FLUXBLOG: You Must Be Supercool To Proceed - YOUR LIFE DEPENDS ON IT!

The Apple's Gigantic

noreply@blogger.com (Matthew Perpetua) — Thu, 03 Jul 2008 08:48:07 -0500

The RZA (featuring Rev William Burk, Crisis & Thea van Seijen) "Good Night Kiss" - Digi Snacks is a long, long, long away from the RZA's best work. Lyrically, he's not giving us anything we haven't heard him do before with more energy and inspiration. Musically -- well, I'm going to be very charitable and suggest that his efforts amount to an experiment yielding mixed results. All of the tracks on Digi Snacks, including a handful of cuts not produced by the RZA himself, have a sparse, zoned-out sound that feels mellow and relaxing when heard a track or two at a time, but taken as a whole, the music begins to feel disconcerting and vaguely uncomfortable. He's especially obsessed with these keyboard parts that seem to hover slowly in mid-air, seemingly disassociated from the other elements in the arrangements. Like all of his work as Bobby Digital, the sounds on the songs have an unreal crispness to them, like the musical equivalent of digital animation that dips into the uncanny valley. The overall effect is more chilling than chill, at best evoking the mindset of a deeply medicated person who has become slightly removed from reality, and at worst like having an aggravating itch while incapacitated in a coma. (Click here to buy it from Amazon.)

Your New Influences #1

noreply@blogger.com (Matthew Perpetua) — Wed, 02 Jul 2008 16:17:18 -0500

In recent months, I've been complaining a lot about this seemingly infinite wave of faceless, deeply unimaginative indie bands and their tired, worn-out influences. Thankfully it seems as though we've mostly cycled through the whole Joy Division/"punk-funk" thing and that the "we're playing cheap Casios, lolz 80s!" aesthetic is on the wane, but we've still got a glut of limp psychedelic folk, faux-Animal Collective bullshitting, and lame-ass attempts at mimicking the Jesus & Mary Chain and My Bloody Valentine. I'm sure you can think of some other sounds that you've heard too much of in the past eight years.

In particular, the nu shoe-gaze stuff has got to stop -- it's dull, lazy, transparently dumb, and aside from Deerhunter, virtually everyone doing it does not seem to grasp the ambiguous sexuality that made My Bloody Valentine's Loveless an interesting record in the first place. It's a classic example of hacks latching on to an easily aped stylistic element -- in this case, foregrounded rhythm guitar and buried vocals -- and tossing out every bit of thoughtfulness, character, and subtlety that made that style work in the first place. I'm not necessarily opposed to the shoegazer sound, but I am very depressed that so many people have opted to beat a simple idea into the ground instead of following My Bloody Valentine's example and finding their own distinct ways of expressing non-traditional eroticism in music.

This is the problem we're facing: We're stuck with a generation of young indie musicians who are more interested in fitting into pre-existing genres and aesthetic communities rather than developing their own concepts, sounds, and styles. Yes, there are definitely still some maverick artists doing their own thing, but they tend to be non-American and/or in their late 20s/early 30s, and they are increasingly marginalized by indie culture in favor of safe, predictable acts whose work will never challenge their audience's taste or intellect.

We need change. We need to get away from the anti-intellectualism of this horrible era. We need to acknowledge and then subsequently reject the insidious, often unremarked-upon sexism that dominates 00s indie rock culture. We need to move on from recycling the work of the same old "safe" artists, and abandon the comfort of familiarity, and get back to embracing novelty and innovation. We need new artists with new influences.

So what do I want to hear? It's hard to say, really. I want something new, I want to be surprised. I want artists with strong personalities that don't conform to traditional expectations of rock/pop/hip hop stars. That said, I can offer some tips, and point in the direction of artists whose work ought to be reconsidered, and records and songs that may be worth mining for musical ideas. In the coming months, I'll be offering up New Influences on this site, and who knows, maybe someone out there will find themselves inspired. The artists and songs I plan to spotlight are generally well-known, and many will have something of a legacy, though usually restricted to their particular genre. I don't ask that people clone these songs, but instead give thought to what makes them tick, and apply that to their own work.

Here's my first suggestion.

Janet Jackson "Miss You Much" - I'm recommending three things here: Jimmy Jam and Terry Lewis' collaborations with Janet Jackson in general, Rhythm Nation 1814 in particular, and this song in specific. There's quite a lot to take away from Rhythm Nation 1814, but of its seven brilliant singles, "Miss You Much" is the one that epitomizes the distinct aesthetic of the album, balancing out the harshness of its title track and "Black Cat" with the giddy, girlish hooks of "Escapade" and "Love Will Never Do (Without You)."

Like most every song on Rhythm Nation 1814, "Miss You Much" is built around a huge, dominating beat. In fact, if you just casually listen to the song, it's unlikely that you'd come away from it thinking of anything aside from its rhythm and Jackson's lead vocal. Aside from her singing, melodic and non-rhythmic elements in the arrangement have a somewhat subliminal effect on the listener, guiding and emphasizing dynamic shifts without distracting attention from its primal hooks. As the song approaches its climax, it gradually adds more textural elements without crowding out its abundant negative space and emphasis on percussion. (As far as I can tell, there is no guitar in the song whatsoever until its final minute.) Jam and Lewis' track is a masterpiece; a virtuoso performance that achieves an immediate, forceful physical effect via subtlety and nuance.

I suggest that musicians focus their attention on the arrangement of "Miss You Much" rather than Jackson's vocal performance or persona, but I would be remiss not to mention that her presence is essential to the success of the piece. Her voice effortlessly transitions from a rhythmic toughness to soulful emoting to a flirty softness without overselling any aspect of her performance, lending the song a continuum of emotions and attitudes that add up to the impression that we're listening to the expression of a fully-formed human being with contradictions and complexities. (Click here to buy it from Amazon)

Addendum: More thoughts and clarifications of intent are on the tumblr. Also, I hope that you do understand that the title "Your New Influences" is a bit tongue-in-cheek.

Your Fruit Is Slightly Bruised

noreply@blogger.com (Matthew Perpetua) — Tue, 01 Jul 2008 09:08:53 -0500

Tricky "Puppy Toy" - I'm on Tricky's side, and I always have been, but he doesn't make it easy. (Indeed, it is very tricky to be a Tricky fan.) Since the late '90s, he's spend most of his time either distancing himself from the sound of his best-loved work, or trying in vain to reconnect with the inspiration that yielded Maxinquaye and Pre-Millenium Tension. Though it's unlikely that he'll ever make another classic album, it's important to note that he is still capable of producing good work. Every Tricky record has at least one great song on it -- for example, I highly recommend "For Real" from the otherwise dire Juxtapose -- and for some reason, he's intentionally relegated a number of strong tracks to total obscurity. He's a perverse guy, and because of that, I don't trust his judgment at all.

Knowle West Boy, his first album in five years, is probably his best album since Angels With Dirty Faces, but it's still a mess. A solid third of the record is tainted by his consistently terrible taste in male vocalists; another third of it is kinda formulaic and neither here nor there. The successful tracks are the most dynamic-- his solo "rap" turn on "Council Estate;" his twisted approximation of new wave pop on "Far Away;" the feminine aggression of "Veronika" and "Puppy Toy." Though Tricky is clearly still trying to find the perfect Martina Topley-Bird soundalike, the vocalists on the latter two tracks do well to avoid the sleepiness of previous faux-Martinas, and play up the tone of sassy defiance that made Topley-Bird so compelling in the first place.

"Puppy Toy" actually comes closer to sounding like "Together Now," Tricky's collaboration with Neneh Cherry on the Nearly God record, than anything he ever made with Martina. The song applies the soft-loud-soft dynamics of '90s alt-rock to a song that alternates between skewed lounge jazz and rock n' roll cabaret. It's a bold, bombastic number that contrasts some fine sonic detail -- layers of humming electric guitar, fluid acoustic bass, a string arrangement -- with a huge chorus that tramples everything in its path. (Click here to buy it from Domino Records.)

She Dates For A While

noreply@blogger.com (Matthew Perpetua) — Mon, 30 Jun 2008 08:27:12 -0500

Beta Satan "666" - Beta Satan is the new incarnation of the Danish pop band Tiger Tunes, who have been featured here at least three times before. There are a few differences in terms of personnel, but the most significant change is that they've married their quirky pop sensibility to hard-driving, super-dynamic rock, resulting in catchy tunes that often match the gut-punching intensity of the late, great McLusky. "666," the band's most brilliant track to date, pairs lyrics expressing severe yet trivial anxiety about a girl to a ruthless mechanical stomp that is simultaneously violent, visceral, exhilarating, and hilarious. I can't help but imagine that there's at least a couple million people out there who would absolutely LOVE this song -- seriously, just trying listening to that depth-charge beat without picturing a mob of maniacs moshing in a muddy field -- so if you like this one, I strongly encourage you to pass it around. (Click here for the official Beta Satan site.)

The Cool Dawn Of A Soul

noreply@blogger.com (Matthew Perpetua) — Fri, 27 Jun 2008 09:22:30 -0500

Seelenluft "La Concierge" - This arrangement starts off grounded with a firm dance beat that carries through much of the track, but as the song progresses, it eventually drops out, and the music begins to float away like a helium balloon. The airy lightness is with the song from the start, but that untethered feeling at the end is lovely, especially in the way Seelenluft simulates a slow, graceful ascension into the clouds. (Click here to buy it from Juno.)

High Places "Sandy Feat (7" version)" - It can be hard to hear the songs on Guided By Voices' Bee Thousand and Alien Lanes without thinking "wow, if only they had made a really nice version of this in a studio, it'd be amazing!" Of course, those records have a deliberate aura and charm, and it's not some accident of laziness. They are the result of a fully-formed postmodern aesthetic, and even though they may have often sounded better in concert, they always feel more special and magical in their unfinished form. This isn't really the case for High Places. They write some very nice songs, but as far as I can discern, their records sound like extremely thin demos, and that's that. If there is any postmodern intentionality, it's not apparent. Like too many young bands from this era, nods to lo-fi, drone, electronic music, shoegaze, ambient, and "world music" seem like default decisions rather than considered aesthetic positions. The duo have a knack for simple, ingratiating melodies, skipping beats, and audio texture, but they don't yet seem fully formed as a band. Which is fine enough, don't get me wrong -- they're just starting out, and this is normal and healthy. They've got promise; I'd love to see them follow through on it with their next record, even if I'm worried that they will continue to follow their worst Animal Collective-esque impulses. (Click here to buy it from Insound.)

Hit The City Lights

noreply@blogger.com (Matthew Perpetua) — Thu, 26 Jun 2008 08:51:37 -0500

The Dead Science "Monster Island Czars" - This is very unusual. The Dead Science are part prog, part modern classical, part no wave/noise rock. The singer not only sounds quite a bit like Craig Wedren from Shudder To Think, but Wedren actually has a guest appearance on the album. (Katrina Ford of Celebration also turns up, and there's certainly some similarities to her band as well.) A majority of the lyrics are either about comic books or the Wu-Tang Clan. (The album is dedicated to the Wu-Tang Clan, and when you open the gatefold of the packaging, it reads "It's Yourz.") The music is jagged, violent, dramatic, cinematic, and perversely romantic. It draws on all these things that are familiar to me, and yet it still sounds somewhat alien. "Monster Island Czars" is particularly compelling in the way it slashes, collapses, rises, and burns through so much ground in less than four minutes without sounding the least bit disjointed. (Click here to buy it from Constellation Records, and here for the Dead Science's official site.)

Things Were Different Then, All Is Different Now

noreply@blogger.com (Matthew Perpetua) — Wed, 25 Jun 2008 13:23:31 -0500

Pearl Jam @ Madison Square Garden 6/24/2008
Hard To Imagine / Save You / Why Go? / All Night / Corduroy / Faithfull / Elderly Woman Behind The Counter In A Small Town / Down / Unemployable / Given To Fly / Who You Are / Whipping / 1/2 Full / Even Flow / Present Tense / Daughter / Do The Evolution // Love Reign O'er Me / W.M.A. / Leash / Spin The Black Circle / Wasted Reprise / Porch /// No More / Crazy Mary / Comatose / I Believe In Miracles (with CJ Ramone) / Alive //// All Along The Watchtower / Indifference

I'll have a different, more show-focused review of this concert over at Stereogum later in the day, but for now, I'm going to be indulgent. (It's up now, with lots of great photos by Maria Tessa Sciarrino.)

This was my first Pearl Jam concert in a little over ten years. That last show was a brief festival appearance, and so it's really my second full Pearl Jam gig, the first being a stop in Connecticut on the No Code tour back in 1996. Looking over this setlist, three things come to mind:

1. Wow, I got really lucky. They played my favorite rarity right at the start, and then threw in "Faithfull," "Corduroy," "Whipping," and "Unemployable," all of which would be near the top of my personal wish list. ("Wishlist," however, was not, but that's not really a comment on the quality of that song.) Aside from "Even Flow," which you're definitely going to see no matter what, Pearl Jam setlists are very random, and really, any song from a pool of about 200 could pop up in any given show. Sure, they didn't do "I Got Shit," "Grievance," "Not For You," or "Breath," but I think I made out pretty well. Bonus: They did not play any songs that I actively dislike, like, say, "God's Dice."

2. I kinda wish I could send 13 year old me a letter telling him "Hey, be patient. You're going to see Pearl Jam play "Hard To Imagine" in 15 years, and it's gonna rule. Also, believe it or not, they're actually going to do "W.M.A." too, but with a slightly different arrangement."

3. The teenage version of me would've known a little over half of the songs played in this show, i.e. all the songs written and in the group's known repertoire before 1997.

I wasn't sure what to expect to feel at this show, but I'm glad that what I did feel wasn't just a lot of distanced nostalgia. I may have significantly toned down my Pearl Jam fandom over the past 15 years, but it never really went away. I may not listen to the band with any sort of regularity now, but I never stopped loving any of those old songs, and I never lost interest in their newer material. I felt very present at the show, and part of that comes down to the intense, unanimous enthusiasm of the audience, and most of it comes out of the fact that the band are effortlessly compelling. Eddie Vedder has got his showman tricks, but he doesn't lean too hard on them, instead just sinking himself deep into the songs, and letting his natural charisma do the rest. Their show is totally no-frills -- standard lighting, no real backdrop. It's just the band on stage, playing songs for nearly three hours. It sounds so simple, but how many bands can pull that off in a room of that size, pretty much anywhere on the planet, and have pretty much every single person in the room totally pumped and singing along the entire time? It's extraordinary.

Pearl Jam "Hard To Imagine" (Live @ Van Andel Arena Grand Rapids, MI, 2006) - This is wrote about "Hard To Imagine" three years ago...

When I was a teen, I was very obsessed with Pearl Jam, a condition that was exacerbated by the intense fandom of many of my friends at school, some of whom had been buying cd bootlegs featuring unreleased songs that the band had been playing live. At that point, half of the fun of being a Pearl Jam fan was being amazed by how much excellent material the band was willing to relegate to b-sides and soundtracks, or just not release at all. I had a live version of "Hard To Imagine" dubbed to a cassette from my friend Steve's cd, and I would listen to it over and over again, totally baffled as to why the band would just abandon what was clearly one of their very best songs. I'd dub copies for friends, and talk it up with any Pearl Jam fan who would listen, totally confident that the band would put it out on their next record. Vitalogy came and went, and I rationalized - it just wasn't right for that record, it would obviously pop up later on. When the tracklisting for No Code was announced in Ice, I convinced myself and others that the song "Present Tense" HAD to be a retitled version of the song. I mean, isn't it obvious? The chorus is "things were different then, all is different now" - like, it's the present tense!!! But no. Though I liked No Code and still do, my interest in Pearl Jam fell off sharply around 1997, and has only dimmed with time.

A studio version of the song was finally released in 1998, tossed off to the soundtrack of an obscure movie called Chicago Cab. At that point, it was hard for me to muster much enthusiasm. I never bought the soundtrack, and eventually just downloaded it from Audiogalaxy. It's a lovely version of the song, though not quite everything it could have been. It still sounds lonely, nostalgic, and majestic, and the guitar at the beginning still evokes wet snow on the ground and the scent of smoke from wood burning stoves mixing with crisp air (probably just my sense memory from when I first heard the song, but whatever). I maintain after all of this time that it is certainly one of the best songs the band has ever written, and when I was looking at the band's recent setlists a few weeks ago, I couldn't help but to feel extremely jealous of the audiences who've seen them play it, as it has become a semi-regular song in their rotation following the release of their b-sides collection, Lost Dogs. I'm pretty sure that there was one show in Canada where they played this, "Breath," "I Got Shit," "Not For You," and "Release" all in the same set, something that would've totally blown my mind when I was sixteen. (Click here to buy it from Amazon.)

Oh, by the way, maybe someday I'll tell you all about the Vitalogy book I wanted to write for the 33 1/3 series. Not today.

I'm Trying To Be Normal But There's Evil In My Head

noreply@blogger.com (Matthew Perpetua) — Tue, 24 Jun 2008 08:19:07 -0500

Architecture In Helsinki "Hold Music (Max Tundra Remix)" - Given the explosion in remixing over the past decade, I reckon we're at the point where something like 98% of all remixes are totally unlistenable and awful. The bad remixes are usually either glitchy, self-indulgent garbage that amounts to some idiot making some terrible new composition out of fragments of the source material, or someone taking the source material and finding a way to dumb it down or otherwise strip it of its original appeal. Max Tundra's Architecture In Helsinki remix is one of the 2% that get it right. His somewhat cartoonish style is immediately apparent, but it doesn't eclipse the personality of Architecture In Helsinki or their song: The two aesthetics blend harmoniously, as if they had collaborated on writing and arranging the tune from the start. Tundra did nothing to change the basic structure of "Hold Music" -- pretty much everything that worked well in the song is intact -- but he adds more color and bolder dynamic shifts to the arrangement. The result is bouncy and restless, and filled with a nearly overwhelming variety of textures. Better yet, Tundra makes some sense of the title by setting the chorus sections to bits that actually sound like hold music. (Click here to buy it from Polyvinyl Records.)

The Loud Proud Volume Freaks

noreply@blogger.com (Matthew Perpetua) — Mon, 23 Jun 2008 09:43:42 -0500

Sloan @ Bowery Ballroom 6/20/2008
Believe In Me / All I Am Is All You're Not / Don't You Believe A Word / Everything You've Done Wrong / I'm Not A Kid Anymore / The Dogs / Sensory Deprivation / Burn For It / Ready For You / Witch's Wand / I Am The Cancer / Ill-Placed Trust / Emergency 911 / Down In The Basement / Something Wrong / I've Gotta Try / Living The Dream / Take Good Care Of The Poor Boy / Friendship / The Other Man / Money City Maniacs // Flying High Again / Who Taught You To Live Like That? / Deeper Than Beauty / She Says What She Means / The Good In Everyone

It's kind of strange to say that the weirdest and most original thing about a show was its merchandise booth, but in the case, it's true. Basically, the premise of the show is that a radio station called MRCH is on site, doing a live broadcast of the Sloan concert in a booth to the left of the stage. In the time leading up to their set, he'd play songs and station IDs by members of the band, and after they hit the stage, he'd talk during their instrument-swapping breaks. It's an amusing concept with great utility, and it complemented the band's mildly ironic nostalgia for classic rock very well without getting in the way of the music. As for the show itself, it's rather simple: Sloan writes great songs, they rock out and have fun on stage, and the audience has a good time. It's not profound, but it's exactly as it should be.

Sloan "Burn For It" - Patrick Pentland pulls off a neat trick here, and unless you're paying close attention, you don't really notice it: "Burn For It" moves laterally from hook to hook, and the song never doubles back on itself to repeat a section. It's just this bold march from one high to the next, moving on to a new peak every time it seems to hit a crest. It's quite a thrill, especially as each turn in the song emphasizes the eureka moment of each minor epiphany in the lyrics. (Click here to buy it from Amazon.)

Elsewhere: I was on NPR's The Bryant Park Project to talk about Girl Talk's new album.

The Weblogs That Get Tangled As You Willie And You Wangle

noreply@blogger.com (Matthew Perpetua) — Fri, 20 Jun 2008 09:00:59 -0500

R.E.M. @ Madison Square Garden 6/19/2008
Living Well Is The Best Revenge / These Days / What's The Frequency, Kenneth? / Bad Day / Drive / Hollow Man / Ignoreland / Man-Sized Wreath / Leaving New York / Disturbance At The Heron House / Houston / Electrolite / (Don't Go Back To) Rockville / Driver 8 / Harborcoat / The One I Love / Until The Day Is Done / Let Me In / Horse To Water / Pretty Persuasion / Orange Crush / I'm Gonna DJ // Supernatural Superserious / Losing My Religion / Begin The Begin / Fall On Me / Man On The Moon

* OMG "Disturbance At The Heron House" and "Harborcoat"! I actually don't even have anything to add to that, it was just a really lovely fanboy experience to get those two songs in the set.

* I suppose the trade-off for that thrill was that, in relative terms, we got a pretty lackluster setlist. The relative terms: The majority of the oldies were played at their previous two MSG shows, but you know, fine, it's not like I don't love "Driver 8" or "Begin The Begin," I'd just much rather see them do "Feeling Gravity's Pull" or "I Believe." The other thing is that on this tour, they have made a point of adding a song that had not yet been played on every night, and it's usually something really cool and special. Recent additions have been "Turn You Inside-Out," "Maps and Legends," "7 Chinese Bros.," "Pilgrimage," "Shaking Through," "Star 69," "Auctioneer (Another Engine)," and "Circus Envy." You know, totally awesome deep cuts and minor singles for the most part. At this show, we got...."Leaving New York," a droopy ballad from Around The Sun, the lowest point of the group's career. So, yeah.

* I am starting to think that I am never, ever going to see R.E.M. perform a single song from Murmur in my life.

* I must sound like a total bitch. This was a terrific show -- maybe not quite as spirited as the abbreviated Jones Beach set from last weekend, but it was certainly keeping with the band's very high standard as a live act.

* It's pretty amazing to me that they put off playing "Ignoreland" live for all these years. As I would have guessed back when I was 14, it totally kills in concert.

R.E.M. "I'm Gonna DJ" - When the band perform "I'm Gonna DJ," a key lyric appears on screen, but just as in the album packaging, it's ever so slightly wrong: "Music will provide the light you cannot resist." In the song, the lyric is vastly superior with only a minor change: "Music COULD provide the light you cannot resist." It's not a promise. It's very important that it's no guarantee. In the context of the album, especially as the final line on the record, it's significant: After all the disappointment, angst, and defiance, the record ends on a line that may as well be "Hey, you guys -- I found a way out! Let's go!" It seems like a corny song at first -- I admit, it took a couple years to get over the "kickin' playlist" line -- but it's also one of the most euphoric tracks in the R.E.M. catalog, and I get totally thrown into it every time I hear it, especially in concert. Oh, and you know what I love? I love love love how on the final "hey steady steady," Michael Stipe's voice goes up a bit so that it's more like "hey steady stead-AY!" That kills me. (Click here to buy it from Amazon.)

Also: The National and Modest Mouse opened for the band at this show, and at Jones Beach. What a contrast -- the former can't help but be a little leaden and/or sedate, but they really go for it and try to make the most of playing in a big space. The latter band just seems bored, and refuse to play their biggest hits, or really, aside from "Paper Thin Walls" last night, any of their best material. Between these two shows and the headlining gig I saw them play a year or so ago, I can't help but feel that Modest Mouse are one of the most joyless live acts in the world today. They have a rote professionalism, but that's about it. It's a shame, because Isaac Brock has written a lot of good songs in his day, and he should be doing better than this.

Mixed Message Sending

noreply@blogger.com (Matthew Perpetua) — Fri, 20 Jun 2008 07:39:08 -0500

Glam Chops "Tell Us, Are You Ready, Eddie? (Eddie, Are You Ready?)" - ~~Following the apparent dissolution of Art Brut~~, Eddie Argos has re-emerged as the frontman of Glam Chops, a band that sounds more or less exactly like Art Brut, but with a horn section and back-up singers. As you could've guessed by their name, there is a thin "glam" conceit to the new band, but obviously, it's glam as applied to Eddie Argos' shtick. Basically, this is a song about a guy who has been self-consciously toying with a glam aesthetic, but has come away from the experience feeling extremely neurotic about what other people think of him, and insecure about his masculinity. In other words, it's all backfired on him, and in playing the part of a sexually liberated rocker, he feels even more pathetic and repressed than ever before. Of course, this being Eddie Argos, it's rather low on angst, and high on silly, self-deprecating humor. (Click here for the Eddie Argos Resource.)

We Are So Many Tiny Pieces

noreply@blogger.com (Matthew Perpetua) — Wed, 18 Jun 2008 07:56:39 -0500

Wild Beasts "The Devil's Crayon" - Given that the main attraction of the Wild Beasts has been the distinct singing voice of their frontman Hayden Thorpe, their latest single "The Devil's Crayon" is something of a curveball: It's a duet between Thorpe and his bandmate Tom Fleming. Thankfully, Fleming's voice only serves to enhance the band's ragged yet enchanted aesthetic. In contrast to Thorpe's femine affect -- the last time I wrote about him, I described him as singing like a hobo who is convinced that he is Maria Callas, and I stand by that -- Fleming presents a heroic, elegant masculinity. The song is yearning and romantic, and plays out on a grand scale that suggests that despite their inherent weirdness, the Wild Beasts may eventually be well-suited to large venues. (Click here to buy it via the Wild Beasts' official album site.)

Always Going Back And Forth

noreply@blogger.com (Matthew Perpetua) — Tue, 17 Jun 2008 09:06:16 -0500

Be Your Own Pet "Black Hole" - When it was announced that this song was cut from the American edition of Be Your Own Pet's second album out of concern for the violence in its lyrics, it was more than a little bit confusing, mainly because it's so hard to imagine that anyone could hear it and not immediately grasp that Jemina Pearl was not being very serious. Make no mistake: "Black Hole" is 100% over-the-top adolescent hyperbole. It's about being bored, and wanting to devour junk food, and cause some mischief. It's specific to post-50s America, but I suspect that it's tapping into a universal human impulse to goof around and fuck shit up. The band express this impulse with remarkable clarity and style -- the guitars stab and slash, the beat hurtles forward, and Pearl's lyrics hit this ideal balance of idiocy and brilliance: "Eating pizza is really great / so is destroying everything you hate!" Yes! Yes, that's true! (Click here to buy it via Be Your Own Pet's official site.)

Veruca Salt "I'm Taking Europe With Me" - I'm not sure if this is actually my favorite Veruca Salt song -- "Number One Blind" and "Don't Make Me Prove It" are very tough competition -- but it is certainly the one that manages to squeeze in everything great about the original version of the band into four minutes. Huge, pummeling riffs designed to emasculate indie boys? You got it. Sugary hooks? Check. An unexpected shift into spacey balladry? Yup. A slighty deranged sense of humor? Of course. Totally unhinged screaming? Hell yeah! Oh Veruca Salt, will there ever be a time when you're not totally underrated? Unfortunately, no. (Veruca Salt's Blow It Out Your Ass... EP is out of print, but you can find it used on Amazon for a fairly low price.)

All Your Sad and Lost Apostles

noreply@blogger.com (Matthew Perpetua) — Mon, 16 Jun 2008 15:13:00 -0500

R.E.M. @ Jones Beach 6/14/2008

Have You Ever Seen The Rain? / So. Central Rain / These Days / Living Well Is The Best Revenge / What's The Frequency, Kenneth? / Man-Sized Wreath / 1,000,000 / Ignoreland / Hollow Man / Welcome To The Occupation / Houston / Electrolite / Horse To Water / The One I Love / Let Me In / Bad Day / Orange Crush / I'm Gonna DJ // Supernatural Superserious / Losing My Religion / It's The End Of The World As We Know It (And I Feel Fine) / Fall On Me / Man On The Moon

So, yeah. This was kind of a disaster, but thank goodness, the show went on. I don't want to get too much into whining about the weather, or gnashing my teeth about how the rain delay forced the band to cut several songs that I desperately wanted to see them play. In spite of everything, this was a pretty amazing show, and Michael Stipe in particular was very on. All of the new songs were exciting, and the performances of "So. Central Rain," "These Days," "Ignoreland," and "Let Me In" were outstanding. That said, I'll be writing more about the actual concert later on, so for now, let's talk about Accelerate.

R.E.M. "Living Well Is The Best Revenge" - Accelerate is an album about reclamation. Yes, it's the most definitely the sound of the band getting back in the game, and casting off the doubt and indecision of its past two albums in favor of a simpler, bolder approach in line with their music from the '80s. Whether dealing with the narrative of their career in the subtext, or the bigger picture of American politics in the actual lyrics, the general theme of the record is confronting the failures of this horrible, horrible decade and fighting to redeem its remaining years. In other words: Things can't be undone, but the future is still there, and it is ours for the taking. Far from being mopey and passive, the songs on Accelerate are aggressive and out for blood. Better yet, they are primarily written from a perspective that observes the weaknesses of its opponents and moves in for the kill. It's an empowering and optimistic set of songs, and ideal for this moment in American history. (Click here to buy it from Amazon.)

If the links in the setlist above were not enough of a hint for you, I want to make a point of mentioning that I've nearly completed my Pop Songs R.E.M. discography project. (I've finished about half of the albums now, and I've got about nine or ten more entries to go as of this writing.) If you haven't been reading it, I humbly ask that you look it over, especially since it was designed as an argument for the band's work directed to lapsed fans, and people who never gave them much of a shot despite their canonization. (I'm looking at you, North Americans Under The Age Of 26.)

This Was Supposed To Be My Moment Of Triumph

noreply@blogger.com (Matthew Perpetua) — Thu, 12 Jun 2008 08:14:08 -0500

Wire "One Of Us" - Even when writing a straight-forward pop song about the messy dissolution of a relationship, Wire can't help but seem entirely cold and dispassionate. It's actually easier to hear this as being a song about the end of a professional partnership, and not simply because Bruce Gilbert has apparently left the band. Colin Newman betrays very little emotion in either his lyrics or his voice, aside from perhaps an eagerness to tidy up loose ends and cling to some semblance of decorum. In the chorus he sings "one of us will live to rue the day we met each other," and despite his apparent grievances, I'm inclined to think it's going to be the person on the other side of this song. (Click here to pre-order it from Wire's official site.)

Ted Leo and the Pharmacists "The World Is In The Terlet" - This song was written and recorded on the June 3, 2008 episode of the Best Show on WFMU. Basically, Tom and a few of his listeners came up with the lyrics, and Ted Leo and the Pharmacists put it all together and recorded it before the end of the show. It ought to be a fun curiosity, but it actually might be one of Leo's best tunes. The song is essentially a string of punk cliches with lyrics about some sort of hipster apocalypse, but it all snaps together so nicely that it's like hearing all the old tricks for the very first time, especially when the songs collapses into a racket after Leo announces that "the western world will perish in fifteen years!" (Click here for the official Ted Leo site, and here for the Best Show On WFMU.)

A Lame Way To Comfort Yourself

noreply@blogger.com (Matthew Perpetua) — Wed, 11 Jun 2008 11:42:23 -0500

Quitzow "Better Than Ever" - It's kind of a rare thing that I get to get to feature an artist who is from more or less the same region where I grew up. This isn't to say that there aren't many musicians in the Hudson Valley of New York, but rather that they either just are not to my taste -- there's always been a lot of earnest folky stuff, especially as you get further up into hippie country -- or the artists don't really do much in the way of self-promotion, and you just never really hear about them in the first place. The one major exception is Mercury Rev, who are terrific and kinda perfectly capture the aesthetic of the upper Hudson Valley and the Catskills, i.e., about an hour north of where I'm from.

Like Mercury Rev, Erica Quitzow lives and works somewhere up in the north of the Hudson Valley -- New Paltz, I think? -- but unlike them, her music doesn't really have much to do with the upstate aesthetic. She specializes in a blend of live, acoustic strings and electronic pop, and her voice superficially resembles the cool, reserved tones of Metric's Emily Haines. If anything, the music sounds European, even when she's messing about with throbbing Timbland-style synth lines. Her greatest asset is her gift for writing strong, simple yet elegant hooks for strings. In particular, "Better Than Ever" glides along with a sort of menacing grace that contrasts with the track's hesitant bass groove and stuttering percussion. (Click here to buy it from CD Baby.)

Acting All Respectable In Front Of Your Mother

noreply@blogger.com (Matthew Perpetua) — Tue, 10 Jun 2008 08:02:11 -0500

Hemme Fatale "Animal Lover" - The most obvious touchstone for Hemme Fatale would be the Human League in their prime, but there's something about their take on classic boy/girl electro-pop music that comes out sounding subtly skewed and mildly disorienting. All of their songs are informed by a ridiculous, deadpan sexuality that, when combined with the off-kilter funk of their tracks, result in something close to actual sexiness. In "Animal Lover," the group mess around the listener's expectations by taking a fairly standard lyrical conceit -- she's an animal in bed! -- and twist it by alternating between taking the title phrase very literally (i.e., "I know a girl who says / she wants to take me to an owl sanctuary / the second biggest in the country"), or pushing the sex talk to deliberately awkward territory. (Click here for the Hemme Fatale website.)

Confidence Has No Budget

noreply@blogger.com (Matthew Perpetua) — Mon, 09 Jun 2008 09:06:13 -0500

Lil' Wayne "Dr. Carter" - "Dr. Carter" is essentially an advice song in which Lil' Wayne -- starring as a doctor in a hip hop emergency room -- offers words of wisdom to rappers who lack his skills and originality. Taken at face value, it's very amusing and his craft is dazzling, but really, this is more than just a goofy, boastful skit extended to a full-length track; it's the sound of a genius who is totally exasperated by the people who ought to be considered his peers. Throughout Tha Carter III, Wayne repeatedly suggests that he belongs in the company of acknowledged greats -- Biggie, Tupac, Jay-Z, Andre 3000 -- and he's not wrong. He's an absolutely brilliant MC who can make even terrible songs sound good simply by gracing the track, and he has a persona and gift for lyricism that is unmatched by anyone else in his age group. This is the frustration at the heart of "Dr. Carter" -- Wayne isn't bagging on anyone but the rappers of his generation, and in every moment of the song, you can hear his disappointment. This is a man who wants competition, and not just from guys ten years older than him. He seems desperate for a challenge, but more than that, he comes across like a person who just wants more good music, and for everyone else to raise their standards. When the track picks up at the end of each verse, Wayne sounds as earnest as an evangelist, and his intensity conveys a deep, passionate love of hip hop that totally eclipses the requisite egomania of a top MC.

Also, oh my GOD, this track. I already loved Swizz Beatz and have been wondering for some time why he doesn't get the awe and respect he clearly deserves, but "Dr. Carter" takes it all to the next level. It's not quite like any other Swizz composition -- there's no synths, the beat isn't non-stop euphoria. It's low key and organic, with a jazz-funk swing in the verses that shifts into a cinematic, symphonic grandeur as Wayne's rap builds up to a crescendo. Swizz makes Wayne sound brave and heroic, and altogether, the piece is incredibly inspiring. Whether you're a rapper or not, "Dr. Carter" will make you want to do better, and to aspire to its greatness. (Click here to buy it from Amazon.)

The Cold and Sadistic

noreply@blogger.com (Matthew Perpetua) — Fri, 06 Jun 2008 10:31:05 -0500

Annie "I Know Ur Girlfriend Hates Me" - Wow, Jezebel is right -- this is a really good song! It's hip-switchin', gum-snappin', tit-perkin', and everything! (I love it when songs are tit-perkin'!) Anyway, even though Slut Machine is pretty right-on about the song -- gee, it's just like that thing Tyra Banks says! -- some of the folks in their comment box are a little off-base.

For example:

Gundam_Halo: That video was hypnotic. I'm a sucker for choreography. Damn, I'm a self-loathing, depressing person. I'm not supposed to entertained by something as pop (or whatever the label is) as this.

Awww! I've got good news and bad news for you, Gundam_Halo -- you're not wrong to enjoy well-crafted pop songs or music videos with choreography! Unfortunately, the bad news is that if you have successfully convinced yourself that somehow pop music and dancing are inherently shameful things, you actually have a good reason to be depressed and loathe yourself!

CreoleSugar: Isn't this woman a bit old to be singing about how someone's girlfriend hates her?

Maybe? Probably not?

goodcheapfun: This is the perfect genre for an entertainer long on looks and short on talent.

Really? Because this is pretty much the same genre as Prince, and there are melodic turns in this that rival some of his finest work. But in fairness, that little fucker was always getting by on the strength of his 'stache.

There's actually about 30+ iterations of this point, but I'll go with this one --

Miss Smith Drank Your...: I'm glad y'all are posting about the ugliness of the lyrics. As soon as I saw the title I did an eyeroll. Enough of the girl fighting over man! Srsly. And Avril/others - if "her" BF really wanted you, he would be with you and not her.

Okay, so you know how Europeans are always like "ugh, Americans don't understand irony," and it's really smug, and you want to get defensive and say "hey, I can process irony, and I can tell when someone is kinda taking the piss, especially in a pop song!"? Well, as it turns out, for the most part, they've got a good point. I understand and relate to feeling a great deal of fatigue with regards to the sentiment of the song, but is it so hard to tell that the song is not 100% serious? And that, maybe just maybe, it's a parody?

Sigh! I could keep going through these all day, but you know, whatever, it's the internet.

(Click here for the Annie MySpace page.)

The Crowd That I Want To Reach Is Out At Night

noreply@blogger.com (Matthew Perpetua) — Wed, 04 Jun 2008 09:40:05 -0500

Douglas Armour "Fall Apart Again" - The character in "Fall Apart Again" is desperate to express himself to his partner, and trying very hard to get on the same page, but something isn't working. No matter what he says, he's left wondering if they even understand what he means, and if they've somehow gone reverted from sharing a close rapport to being little more than strangers in familiar bodies. You may expect a song with that theme to have a fairly anxious sound, but instead, the gently bouncy synth-pop groove and Armour's airy voice conveys a feeling of calmness and resignation, and maybe even a bit of optimism and relief, as if the singer is realizing this situation is really for the best. (Click here to buy it from The Social Registry.)

Low Motion Disco "The Low Murderer Is Out At Night" - This is for stumbling around in the wee hours, or for being half-awake in the passenger seat of a car, watching neon signs and street lights pass by in abstractions of colors and lines. This is for passing out, and waking up and not knowing where you are. This is for being up to no good, but not actually doing anything wrong. (Click here to buy it via Low Motion Disco's MySpace page.)

I'll Party By Myself Because I'm Such A Special Guy

noreply@blogger.com (Matthew Perpetua) — Tue, 03 Jun 2008 13:33:38 -0500

Weezer "Troublemaker" - I'll never understand why people are so hard on Rivers Cuomo. Since Weezer emerged from their post-Pinkerton hiatus, the guy cannot escape the constant bitching of his fanbase, and it's just ridiculous given the fact that he can be relied upon to knock out at least two or three full-on power pop classics on every Weezer release. Granted, any complaints about the quality of Weezer's records since 1996 are valid -- they've all been uneven, but to focus on the consistency of the band's albums misses the point in an enormous way. As I wrote back in 2005:

Weezer is a singles band. It doesn't really matter if they put filler on their albums because it's all about the songs that will end up on their greatest hits collection, and that will inevitably become the best record in their discography. Watching their career unfold is basically like getting the best power pop cd ever slowly doled out over an installment plan.

The other thing that people seem to forget is that Weezer is never supposed to be cool, and that since day one, their brand has been about embracing whatever might make "cool kids" feel uncomfortable. Their tactics shift with the times: You're all gonna be rockers? Well, we'll be dorks. You're all gonna sing cryptic lyrics? Well, we're gonna overshare about our obsession with young Asian girls. You're all gonna be dorks? Well, we'll be rockers. You're all inching up to your 30s and feeling anxious about adulthood? Well, we're gonna embrace aging and do the whole "rock and roll dad" thing. That contrarian attitude is crucial to the band's enduring commercial success -- by rebelling against hipness, they tap into a mutant strain of populism.

So yes, The Red Album is uneven. Of course it is. The first three songs -- "Troublemaker," "The Greatest Man That Ever Lived," and "Pork & Beans" -- are absolutely amazing, and rate in the highest percentile of Weezer tunes. "Dreamin'" and "Everybody Get Dangerous" are solid, respectable album tracks. "Heart Songs" is on the fence -- it's dorky, sappy, and insipid to such an extreme that it seems purposefully designed to make Pitchfork readers cry tears of blood, but it's sorta pleasant. The big problem is that -- FOR SOME REASON -- Cuomo decided to let the other guys in the band write and/or sing their own songs, and they are just so so bad. So so so so so so bad. Nevertheless, it doesn't really change anything about that opening trio, and why should it? They are essentially a mini-album unto themselves; a song cycle about rock stardom, or perhaps more specifically, Rivers Cuomo's rock stardom. It starts off with a number that comes across as the secret origin of Weezer, climaxes with a deeply ironic multi-part rock epic about the joyous arrogance of fame set to the tune of a Shaker hymn expressing a profound humility, and resolves with a self-deprecating rocker about recommitting to the notion of embracing a dorky non-conformity. It's a pretty awesome 1-2-3, and really, any more Weezer songs of that caliber on the album would be surplus to my requirements.

Like many songs before it, "Troublemaker" imagines success and fame as a way out of stifling conformity, but it is skewed by the singer's acute self-awareness and a naked desire for validation. Though most of the lyrics are focused on insisting that he's a bad-ass maverick, it's really a song about a guy who feels some pretty intense sexual anxiety, and is willing to do whatever it takes to make himself feel attractive. He doesn't even seem to be all that interested in sex as anything but a stepping stone to validation: "I'm gonna be a star / and people will crane necks / to get a glimpse of me / and see if I am having sex." Unsurprisingly, the song ends with the singer imagining a life as a glamorous recluse, with all the privilege, excess, and recognition of stardom, but without any of the, y'know, human interaction. It's a ultimately a funny light-hearted song, but mainly because it's easy to recognize the crazy ol' Rivers who pops up in interviews and magazine profiles in its words. (Click here to buy it from Amazon.)

The Grey Eyes, The Gentle Kiss

noreply@blogger.com (Matthew Perpetua) — Mon, 02 Jun 2008 11:19:09 -0500

Hercules and Love Affair "Athene" - Even without lyrics and vocals, "Athene" would feel like a wish for inspiration, and for escape from dreariness, complication, and tedium. Lyrically and musically, the song looks wistfully to a magical past, but whether it's Greek Classics or late 70s New York disco, Andrew Butler desires to invest the present tense with the power of mythology. Kim Ann Foxman may be singing to the Goddess of Wisdom, but with this track, Butler may as well be beseeching the wisdom of Larry Levan or Arthur Russell. (Click here to buy it from Amazon.)

The Cool Kids "What It Is" - The Cool Kids are undeniably retro, but unlike a majority of artists who lean hard on the sound of 80s hip hop, they are neither aggravating or boring. The music is entirely matter of fact -- they come across like a couple of guys who are so in love with a particular tradition that they would dismiss anyone who might tell them that their style died out around the time they were born. And they're right -- fashion may have moved on a few times over in the past two decades, but just the same with classic rock or Motown soul, the appeal of old school hip hop is evergreen, and comes down to a brilliant, primal simplicity crossed with loud charisma and largely invisible craftsmanship. The Cool Kids make it work because they are just as interested in craft as affect, and can effortlessly kick into the perfect contrast of crisp, dynamic beats and playful party-dude vocals. (Click here to buy it from Amazon.)

Elsewhere: My early impressions of some songs from Of Montreal's forthcoming album Skeletal Lamping.

With Nothing To Consider

noreply@blogger.com (Matthew Perpetua) — Fri, 30 May 2008 09:14:11 -0500

The Ting Tings "That's Not My Name" - The Ting Tings' debut album is a peculiar balance of chart pop style and indie affect, and as such, it seems like something that ought to make a select group of people very happy, and completely alienate pretty much everyone else. Aside from the single "Great DJ," the duo are most successful when they lean hard on their slick pop influences, and end up with tracks that come off like a leaner, less brain-smashing version of Girls Aloud. "That's Not My Name" is particularly strong with its ridiculously catchy staccato chorus melting into a softer refrain that eventually overlaps with two more vocal hooks when the song hits a crest in its final third. Aside from the basic thrill of the rhythm and melodies, there's something very appealing just in the way Katie White spits out the names in the chorus -- Stay-CEE, Mary-JO-Leee-suh! It's fun. (Click here to buy it from Amazon.)

Prototypes "Synthetique" - You know, it's actually kinda hard to imagine that understanding all of the words in this song would improve it in any way. In fact, even though the Prototypes are from Paris, their French-ness seems like something of an affectation, sorta in the same way that American country singers play up their drawl, or the way guys like Jarvis Cocker, Damon Albarn, and Morrissey trade on their extreme British-ness. This song is a song, but it's also like this very well-executed concept of vaguely rocking French hipster disco music. (Click here for the Prototypes' MySpace page.)

The Taste Of Life

noreply@blogger.com (Matthew Perpetua) — Thu, 29 May 2008 16:20:01 -0500

Portishead "We Carry On" - Just about two weeks ago, a few minutes into the daily morning meeting at work, I found out that I, along with all of my co-workers, was about to be out of a job. It only took a few seconds to break the news, but the meeting kept going on and on, explaining why it was all happening when all I wanted was to get out of that room and that building as quickly as possible. I needed to process it; I needed to be alone; I needed to freak out. I had to stick around and stew in a silent panic for a few more hours, but sometime around 2 PM, I went home. It was an exceptionally dark and rainy afternoon, almost too perfect for my dreary mood. When I got back to my apartment, I couldn't do much more than put on the new Portishead album, get in my bed, and attempt to sleep it off.

At that point, I had owned a copy of the Portishead's Third for a while, but hadn't really given it much of my time. I was never in the mood for it. I flicked through it a couple times, settled on "Nylon Smile," and thought "okay, maybe I can do something with that on the site," and pretty much ignored it for weeks. The choice to put the album on in that moment was somewhat arbitrary -- I didn't actively think "oh, I'd better put on that really bleak Portishead record," it just happened to be one of the cds sitting in front of the stereo. At any rate, it was just about the most ideal album I could have heard under these specific conditions.

The sound of the record is a reward in and of itself -- each song has its own set of specific tones and textures, and many of them are quite odd. Every so often, I'd be pulled out of myself just to notice a particular sound: The clanging horror movie guitar contrasted with the Silver Apples pulse of "We Carry On;" the eerie staccato drum machine hits of "Machine Gun;" the sudden, disquieting horn skronk in "Magic Doors." The entire album is a paranoid lull, and its sustained feeling of impending doom seems infinite, even when some of the songs end in abrupt silence. It's ideally suited to moments of doubt and fear, serving to both exacerbate that mood, while also offering a sort of solace, perhaps from a sense of implied solidarity in the face of loss and loneliness. (Click here to buy it from Amazon.)

We've Got A Secret Between Us

noreply@blogger.com (Matthew Perpetua) — Wed, 28 May 2008 20:17:03 -0500

I should know by now that the Fiery Furnaces are never going to do anything the "normal" way. I had assumed that when the band got around to releasing a live album, it would be very simple: Each tour has a different line-up of instruments and/or musicians, and corresponding arrangements and medleys, so they could just release a disc from each period. Blueberry Boat medley tour? Check. Four-piece hard rock combo circa 2006? Got it. Groovy keyboard-centric combo, circa now? Rad! But no, they went another way, and shock of all shocks, it's unlike any other official live record that I've ever encountered. Remember is less like a document, and more like an audio documentary that culls recordings of various sound quality from a range of shows and cuts it all into a very odd sort of mixtape.

Weird things about Remember:

1. As I said, the audio is of varying quality. That would be strange enough, but several songs cut back and forth between very nice, professional audio, and clips that sound as though they were taken from a B+ audience bootleg recording. It's extremely jarring at first, but in some cases, it has an interesting dynamic effect, and keeps the listener aware of context.

2. Though the band is known for performing medleys, several of the medleys on Remember were created in post-production. In some cases, it's a matter of keeping the flow through the record. In others, such as the string of Widow City fragments at end of disc 2, it's just baffling, especially since "Navy Nurse," "Philadelphia Grand Jury," and "Clear Signal From Cairo" have only ever been performed in full to the best of my knowledge.

3. There are totally frustrating cuts. The most egregious example is "Chief Inspector Blancheflower," which starts off with the typical art-punk version of the opening section, before having the second section start and cut off immediately and gracelessly clunk into the seldom-performed "bakery" section of the piece. This is a totally maddening thing, especially since the second and third parts of the song are the crowd-pleasers.

4. A majority of the album is taken from the band's worst period as a live band, i.e. the 2007 Bitter Tea tour with the extra percussion. Granted, a lot of that stuff comes across better on this album, but that doesn't change the fact that many of the older songs performed on that tour were butchered horribly. Seriously, whenever I hear this version of "Name Game," I wonder how it is that they were able to take one of my favorite songs in the world and make me hate it. However, I didn't have any nicely recorded shows from that tour, but I do have top-quality recordings of every other era, so maybe they were just trying to fill a gap there?

5. They make Frankenstein versions of the longer songs.

The Fiery Furnaces "Blueberry Boat" (Remember version) - For example! Though it is a multi-part song, the band only ever performs the verses of "Blueberry Boat" that are sung by Eleanor on the album. This epic version of the song is in fact composed of bits and pieces of the song in slightly differing arrangements from various shows. You can really get a sense of the varying sound qualities in this track, especially since you're essentially hearing the same thing over and over, but from different takes. It holds together as a track with its own internal logic pretty well, but it's still quite bizarre and questionable. I mean, it sounds more like something an obsessed fan would make, and less like the opening track of a double live album.

The Fiery Furnaces "Forty-Eight Twenty-Three Twenty-Second Street" (Remember version) - The most exciting and enjoyable section of Remember is its run of radically re-arranged numbers from Rehearsing My Choir. In concert, the band tends to downplay the spoken word sections of the songs, and emphasize the grooves that were often only implied in the album arrangements. Some of the make-overs are so drastic that the songs are nearly unrecognizable compared to their studio incarnations: "Forty-Eight Twenty-Three Twenty-Second Street" has so many elements added or removed that it may as well be considered a new (and superior) draft of the composition.

(Click here to pre-order it from Thrill Jockey, or buy it at the merch stand on the band's current tour.)