses at the Town Ballroom, but it was an appropriate thing to say nonetheless. Because they push everything to the edge, anything seems possible at an of Montreal show, which is why I really love going to their shows.

And we got a vintage of Montreal show. The Town Ballroom really fits them perfectly at least in terms of the entire audience really being on top of the band and part of the action and spectacle, and the energy was insanely high as the band ripped through a wild and funky set accompanied by the always pleasing of Montreal accoutrements of freaky lights, trippy animated projections, and performance art. I'm no fan of performance art but theirs I always enjoy, in part because it's usually like a cartoon come to life, always contextually consistent, and it never overshadows the ensuing funk dance party, which we had last night and then some.

The setlist consisted of choice of Montreal classics like "Chrissy Kiss The Corpse," "I Was Never Young" and "Oslo In The Summertime" and funk workouts like "Do U Mutilate?" and "Plastis Wafers" off of Skeletal Lamping and False Priest. To be honest with you I wasn't really keeping track of the setlist as the show unfolded in favor of being on the floor dancing with the masses and experiencing the show as directly as possible. If I had to pick highlights I'd have go with "Plastis Wafers" because it's lewd grooves really kicked the dance party into gear and "Sex Karma," which sizzled in large part due to the a hot performance of the Solange parts by an unidentified back singer who kicked ass, and "Heimdalsgate Like A Promethean Curse" which closed the show with a psychedelic freak out flourish that drove the passionate and enthusiastic crowd NUTS.

The encore sent the crowd into an ecstatic delirium, even when they played something that nobody had heard of by one of the band member's side projects by the name of Space Trucks. We didn't care, we just wanted to dance and keep the liberated freak out vibe going, and when they charged into "Gronlandic Edit" and "She's A Rejector" they crowd went completely around the bend. The glammed out art funk of "She's A Rejector" in particular riled the audience into a frenzy, maybe because we sensed that the show was reaching it's conclusion and we wanted to push ourselves further and closer to the edge of losing our....

In any case of Montreal finished strong, giving us an apocalyptic art funk dance meltdown, triggering a few obligatory religious experiences for the kids and for the of Montreal newbies, before sending us home satisfied, overcome by art at a shared experience, and very sweaty.

Album Review: Daft Punk - Random Access Memories

noreply@blogger.com (buffaBLOG) — Wed, 22 May 2013 18:11:00 +0000

Daft Punk, Guy-Manuel de Homem-Christo and Thomas Bangalter, when they do give interviews, talk a lot about their image. How the band is perceived in their robot costumes versus the actual humans, the difference between their private lives making the music and the public one releasing and promoting it. Random Access Memories is their most affected album yet, the most concerned with their place in music culture and the constant need for them to be a presence, for them to comment in some way, even if it’s through a vocoder.

Random Access Memories is a throwback; an album released through a capital “M” major, Columbia, with an advertising and production budget to match. The things a major can afford for one of its biggest acts, the national television commercials, billboards over Sunset Boulevard, these things are supposed to be viewed and digested as something refreshing in a disposable music release cycle. Instead, it just further reinforces the album’s purpose. This is a big record, an album that sounds inconsumable, too rich and dense to be taken in at once. Random Access Memories can only be understood in fragments, loudly coalescing as you listen to it serially.

In Ryan Dombal’s feature for Pitchfork, he mentions Random Access Memories has the “the same sort of eclectic reach that would be found at legendary clubs like New York's Paradise Garage, where a normal night could include songs by James Brown, the Police, Steve Miller Band, Talking Heads, and Kraftwerk.” The album quickly shifts, from track to track, in genre and scope. Daft Punk don’t just take from electronic music, a genre they’ve had a major role in shaping the past two decades culturally and musically, but also from G-Funk, soul and prog-rock. The genre pastiche prevents Random Access Memories from flowing seamlessly; instead forcing the listener to find their own connections between tracks as diverse as Daft Punk does Broadway “Touch” into Studio-54 cocaine groove single “Get Lucky.”

“Touch” is Daft Punk at their most overblown, an overwrought epic featuring Paul Williams, the man responsible for Kermit The Frog’s smash, “The Rainbow Connection,” as well as a former contract songwriter for A&M records, the kind of old-fashioned musician that doesn’t really exist in today’s music landscape. The song works as a parable for the fictional robots the actual men behind the masks play, a searching plainly sung almost-ballad about a man who “almost feels real.” The group have spoken a lot about using real musicians on this record, telling Simon Reynolds in a piece on the band in the New York Times, “’It’s an infinity of nuance, in the shuffles and the grooves,’ Mr. Bangalter said, knocking over his drink in his excitement. ‘These things are impossible to create with machines.’” “Touch” is richly layered and orchestrated, almost too much at first, but in the way that some of the most literal and blunt pop songs in the modern Western music cannon are, the kind that stick with you even when they haven’t been heard in years, remembering their chord changes and choruses by heart.

This album is as much about who brought Daft Punk here, as it is about what the group mean right now. Paul Williams first showed up on the friend’s radar as teenagers when they saw Williams’ movie “Phantom of the Paradise,” where Williams plays a Phil Specter-ish figure pulling the strings behind a musician wearing a mask. Bangalter describes it to Reynolds as “our favorite film, the foundation for a lot of what we’re about artistically.” Another major influence is Giorgio Moroder, producer of the disco evergreens by Donna Summer, “I Feel Love” and “Love To Love You Baby,” who appears on “Giorgio By Moroder.” His contribution is a spoken word one, giving one of the most exciting lectures you’ll ever hear about his use of the synthesizer and what it’s meant for modern music. It’s a confident--possibly arrogant--choice for a third track on a long awaited, sure to be hit album, but there’s something in its bombast that speaks to something greater. It’s Daft Punk reaching out for transcendence, a massive tune that could soundtrack an intergalactic stadium brawl.

Williams sings about “a tourist in a dream” on “Touch” which could also describe the collaborators on Random Access Memories. Quickly integrated into Daft Punk’s world and then just as quickly exiting. In the promotional video, which simultaneously premiered on the Coachella Polo Grounds stage screens and then quickly uploaded online, the list of collaborators practically dwarfed the previous snippet of “Get Lucky.” There’s past collaborators, like Todd Edwards on the best Michael McDonald song you’ve never heard “Fragments of Time”—who also appeared on Discovery’s dance-floor come-on “Face To Face”—to newer ones like Pharrell, Nile Rodgers, Julian Casablancas on the best Phoenix song you’ve never heard “Instant Crush,” and Panda Bear. Taking their turns in stride, Daft Punk molding their songs to get the most out of each. Surprisingly, the most straightforward dance track is “Doin’ It Right” featuring the usually meditative Panda Bear. It was the last track they finished on an album that Daft Punk have been working on since 2008, and the only track that sounds new in an obvious way. The hi-hat clap is reminiscent of the most futuristic music coming out of Chicago footwork, like DJ Rashad and Traxman as well as trap-rap producers like DJ Mustard and Young Chop. On Random Access Memories it serves as both an admonishment to electronic music producer’s the duo claim are artistically stagnant and as a reminder that when they really want to, Daft Punk can make tracks with a computer better than anyone. As Bangalter told GQ, “"It's maybe not 'Kill the father,’ but it's like: Things have to move on."

Nile Rodgers, whose hits with Chic and as a producer for some of the most ubiquitous singles of the 80’s, like Bowies “Let’s Dance” and Madonna’s “Like A Virgin,” propelled him to icon status, is perhaps Random Access Memories most influential voice. “They wanted the classic Nile,” he told Simon Reynolds, “almost like we were doing a record back in the day.” His slinky, impossibly catchy guitar playing is present on three tracks, album opener “Give Life Back To Music”--a prog meets disco jam that features a circular mantra, “Let the music of your life, get right back to music,”-- as well as would-be-single and already single, “Lose Yourself To Dance,” and “Get Lucky.” The latter two feature Pharrell on vocals, arguably one of the most important producers of the 2000’s, responsible for the icy hip-hop classic from Clipse, Hell Hath No Fury. While Pharrell’s vocals are serviceable, they’re low-points on what should be victory laps, slight smudges on an otherwise immaculately clean visage. “Lose Yourself To Dance” is especially startling, featuring a gorgeous Dr. Dre breakdown that sounds like an homage to Daft Punk’s adopted home of Los Angeles.

Random Access Memories sounds expensive and by all counts for a modern record in an age where a platinum record is rare, it is, telling Rolling Stone, "We spent more than a million dollars making it, easily," Bangalter says. "But that's not important.” Whether that money bought the same sort of cultural cache as Discovery, musical immortality, will remain to be seen. For now, it’s proving a surprisingly elastic record that has shaped the mass music discussion for the past two months. It’s an event record, and those have proven rare lately.

Grade: A

Listener's Digest: Edward Sharpe & the Magnetic Zeroes - "Better Days"

noreply@blogger.com (buffaBLOG) — Wed, 22 May 2013 17:48:00 +0000

Last week, it was announced that Edward Sharpe & the Magnetic Zeroes will be part of the Thursday at Canalside summer series, with a performance scheduled for Thurs, June 13th (something I guess Consequence of Sound just didn't feel the need to include) down at the water front. Today, the group released "Better Days," first track from their upcoming third full length album, which is annoyingly self titled (back to this in a minute). The track is actually pretty good, much better than anything I heard on their sophomore LP. Vocalist Alex Ebert's voice has some much needed heart this time around as the rest of the band, even Jade (who always appears to be drunk/stoned/both), provide some soulful backing harmonies. The song, well chorus reminds me a bit of the Four Stairsteps "Ooh Child," which I guess is not a bad thing at all.

OK, now back to this self titled thing. Why do bands do this on any album that is not their debut album? That I get. The album is introducing the band to the world, so why not keep it self titled. But anything past that, I would like to think that the group has enough creativity to think of some kind of title. Hell, just grab a lyric from a song and throw it up there. This will always be a major pet peeve of mine. Anyways, Edward Sharpe & the Magnetic Zeroes (sigh...) will be released on July 23rd.

Listener's Digest: Lace Curtain - "Falling (II)"

noreply@blogger.com (buffaBLOG) — Wed, 22 May 2013 14:56:00 +0000

Along with Captured Tracks, it seems like everything that comes out on the Mexican Summer label lately is great. "Falling (II)," the new track from Australia's Lace Curtain upcoming split single, sees this trend continue. Normally a near 7 min dance song can drag, but every second of this song is perfectly utilized. From the driving beat to the atmospheric melody to the spacey effects, this song may be close to perfect for that very late night dance party you have planned for this holiday weekend. "Falling/Running 12" will be released on June 11th.

Signo Vinces Releases New EP Redux

noreply@blogger.com (buffaBLOG) — Tue, 21 May 2013 19:54:00 +0000

Chalk this one up as one that just flew under the radar. Steak and Cake Records' electro pop duo Signo Vinces dropped their 2nd EP early last week, titled Redux. Despite a bit of a lineup change, with the female vocals duties now in the hands of Pleistocene's Katie Preston, Redux continues where last year's 85/87 left off, dripping with influences from the Knife, Metric, The Bird and The Bee, and The Postal Service. The EP's lead off and standout track, "Summer," can be streamed below, while the entire EP in full is available on the label's bandcamp page.

Summer by SIGNO

Listener's Digest: Winter Bear - "Jump in the Fire"

noreply@blogger.com (buffaBLOG) — Tue, 21 May 2013 18:52:00 +0000

Lo-fi seems to be all the rage nowadays, but Winter Bear’s “Jump In The Fire” stands out from the pack a bit thanks to its rollicking garage pop feel and “ba ba ba” earworms that soon get lodged in your subconscious. Also, Dorby Dorbin’s lead vocal harkens back to The Shangri-La’s or any classic girl group. One question though: where’s the bass? “Jump In The Fire” is the A-side to their upcoming single, which will be out in late June. Since the track is not yet public, at least to us, you can listen to the song here.

Album Review: Japanther - Eat Like Lisa Act Like Bart

noreply@blogger.com (JG) — Tue, 21 May 2013 15:31:00 +0000

From the opening jangle and thud of "Do Not Resuscitate" to the final, lethargic chorus of "Wasted Day," Eat Like Lisa Act Like Bart is a half hour of dumb, lo-fi fuzz and flailing drums.

And it's a lot of fun. Just don't think about it too much.

Because you'll get to a track like "Five Lions" and you'll wonder: is this a protest song? Is it an ironic dig at perceived American ignorance about the world beyond its borders? Or did I just listen to a list of places plucked from a global studies textbook, followed by a bumper sticker's worth of lyrics?

Is "Green Spray Paint" just "More Teachers, Less Cops" with a different title?

And isn't it "fewer cops"?

Who cares?

Japanther is an "art project" consisting of Brooklyn twosome Ian Vanek and Matt Reilly. They've played with synchronized swimmers, really big puppets, and "giant dinosaurs and BMXers flying off the walls." I'm not sure it serves any purpose, other than making big, weird stuff happen. Beyond the initial novelty, there doesn't seem to be much substance. Then again, no one said you need a manifesto to make art. And if you can find a way to get paid to dick around on a grand scale, more power to you.

Maybe Eat Like Lisa Act Like Bart is a metaphor - maybe this record is the perfect mix of brains, art, and brat.

Maybe we're supposed to recognize the funny-if-throwaway line from the Simpsons and move on.

Maybe the sample that opens "Light Weight Jealous," ripped from Mr. T's too-earnest, too-hip rap about the perils of yo mama jokes, is only meant to add a note of irony to an otherwise forgettable song.

Does it have any deeper meaning?

Who cares?

If, like me, you're a sucker for anything weird, and if, ironically or not, you enjoy sloppy drums, fuzzy bass, and guys who sing through pay telephone receivers, you'll be able to overlook its shortcomings and enjoy this record for what it is.

Grab a can of PBR, curl your handlebar, and give this a listen. Or not.

Who cares?

Grade: B-

Album Review: Dirty Beaches - Drifters/Love Is The Devil

noreply@blogger.com (Tom) — Tue, 21 May 2013 11:02:00 +0000

Unlike his breakthrough record Badlands, Dirty Beaches aka Alex Zhang Hungtai’s latest double album, Drifters/Love Is The Devil retreats from the otherworldly, mid-century realm of greased-back hair and leather jackets, and instead reflects on the irrevocable aura of his last two years as a itinerant vagabond restlessly touring Europe, North America, and the Asia Pacific. Hungtai’s aim on this record is not to fall into redundancy, fabricating successive AM rockabilly-induced smoke rings that were so deftly wafted on Badlands, but rather to encapsulate the emotionally alienating hallucinations that arise when you spend arduous amounts of time among strangers in unfamiliar cities and the vast and lonely distances that span between them.

Drifters may seem reminiscent of Badlands via looped drum machines surrounding reverb-caressed vocals from Hungtai on “Night Walk” and the bluesy, bar-room “I Dream In Neon” which certainly maintains the “sounds of the city” as it fades out in a ash-littered synth whisper, but it’s not until “Belgrade” where we are thrown off course as warbling synth lines coax us slowly away from the fluorescently lit crowds, into an alleyway at 5am where we lie down to sleep in a puddle for the night. Waves of modulated organ and bass conjure up bleak minimalistic storm clouds over the bustling capital of Serbia, and even while we’re tucked away in sleepless seclusion, Hungtai throws us right back into the world of monotonous drum machines and unintelligible yelps on “Casino Lisboa.”

Most of the tracks up until this point seem to look outward, harnessing the seemingly endless and mechanical energy of cities and experience held therein, but with “ELLI,” “Aurevoir Mon Visage,” and “Mirage Hall,” Hungtai begins an introspective and destructive journey, as the emboldened outlines of meaningful relationships and self-awareness start to bleed out of focus. As a result, percussion instrumentation escalates, while melodic structures begin to disintegrate, and we’re left with a vocalist that is unraveling more and more with every angst-ridden beat. Hungtai shouts across three different languages during the cluster of tracks as he attempts to locate himself: “Our house is always empty”; “ Aurevoir mon visage! / Hee! Hee!.” Nearing the end of Drifter, we see how Hungtai has lost the ability to dissimilate one city from the next; every place becomes a maniacal collage of pavement, people, mirrors, high-rises, memories, fire hydrants, signs.

Love Is The Devil begins as Drifters draws to a close on “Landscapes In The Mist” where a single street saxophonist leads the somnolent wanderer away from the dance hall and city square and into a foggy, colorless wilderness. Frogs and crickets are heard croaking, the roar of a far off train and cry of some specter wallow into the hollowness of mysterious landscapes.

“Greyhound At Night” will only make sense to you if you’ve frequented 3am bus rides between dimly-lit cities. Driven by ambient creaks and moans of machinery, the track rings out as a disassembled jazz number, painstakingly starting the second album which is far less neon than it is red-eyed and godforsaken. “This Is Not My City” breathes long, cinematic signs of alienation and forlornness. Hungtai is purposely manipulating various synth lines to simulate dizziness, sameness, as a wash of empty towns and cities float by, removed from any local awareness.

“Woman” is a pivotal track in what lowers the audience further into Hungtai’s portrait of unresolved loneliness. Sparse wavering chirps of synth take moth-like flight above buckling piano chords, and it’s not until another blipping synth enters the track that we fully become aware of huge sonic gaps that were previously occupied by drum loops. “Love Is The Devil” and “Alone At The Danube River,” if listened to attentively back to back (as they are ordered) will take years off of your life. The title-track is four minutes of sweeping synth pulses rendering a cavernously tragic below of unrequited love.

“Alone At The Danube River” is the highlight of the entire record, and at seven and half minutes still doesn’t feel long enough. Hungtai cradles the loneliest electric guitar on the planet as he stands alone at a river outside of Belgrade, a place that does not listen to his music, a place that he does not attempt to get recognition or applause from. It is a lamentation. There are no words to sing anymore; there are no need for words. Each stroke of the hollow instrument has enough power injected in it to break your spine in half and enough foresight to question everything you’ve ever moved about the planet for. Soon after, Love Is The Devil is concluded with the trance-inducing “Berlin,” which totes a strange line of comfort and uncertainty, as Hungtai returns to the city he was calling home at the time.

If you listen closely enough, Hungtai is shifting his entire Dirty Beaches project right before our eyes. As he notoriously stated in reply to a negative YouTube comment on his “Love For The Devil” track released back in January, he truly doesn’t “give a shit about what peoples expectations are.” He was determined to make this emotionally naked and minimal record, if not only for his sanity’s sake, but he doesn't have to worry about letting anyone down because Drifters/Love Is The Devil is his most magnificent and indubitably complete work to date.

Grade: A-

Just Announced: The Black Keys

noreply@blogger.com (buffaBLOG) — Mon, 20 May 2013 21:59:00 +0000

The rise of the Black Keys has been one of the bigger success stories in music over the last few years. The band has been around for a while, debuting in 2002 with The Big Comes Up, but you can pretty much pinpoint their rise from great club act to festival headliner right around the release of the Danger Mouse produced Brothers in 2011. For a band that has stayed remarkably consistent in sound, attitude, and general quality over the years, their huge rise is pretty surprising.

About an hour ago, the Outer Harbor Concert Series announced that the Akron, Ohio duo will be playing on Monday, July 8th with special guests the Joy Formidable. In what is really their first full summer of programming (last year's abbreviated schedule aside), this is a huge land for the concert series and hopefully a sign of things to come as the bookings continue over the years.

It's gonna cost ya though as these tickets don't come cheap at $48 each. They go on sale this Thursday at noon and despite the high price, I still see this selling out.

Songbook Report: Vampire Weekend's Modern Vampires of the City

noreply@blogger.com (SM) — Mon, 20 May 2013 19:26:00 +0000

Vampire Weekend albums have become notorious for being dense with references to people, places, popular culture, history, and music. On their first two albums, these references were sometimes goofy throw-aways, but Ezra Koenig would also often use them as scenery when depicting the obliviously privileged youth of New York (their self-title debut) and the obliviously privileged youth of California (follow-up, Contra). On Modern Vampires of the City, which the band has referred to as the third album in a "trilogy," these references primarily serve to highlight how that aforementioned generation of young, urban Americans might be affected by aging, dying, and the after-life (or lack thereof).

The main concern here is the passage of time for an immature generation that is only getting older and seemingly has no idea what to do with the world that it's about to inherit (and that it never seemed to want in the first place). Secondarily, when you're concerned with the passage of time, you're ultimately concerned with your own mortality, and the human end-game hangs heavy over the entirety of Modern Vampires. (7 of the 12 songs on the album explicitly contain the word "die," "dying," or some variation thereof in the lyrics.) Lastly, when you're concerned about dying, you might also be concerned with what comes next: "Enter God," who is virtually the main character of the album.

Speaking of religion, those who have purchased a physical copy of the album might have noticed that the liner notes, printed on the back of a poster of the album's front cover, have been marked with several underlines, circles, and arrows. Specifically, the track lengths for 7 of the songs on the album are highlighted in some way: one with an arrow, three with underlines, and three with red circles (the only color in all of the album's packaging).

These could be random "editorial-looking" marks used only for design purposes, but it did also occur to me that for an album so focused on religion, it was at least possible that the highlighted track lengths were references to Biblical verses, which are also written as "# : ##." I've attempted to test the theory below by searching the highlighted track lengths and seeing if any verses seemed particularly relevant. (This is made more difficult by the fact that I see no way that any particular books might be referenced...) The results were, in some cases, seemingly too coincidental to be accidental... however, I should probably also get a tinfoil hat ready in case the band someday reveals that the liner note markings are meaningless or red herrings.

What follows is a brief synopsis on how each song on Modern Vampires fits into the themes noted above, an attempted explanation of any arguably obscure references, and notes on the aforementioned Biblical verses.

1A. Obvious Bicycle

An anthem for the over-qualified, under-employed (I should probably just say "Millennial" here, though I do resist using the word) generation. At 29, I'm the same age as Ezra Koenig and the line that "it's been 20 years and no one's told the truth" is an especially poignant reminder that this is not the world we were "promised" in 1993. In the past 5 years alone, we've gone from "the kids not standing a chance" to the kids barely wanting to shave or get out of bed in the morning. The mantra repeated during the chorus of the song, however, is "don't wait," seemingly suggesting that, discouraged as we may be, we probably shouldn't just expect this situation to remedy itself.

This song's track length of 4:12 is underlined in the liner notes. 1 Timothy 4:12 states: "Don't let anyone look down on you because you are young, but set an example of the believers in speech, in conduct, in love, in faith, and in purity."

2A. Unbelievers

Where "Obvious Bicycle" gets us started down the "aging/time running out" path, "Unbelievers" gets us started down the album's parallel religious path. The narrator sings of desiring "warmth" and "light" and "grace," but expects that he's not very likely to receive them as he is, apparently, not a strict adherent to the religion that's supposedly in charge of dispensing those gifts. It's not a very fair situation and this serves as a preview to the serious questioning of religion that takes place on the latter half of the album.

This song's track length of 3:23 is circled in red in the liner notes. Romans 3:23 states: "For all have sinned and fall short of the glory of God."

3A. Step

The first two verses of this song serve up references in a way that is almost a parody of earlier Vampire Weekend work before the final verse returns to the theme of unwanted aging: "wisdom's a gift, but you'd trade it for youth/ age is an honor, it's still not the truth" and, of course: "we know the truth death, the true way of all flesh/ everyone's dying, but girl you're not old yet." The real crux of the song seems to be "I can't do it alone" where "it" very likely refers to moving on into the future, or, taking another "step." Nobody wants to grow up, but certainly nobody wants to grow up alone.

This song's track length of 4:12 is circled in red in the liner notes. (This is the same track length as "Obvious Bicycle," so I went with the verse that seemed more relevant to each song. Also, a track length of "4:36" is crossed out in the lyrics to "Step.") Ecclesiastes 4:12 states: "Though one may be overpowered, two can defend themselves."

4A. Diane Young

"Dying young" is one way to not have to worry about an uncertain existence. I.e.: "Nobody knows what the future holds, and it's bad enough just getting old." If you've "got the luck of a Kennedy" (who are, of course, notorious for "dying young"), you might as well live hard and get it over with then? It's an option. It would certainly spare you all of the potential anxiety about joblessness, loneliness and Godlessness that we seem destined for...

This song's track length of 2:40 is underlined in the liner notes. Acts 2:40 states: "With many words he warned them, and he pleaded with them, 'save yourselves from this corrupt generation.'"

5A. Don't Lie

"Diane Young" segues directly into "Don't Lie" and in the first chorus of this song Koenig sings: "don't lie, I want him to know/ God's loves die young, is he ready to go?" The concern with youth, aging, and dying is on full display here as Koenig asks: "I want to know, does it bother you? The low click of a ticking clock." That seems to be the question to which an honest answer is requested. Are you aware of your own mortality? Are you afraid of it? He follows this up by stating, alternately that there's a "lifetime" and a "headstone" right in front of you. So what are you going to do about it? Honestly.

This song's track length of 3:33 has an arrow pointing to it. John 3:33 states: "Whoever has accepted it, has certified that God is truthful."

6A. Hannah Hunt

Hannah Hunt is a real person. She's a member of the San Francisco band, Dominant Legs, and she is (I believe still?) the girlfriend of former Girls front man, now solo artist, Christoper Owens. I have no idea whether Ezra Koenig knows Hannah Hunt or if any of this story is auto-biographical. It seems possible. It also seems possible that Koenig was simply too enamored with the meaning of Hunt's name to pass up the opportunity to write a song about her. "Hannah" in Hebrew essentially means "grace" so her full name could be said to mean "searching for grace," which would be much in keeping with one of the main thematic concerns of the album.

The couple in the song travel from "Providence to Phoenix," which is not likely a coincidence. "Providence" is the name given to God's divine guidance of mankind, and he has seemingly seen fit to set the couple on the path to "Phoenix," the symbol for "rebirth." On the way to Phoenix, the couple passes through Nebraska ("Waverly and Lincoln") but somehow ends up in Santa Barbara, named for the patron saint of "explosives."

There's a focus on "time" throughout the song (days, nights, seconds, hours, "our own sense of time") but it's in Santa Barbara where the narrator does, indeed, explode. Hannah tears the "New York Times" up into pieces (possibly also: "New York times", memories from New York) and Koenig unleashes a verse of sudden anguish, virtually unprecedented in Vampire Weekend's catalog. Without any "trust," or "future," or "answers," the value of "having your own sense of time" is suddenly not so clear.

This song's track length of 3:58 is underlined in the liner notes. Lamentations 3:58 states: "You took up my cause, you redeemed my life."

1B. Everlasting Arms

The second side of the album starts what might be referred to as the Modern Vampires "God-sequence." It starts with "Everlasting Arms," a reference to a 19th-century Christian hymn that was originally sung earnestly and here, slightly more disingenuously. The narrator isn't exactly sure why, if he was given the capability to live without God on Earth, he should spend that time here serving him. The reference to the narrator humming the "Dies Irae" while God played "Hallelujah" is emblematic of their relationship. The Dies Irae was a 13th-century hymn about the coming of the judgment day, where all "unbelievers" would be punished, and "Hallelujah" translates to "praise yah" or "praise God." The narrator isn't fooled. He knows that, as an unbeliever, he can give him hollow praise, but God's still going to drop that chandelier on him as soon as he walks beneath it.

2B. Finger Back

The majority of "Finger Back" seems to involve the narrator (insincerely) stating that he "deserves" punishment for the way he's been living his life. When he states: "I know that I've been wicked and the road to hell is wide/ cursed by curiosity that made us go inside," he seems to be indicating he's not the only one. The spoken-word section of the song makes reference to an actual restaurant in Manhattan called "Jerusalem," (which seems to be more at W. 104th and Broadway), which sure enough, has for its logo an icon of the "Dome of the Rock." Presumably, the "guy" the Orthodox girl falls in love with at the falafel shop is Arab, and that she does so in a restaurant with that name, in the presence of that logo, only further serves to question what game this "God" fellow has been playing at with all of these different religions. The on-going concern with life and death is then given yet another echo on the final line of the song: "I don't wanna live like this, but I don't wanna die."

3B. Worship You

Koenig keeps the "God-sequence" rolling with "Worship You" where he jumps into verses that are sung so quickly, it's almost as if he doesn't want "someone" (hint: an all-knowing, all-powerful "someone"), to know what he's saying. He outright questions why God needs humans to worship him "the way" he wants "on the day" he wants when that doesn't exactly seem reasonable. In return, humans have not only worshiped God, but his "red right hand." This is possibly a reference to the Nick Cave song of the same name, but that itself is a reference to John Milton's Paradise Lost, where Milton refers to God's "red right hand" as that of "God's vengeance." Again, Koenig is calling into question a system whereby not only are we supposed to worship God in a rather particular way, but we are supposed to worship his reservation of the right to punish us whenever he sees fit.

4B. Ya Hey

The culmination of all of this religious discussion is "Ya Hey." There has been quite a bit of theological discourse over the years about what exactly God's "name" is. The earliest Hebrew texts showed his name as the Hebrew letters, "YHWH," which roughly translated to "to be." Christians later began pronouncing this as "Yahweh" while some of the more conservative sects of Judaism are actually forbidden from speaking the name. The fact that Koenig has gone with the spelling and pronunciation of "Ya Hey," as if it's some sort of children's rhyme, might be a nod to this taboo.

The verses go on to address God as a sort of lovelorn buddy who's down on his luck. Abandoned by Zion and America, abandoned by both the "faithless" and the "zealots," Koenig suggests: "I think in your heart, that you see the mistake, but you let it go." This "mistake" might have been God's very refusal to identify and make himself available to his supposed subjects. The chorus references God's famous meeting with Moses where he appeared "though the fire and through the flame" and said only "I am that I am" when Moses asked for his name. Koenig seems to suggest that maybe if God hadn't always been so secretive and obtuse, he'd have a more loyal following these days.

Despite all this, Koenig never reads as atheist, or even agnostic. He certainly never doubts God's existence. He's there, he's just not doing a very good job.... except, for that time he spun "Israelites" into "19th Nervous Breakdown." Though their relationship is rather strained, Koenig's understanding of God is apparently maintained through something that is probably very important and religious to him: music.

This song's track length of 5:13 is circled in red in the liner notes. Joshua 5:13 (sometimes subtitled "The Commander of Yahweh's Army Appears Before Joshua") states: "Now when Joshua was near Jericho, he looked up and saw a man standing in front of him with a drawn sword in his hand. Joshua went up to him and asked, 'are you for us, or for our enemies?'"

5B. Hudson

"Hudson" is an obvious departure from anything Vampire Weekend has recorded to date and it's also the most impenetrable song on the album. The lyrics continue to focus on the passage of time, New York and death but the ominous tone of the song, and some, seemingly random, inscrutable lines make it difficult to determine where exactly we end up.

Hudson did "die in Hudson bay," but he was actually marooned and left to die there by a mutinous crew. We then flash forward to a couple apparently looking to rent an apartment in the city and a reference to "the Germans playing the Greeks." (Perhaps, the classic Monty Python sketch where German and Greek philosophers have a football match? Or a real football match?) Koenig then sings: "the time has come, the clock is such a drag" while an actual clock ticks in the background. He then suggests that "all you who change your stripes, can wrap me in the flag."

It's possible that Koenig is likening himself to Henry Hudson here, predicting that when history repeats itself, he too will be abandoned and left to die, leaving only his legacy plastered all over the City and State of New York. And then it will happen again to someone else. And again. And again.

6B. Young Lion

"You take your time, young lion." This is the only song on the album fully written and sung by multi-instrumentalist and producer of Vampire Weekend, Rostam Batmanglij. The idea of a young man "taking his time" seems to almost directly contradict Koenig's plea on "Obvious Bicycle" to "not wait" and contrasts with his near-obsession with death bearing down on us all throughout the rest of the album. It's a peaceful, hopeful counter-point to Koenig's sentiments (especially after "Hudson") and seems to be here to remind the listener that while time and death are scary prospects, how you choose to spend that time is ultimately up to you.

Straight Dope: May 20th

noreply@blogger.com (buffaBLOG) — Mon, 20 May 2013 17:33:00 +0000

Straight Dope. The unvarnished truth. The true information. The full story.

You will find very little of that here.

While somewhat less essential than hard facts about life, what you have instead discovered will surely become a vital part of your musical diet. This is hip hop, son. The best tracks released during the week, as decided by me, hand-picked and brought before you like breakfast in bed with almost zero beds (unless you’re in one) and absolutely no breakfast. Which is fine. You should be hungry for this, because so am I. I don’t mean motivated, either. I mean actually, physically hungry. I have two beers in my refrigerator and I can’t afford groceries. Send help.

Let’s begin.

Kanye West - “Black Skinhead”

Busting out of the gate with a Yeezy video may not be the best way to establish credibility with a skeptical audience, yet here we are. Known primarily for saying outlandish shit to earn the ire of just about everyone, it’s true that his ego has been known to outshine the incredible amount of talent and general artistic ability he possesses. I know I’m not going to change any minds, Kanye West is the man who debuted his last new track via projector on 66 buildings all over the globe. You’re either into it at this point or you’re not.

If you are feeling it, "Black Skinhead" features an angry West getting his punk rock on in a leather jacket with quite a bit more screaming than you might be used to in the genre. It’s pretty stunning, and should hopefully reflect the tone of his new album rumored to drop 6/18. You might as well do yourself a favor and check out "New Slaves" while you’re at it.

If you aren’t feeling it, and would instead like some fuel for your hate furnace, here you go; he drops a LeBron James reference again, will be titling his new album Yeezus, and Ben Affleck intros the clip. Enjoy.

Mr. Muthafuckin’ eXquire feat. Goldie Glo - “Illest Niggaz Breathin’”

I don’t know if I’m posting this song because I actually like it or because it features a recurring Mortal Kombat sample that makes me want to uppercut everything in sight. Kismet, eXquire’s forthcoming mixtape, is due to be released in June after a delay of several months, and with it comes the promise of more brash, intelligent, poignant tracks.

Still, listening to Goldie open is a bit of a drag, and it’s nowhere near as good as Noble Drew Ali which eX threw at us two weeks ago. Give it a listen regardless, you’re probably at work or something and don’t have anything better to do.

The Lonely Island - “Diaper Money”

Look, it was a slow week, and this happened. The Wack Album is also set for release in June, and I will only feel mild embarrassment when I greedily snatch it up. Andy Samberg, Jorma Taccone, and Akiva Schaffer are the rare joke rappers who actually have an understanding of what they’re playing with and a respect for the music that keeps them from ever seeming like they’re mocking it in more than a playful way. Plus, diaper money, man. It can’t all be high art.

DJ Reflex feat. Childish Gambino - “Body so Tight”

Okay, so you can definitely have sex to this. It’s up to you if you want to throw it down while Troy from Community spits at you, but sign me right up. Donald Glover has earned “must play” rights on any track with his name attached to it after releasing Camp in ‘11 and following it up with his mixtape Royalty last summer. Reflex, who I guess deserves some credit for putting the track together, gets a special mention for throwing together the right mix of sounds to perfectly recall the intro music to an X-Men game I used to play on the Sega Genesis.

See you next week.

Just Announced: Brand New

noreply@blogger.com (Nick S) — Mon, 20 May 2013 16:34:00 +0000

After a not-so-subtle amount of hint dropping, After Dark Entertainment has finally announced that Brand New will be making a triumphant return to Buffalo. Brand New is one of those quintessential bands that has somehow eluded the dangers of overexposure and now hovers at the very top of the "underground" (I use that word lightly) scene. Known for frontman Jesse Lacey's soul-crushing lyrics and an an almost ungodly live show, I don't have any doubt in my mind that this one is going to sell-out... Not to mention this will be their first show in Buffalo since they came through in 2006. You can catch them Tuesday, September 17th at our very own Town Ballroom - $28 in advance, $30 day of.

Listener's Digest: Smith Westerns - "3am Spititual"

noreply@blogger.com (buffaBLOG) — Mon, 20 May 2013 16:01:00 +0000

Smith Westerns' Soft Will is slowly shaping up to be one of my more anticipated releases of this summer. The first single, "Varisty," was a slice of bubble gum nostalgia, while this morning, the Chicago act released Soft Will's latest cut, the jangle pop flavored "3am Spiritual." The melody is cut by some subtle piercing (is that an oxymoron?) keys until a warm pysch haze and retro riff adds a couple nice extra layers to the tune. Soft Will will be released on June 25th.

Buffalo News Needs Local Bands For Video Series

noreply@blogger.com (buffaBLOG) — Mon, 20 May 2013 15:25:00 +0000

The Specialty Products division of the Buffalo News will be running a series of 11 promotional videos this summer of certain Buffalo summer hot spots. The short videos, each will be 2-3 mins long, will feature footage of the destinations (full list below) and be soundtracked by music from some of Buffalo's local talent. The paper will be archiving all of the videos here and will be sharing them through all of their social media outlets, so if you want to get your music out there a bit more, its not a bad idea to take advantage of.

In the end, it's completely the News' choice on which band/song they wish to use, but in order to save them some time, I am going to suggest an artist and song for each of the hot spots.

Artpark - "Doin Art" by Jack Toft

&amp;amp;lt;a href="http://awesomerap.bandcamp.com/track/doin-art"&amp;amp;gt;Doin Art by JACK TOFT&amp;amp;lt;/a&amp;amp;gt; Buffalo Chicken Wing Festival - "Pizza Ice Cream (Is My Dream)" by Space Wolves

&amp;lt;a href="http://space-wolves.bandcamp.com/track/pizza-ice-cream-is-my-dream"&amp;gt;Pizza Ice Cream (Is My Dream) by Space Wolves&amp;lt;/a&amp;gt; Buffalo Museum of Science - "Meteorite" by Aircraft

&amp;lt;a href="http://aircraftmusic.bandcamp.com/track/meteorite-3"&amp;gt;Meteorite by Aircraft&amp;lt;/a&amp;gt; Buffalo Niagara Heritage Village - "Love Canal" by Mallwalkers

&amp;lt;a href="http://drugparty.bandcamp.com/track/love-canal"&amp;gt;Love Canal by Mallwalkers&amp;lt;/a&amp;gt; Buffalo Place Rocks the Harbor Concert Series - "No Ones Watching" by JOHNS

&amp;lt;a href="http://johns716.bandcamp.com/track/no-ones-watching-2"&amp;gt;No One&amp;amp;#39;s Watching by JOHNS&amp;lt;/a&amp;gt; Buffalo Zoo - "A Boy & His Bear (Day 7)" by Alex Berkley

&amp;lt;a href="http://alexberkley.bandcamp.com/track/a-boy-his-bear-day-7"&amp;gt;A Boy &amp;amp;amp; His Bear (Day 7) by Alex Berkley&amp;lt;/a&amp;gt; Darien Lake - "West Coast, NY" by Failure's Union

&lt;a href="http://failuresunion.bandcamp.com/track/west-coast-ny"&gt;West Coast, NY by Failures&amp;#39; Union&lt;/a&gt; Fantasy Island - "Davey Jones' Hurt Locker" by Aaron & the Burrs

&lt;a href="http://aaronandtheburrs.bandcamp.com/track/davy-jones-hurt-locker"&gt;Davy Jones&amp;#39; Hurt Locker by Aaron &amp;amp; the Burrs&lt;/a&gt; Maid of the Mist - "Sight to See" by Victory for Poland
Niagara Falls State Park - "Today" by Go Exploring

Olcott Carousel Park - "The Long Drive" by Anthony DelPlato

the long drive by Anthony DelPlato

The videos will begin running from June 17th - August 26th. If interested, please contact Lauren Mook (849-6949) or Megan Dearing (849-3432) of the Buffalo News by July 31st.