Hippies Are Dead

Plants And Animals Drop Another Track From Forthcoming Record

2012-02-10T08:33:00.000-08:00

Plants and Animals at Bowery Ballroom, from the HAD Archive

It goes without saying that we here at HAD are stoked on the forthcoming Plants and Animals record. The band has been on our "must play" list ever since they dropped their first full length in 2008, and as they've evolved, they've only gotten better. Case in point: the newest track from their forthcoming The End Of That.

"Song For Love" embraces the more acoustic songwriter-y vibe that was hinted at in "Lightshow", and even more on display when the band played the Rock Shop on a rainy night in early December. But here's the thing: the band manages to embrace this more conventional aesthetic without eschewing the bits that make their music so distinctive and perfectly unique. They rock out on the choruses, display utterly perfect technical chops, and create arrangements that are as compelling as they are perfect. In short, this record is fast proving to be another perfect step in the evolution of a band that is getting better by the day.

On top of the killer new track, we also managed to stumble over a killer HD vid for the band's cover of Wolf Parade's "I'll Believe Anything", which was the B-Side to "Lightshow". If you've seen the band live then, as expected, you'll be psyched for this. If you haven't, well, check the vid above and enjoy the magic. Once you're done with that, check out the band's North American tour in support of the record, which starts early next month.

Plants and Animals Spring 2012 Tour
8th Mar Ritual Nightclub Ottawa, ON
9th Mar Le Cercle Quebec, QC
10th Mar Le Cabaret du Mile End Montreal, QC
14th Mar St David's Church (SXSW) Austin, TX
17th Mar Spill Bar (SXSW) Austin, TX
20th Mar Lucky Bar Victoria, BC
21st Mar Rickshaw Theatre Vancouver, BC
22nd Mar The Crocodile Seattle, WA
24th Mar Mississippi Studios Portland, Oregon
27th Mar Starlite Room Edmonton, AB
28th Mar Republik Calgary, AB
Thu 29th Mar Amigos Cantina Saskatoon, Canada
30th Mar West End Cultural Centre Winnipeg, MB
31st Mar 7th Street Entry Minneapolis, MN
4th Apr TT The Bear's Place Cambridge , MA
5th Apr Kung Fu Necktie Philadelphia, PA
6th Apr Red Palace Washington, DC
7th Apr Local 506 Chapel Hill, NC
8th Apr 529 Atlanta, GA
10th Apr Crowbar Tampa, FL
11th Apr The Social Orlando, FL
13th Apr The Bottletree Birmingham, AL
14th Apr Hi-Tone Cafe Memphis, TN
18th Apr Mercury Lounge New York, NY
19th Apr Mohawk Place Buffalo, NY
20th Apr APK Live London , Ontario
21st Apr Lee's Palace Toronto, ON
11th May Schuba's Chicago, IL
12th May The Frequency Madison, WI
15th May Hi-Dive Denver, CO
16th May Kilby Court Salt Lake City, UT
18th May Bottom of The Hill San Francisco, CA
19th May Satellite Club Los Angeles , CA
21st May Casbah San Diego, CA
25th May Lambert's Austin, TX

mp3: Plants and Animals - Song For Love

Archers Of Loaf - Vee Vee Reissue

2012-02-01T09:49:00.000-08:00

Here at HAD, we are of two minds when it comes to the imminent "two disc" reissues of classic records. With bands we obsessed over before the reissues, they can be a bit of a let down: sometimes they don't include one or two key tracks, sometimes the ordering is less than ideal, and (let's be honest) it just hurts to see the tracks you paid hundreds of dollars to obtain as import B-Sides on one convenient $15 bonus disc. However, with bands for whom we had never invested that level of time and money the two disc reissue is a treasure trove of affordably-priced awesomeness. Case in point: Merge Records' latest Archers of Loaf Reissue, Vee Vee.

With their first Archers two disc reissue, Icky Mettle, Merge something of an easy time of it. The bonus disc consisted of the band's classic The Greatest Of All Time, and a bunch of hard-to-find 7" versions of album cuts. In short, exactly what you'd expect. Which, while complete, held relatively few surprises. By stark contrast, the reissue of Vee Vee is chock full of new and unreleased material. The easy stuff is tossed aside in the first few minutes, with single b-sides and alternate mixes filling the first five tracks. However, what follows is the true reward: in addition to a number of rarities from compilations, and an previously unreleased track, "Equinox", the second disc fills out with seven tracks from not one, but two separate demo tapes.

The demo tracks are really the highlight of the bonus disc: they illustrate not only the depth of these songs and musicians, but also the many sides of Eric Bachmann that had yet to be revealed, and would later surface in Crooked Fingers. The "Marathon Boombox" tracks feature Bachmann on a twangy guitar poking through what are barely fragments of songs. By contrast, the "Vee Vee 4-track Demo" tracks that follow employ a drum machine and multiple guitar lines and give a much better sense of what Bachmann would wind up as when he went solo. In both cases, the demos are enough to stand up on their own, and become classics unto themselves.

And then, of course, there's the record itself. For Archers fans, Vee Vee needs no introduction, and for many it marks the advent of the band becoming something more dynamic than simply another alternative rock band. It has never occupied our "favorite record" slot for the band, not for lack of awesomeness, but simply because the rest of their output is so great. That being said, the new remaster is fantastic, and it's the best we've ever heard this record sound. It is crisp, clean, and manages to somehow toe the line between a clean "studio" mix, and feeling like you're in the room with a band. Good production at its finest.

In short, the Vee Vee remaster is everything we could ask for, and is well worth your while. Not only that, but it's gotten us extremely excited for the additional reissues that Merge has promised in the coming year. During their heyday, the Archers never really got what one would call wide-spread recognition (we recall seeing them at the Grog Shop in Cleveland in 1999 with something like 20 other people), but that seems to be turning around. With a reunion tour, and these fantastic reissues, the band is finally getting their due, and it's a good thing, because it's most certainly well-deserved.

An Horse Tour With Nada Surf, Add Headline Dates

2012-01-31T08:06:00.000-08:00

An Horse at Highline Ballroom, from the HAD Archive

Well, count us among the excited: Australians (and HAD favorites) An Horse have announced that in March and April they will return to the US for a Spring tour, and they're not kidding around. Starting in March, the band will perform a series of headline dates in the midwest and west coast before meeting up with Nada Surf for a one month national tour as that band's opener. Never mind the fact that Nada Surf are a great band as well, or that An Horse is touring in support of their killer second record Walls, we're the most excited that the band is back in town from the other side of the globe so soon after their CMJ appearance! This is a band that's more than worth listening to, but more importantly: absolutely killer in the flesh. See you there.

An Horse Spring 2012 Tour:
3/9/12 – Pontiac, MI @ The Pike Room
3/10/12 – Milwaukee, WI @ Cactus Club
3/11/12 – Iowa City, IA @ The Blue Moose Tap House
3/12/12 – Kansas City, MO @ Record Bar
3/14/12 – Phoenix, AZ @ The Rhythm Room
3/15/12 – San Diego, CA @ The Casbah
3/16/12 – Pioneertown, CA @ Pappy & Harriet’s
3/20/12 – Los Angeles, CA @ The Music Box ^
3/21/12 – San Francisco, CA @ The Fillmore ^
3/23/12 – Portland, OR @ Wonder Ballroom ^
3/24/12 – Seattle, WA @ Neptune Theater ^
3/25/12 – Vancouver, BC @ Rickshaw Theatre ^
3/27/12 – Salt Lake City, UT @ Urban Lounge ^
3/29/12 – Denver, CO @ Summit Music Hall ^
3/30/12 – Omaha, NE @ The Waiting Room ^
3/31/12 – Minneapolis, MN @ First Avenue ^
4/2/12 – Chicago, IL @ Metro ^
4/4/12 – Toronto, ON @ Opera House ^
4/5/12 – Montreal, PQ @ Corona Theatre ^
4/6/12 – Boston, MA @ Paradise Rock Club ^
4/7/12 – New York, NY @ Webster Hall ^
4/9/12 – Philadelphia, PA @ TLA ^
4/10/12 – Washington, DC @ 9:30 Club ^
^ w/ Nada Surf

Jack White To Drop Solo Record In April

2012-01-30T10:14:00.000-08:00

Well, it's finally happened: Jack White has given up on the facade of a band, and embraced his inner musical genius to release a solo record. Titled Blunderbuss, the album will be released on April 24th. The first single is entitled "Love Interrupted", and if it's any indication, this record is going to be exactly what we've been wanting from White for years.

Tempered with woodwinds, and a Fender Rhodes, the track is a simple ballad in classic White style, with a gentleness that recalls the best moments of the White Stripes' Get Behind Me Satan. It's been clear that White has had this up his sleeve for years, and we're glad he took the plunge. Stream the track below.

Stream: Jack White - Love Interruption

White Rabbits Drop Video For "Heavy Metal"

2012-01-25T14:44:00.001-08:00

Two weeks back we hit you with a mention of White Rabbits' upcoming new record Milk Famous. Now the band has backed up the first single, "Heavy Metal", with video. The clip cleverly uses looped video to generate a creepy, static-with-movement feel. Very cool - check it out above.

Video: Ryan Adams - "Chains Of Love"

2012-01-20T06:57:00.001-08:00

On this fine Friday morning, Ryan Adams has brought us a new video for "Chains of Love", and rest assured, this is a video that has it all. An all-girl backing band, Ryan in a motorcycle jacket looking dreamily into space, pyrotechnics, and even....3D. Yeah, we broke out our Ashes and Fire deluxe edition 3D glasses, so what? Stop grumbling, spoilsport, and just watch the damn vid.

REM - Monster

2012-01-19T06:54:00.000-08:00

REM is a strange beast, and in the wake of their breakup, one that deserves some examination. They unquestionably have had a lasting effect on the world of rock and roll, and their disciples are many. They also possess a singular character amongst their peers. Their image is neither rough or fashionable, but more fleetingly nerdy and awkward. Their hits are often angsty balladry or quirky pop melodies, and they often fill the roll of "cool" band for people who don't like "cool". However, here at HAD, our favorite REM moment has always been one that broke rank with their catalog: the 1994 record Monster.

Often, Monster is cited as REM's response to the grunge movement, and that may have some validity. The return of the "rock" in rock and roll was unquestionably apparent to the band, and they took a step back from the mellowness that they had spent most of the early 90's fostering. But the fact of the matter is that REM was a rock band long before they were producing pop like "Shiny Happy People" or miserable dreck like "Everybody Hurts". Monster's crunch and vitality was in many ways simply a return to the form that had made REM famous during their tenure at IRS records.

That return to form is one piece of the puzzle that makes Monster so great: the songwriting is exceptional, and the arrangements moreso. It is garage rock at its best and most crafty, built on a simple foundation of drums, piano, bass, and guitar. Sure, there's a note more crunch in the guitar, and there are moments where electronica threatens to rear its ugly head, but the dam never breaks, and instead we are left with a selection of songs that are utterly fantastic. But fantastic songs are only one piece of the puzzle.

Let it be noted that we don't particularly love Michael Stipe. He can be whiny, and thrives on the idea of his own oppression. He is the ultimate "emotional" rock star, to a fault. It comes across in his writing, his delivery, and his persona. And yet, on Monster, he absolutely nails it. His lyrical content manages to escape literalism for most of the record, and instead return to the poignant abstraction that made "Stand" and "It's The End Of The World As We Know It" such amazing songs. Moreover, his vocals are in bulletproof form, yielding killer falsettos ("I Don't Sleep I Dream", "Tongue"), bizarre monotones ("Crush With Eyeliner", "King Of Comedy"), straight ahead rock ("Star 69", "What's The Frequency, Kenneth?"), and soulful melancholia ("Strange Currencies").

To try and espouse a band like REM is a fools errand: the band is already installed as one of the seminal foundations of modern rock. Yet it's worth considering that the things they are appreciated for may not be the band's greatest strengths. Monster is what many would call "out of character" for the REM of today, and a shadow of the greatness of their indie years. The fact of the matter is that it embraces both sides of the band's tumultuous public persona, and the result is the best record they ever recorded.

mp3: REM - Tongue

Spoon - "I Could See The Dude (Demo)"

2012-01-10T08:37:00.000-08:00

The cover for the Soft Effects vinyl 10"

We're always stoked when Spoon drops a new track in their "Bonus" section, but this month we were particularly thrilled. Culled from the demo sessions for one of our favorite Spoon records, the Soft Effects EP, the demo for "I Could See The Dude" is a real treat.

Much like the final studio track, the demo is built around a looped guitar riff overlaid on a bass line that manages to craft the song's chord changes all by its lonesome. The vocals are a little more raw, and (like most of Britt Daniel's demos) the beats are clearly canned. At the end of the day, however, this is the clear foundation of one of our favorite Spoon tracks.

Give a listen to the mp3 below, and try not to get too excited about the fact that the end of the track clearly has the guitar lead in for a demo of "Waiting For The Kid To Come Out". Fingers crossed we'll be hearing it soon!

mp3: Spoon - I Could See The Dude (Demo)

White Rabbits Drop New Record, Milk Famous, In March

2012-01-09T09:02:00.000-08:00

It's been a while since White Rabbits dropped their second full length It's Frightening, so when news came over the wire this morning that they had a new one on the way, we were psyched for the news. The new record, which drops March 6th on TBD Records, is titled Milk Famous.

While it's not produced by Britt Daniel, the band still kept their Spoon association close, and roped in long time band producer Mike McCarthy to produce the record in Austin, Texas. If the lead track ("Heavy Metal", below) is any indication, McCarthy managed to help the band stay true to the sound of It's Frightening, and deliver a record that is a windy maze of synth laden guitar lines and driving, compact beats.

In addition to the new record, the band will be heading out on tour this spring. This is, as anyone who has seen the band on stage knows, fantastic news. Their live show surpasses the greatness of the records to be its own beast, and is an absolutely revelatory experience. The tour includes stops at awesomely intimate venues across the US, including the Independent in San Francisco, The Paradise in Boston, and (alright, not so intimate) Webster Hall in New York. Suffice it to say, White Rabbits deserve a great deal of your attention this spring.

White Rabbits Spring Tour 2012
March 6: Philadelphia, PA / Union Transfer
March 7: Washington D.C. / Black Cat
March 8: Charlottesville, VA / Jefferson Theater
March 9: Raleigh, NC / Lincoln Theatre
March 11: Atlanta, GA / Variety Playhouse
March 12: Birmingham, AL / The Bottletree
March 13: New Orleans, LA / One Eyed Jacks
March 14: Houston, TX / Fitzgeralds
March 19: Denver, CO / Bluebird Theater
March 20: Salt Lake City, UT / Urban Lounge
March 22: Portland, OR / Doug Fir Lounge
March 23: Vancouver, BC / Biltmore Cabaret
March 24: Seattle, WA / Crocodile Cafe
March 26: San Francisco, CA / The Independent
March 28: Los Angeles, CA / El Rey Theatre
March 29: San Diego, CA / The Casbah
March 30: Phoenix, AZ / Crescent Ballroom
March 31: Tucson, AZ / Club Congress
April 3: Lawrence, KS / Jackpot Music Hall
April 4: Columbia, MO / The Blue Note
April 5: St. Louis, MO / Plush
April 6: Madison, WI / High Noon Saloon
April 7: Minneapolis, MN / Triple Rock Social Club
April 8: Chicago, IL / Metro
April 12: New York, NY / Webster Hall
April 13: Northampton, MA / Pearl Street Downtown
April 14: Boston, MA / Paradise Rock Club

mp3: White Rabbits - Heavy Metal

Damon Albarn Returns To Africa For Mali Music Follow-Up

2012-01-03T06:06:00.000-08:00

We've long been seriously in love with Damon Albarn's Mali Music, so when a friend at New Year's asked if we had heard about the Blur and Gorillaz frontman's African project, we knowingly smiled and knowingly informed them that they were about eight year's late to a seriously awesome musical experience. Well, allow us to stand corrected. It turns out, in fact, that we were about two months late. Albarn returned to Africa and released a new record in October, this time from the Democratic Republic of Congo's capital city of Kinshasa. The result is a record entitled Kinshasa One Two, and it's a doozy.

With a process similar to Mali Music, Albarn headed to the DRC to allow Western producers to collaborate with native DRC musicians. While we haven't gotten our hands on full record quite yet, but from everything we've heard it appears to be just as, if not more, enticing than it's predecessor. Albarn apparently brought along Dan The Automator for the adventure, along with XL Records head Richard Russell, and the trio recorded the collaborations with locals in a week's time. Not half bad, if we do say so ourselves.

Just like Mali Music, the record is an Oxfam benefit, and as such, it would behoove you to purchase an actual copy as opposed to bending the internet to your will. After all, it is the new year, shouldn't you start it off right?

mp3: Kashasa One Two - Lourds

Suuns Drop New EP

2011-12-13T12:03:00.000-08:00

Given our ecstatic love for SUUNS first full length Zeroes QC, we have to say expectations for their next effort were running painfully high. Luckily for us, the band must have anticipated the potential for backlash, as their new 12" EP Bambi/Red Song (cover above) is nothing but totally killer new material.

SUUNS at Shea Stadium from the HAD Archive

Comprised of only two tracks and clocking in at just under 13 minutes, the EP is significantly more minimalist than the band's debut. While still embracing an texturally exploratory aesthetic, the record is also extremely careful in it's arrangement. It leaves each tracked instrument the space to be explored on its own in the context of the greater whole. The guitars are singled out and less layered, the beats are given space to grow, and in many cases take on the role of lead instrument.

Without question, the record plays on the band's strengths, and perhaps could do a little more to push in new directions. That being said, an EP is a great context in which to explore, and this record does exactly that. Taking the foundations of the first record and exploring their most stark nooks and crannies is a worthwhile effort, and leaves us eagerly anticipating where the band will go next.

Plants And Animals Played The Rock Shop - Pictures, Review, Setlist

2011-12-08T12:48:00.001-08:00

Last night we braved the late-fall rain to stop in at Brooklyn's Rock Shop for a set from Montreal's Plants and Animals. The band, who recently announced their third full length's arrival in February, decided to play a couple of one-offs before they go on tour next spring. The show saw the arrival of a new bassist to the band's lineup, and a handful of songs off the new record. And, as per usual, these HAD faves delivered an absolutely killer live set.

Over the course of an hour and twenty minutes, the band traversed both of their previous full length records, as well as delivering three tunes from The End Of That, which drops on February 28th. The new material (which included the already released "Lightshow") was surprisingly straight-ahead in it's delivery, and was at times reminiscent of Jonathan Richman, or Dylan at his most melodic. It's unquestionably a new sound for the band, but one that worked extremely well, and left us hankering to hear the rest of the record.

The older material also took on a new life. The addition of a full time basis allowed the band to explore more nooks and crannies of the tunes, and also gave way to some more fleshed out lead guitar. The closest thing the band has had to a hit, "Bye Bye Bye", was radically reworked in a manner that removed a fair degree of its grandiosity, and replaced it with a garage-y feel that placed the emphasis on the melody, rather than the arrangement.

Despite clocking in at over an hour, the set still felt incredibly quick. This is a band who is positively riveting on stage, and gives it their all every time we see them. Moreover, their intricate, syncopated arrangements never seem to get old, and breathe new life into the tunes time and time again. The End Of That is unquestionably one of our most anticipated records of 2012, and last night's show served to remind us of why. If you decided to stay in last night because of the weather, well, we're sorry to say you missed out.

More photos at the HAD Archive

Setlist:
Faerie Dance
Lightshow
Game Shows
Mama Papa
Good Friend
The End Of That
Undone Melody
Bye Bye Bye
Mercy
New Song (Holy Matrimony)
--
New Kind Of Love

Lissy Trullie - "Madeline"

2011-12-06T11:31:00.001-08:00

Lissy Trullie at the DeYoung, from the HAD Archive

It's been a while since we'd heard from Lissy Trullie, so we were delighted when we discovered that she has a new record on tap for 2012. The self titled album, which drops on March 6th, has yet to grace our ears or our inboxes. However, If the lead single "Madeline" (mp3 below) is any indication, it's gonna be a damned good one.

The track manages to channel the spirit of Nico, and set it adrift in layers upon layers of synth textures and loping beats. Combine that with the fact that Trullie's vocals are actually a fair bit better than the Velvet's chanteuse, and the fact that the tune has a nice unconventional composition, and well, we're sold.

The sound is a fair bit more mature than Trullie's debut: Gone are the jangly, garagey guitars, and in their place is a far more crafted and well produced record. The effort is just as polished, but it has more individualism and clarity, and manages to shed a fair degree of the derivative moments of its predecessor. In short, exactly what you'd hope for from a second record.

mp3: Lissy Trullie - Madeline

Talking Heads Set To Drop Live Video Compilation

2011-12-05T13:25:00.001-08:00

When we first saw the Talking Heads' video compilation announcement appear from David Byrne in our inbox, we were interested, but not riveted. After all, most of the band's fantastic videos are available on YouTube, and we've got a good feel for what's out there. Well, in retrospect, we stand corrected: a closer read reveals something much more interesting.

In short Talking Heads Chronology is a high quality compilation of the band's live performances, from their very earliest days up until their Rock and Roll Hall Of Fame induction in 2002. In Byrne's estimation, they were "very much a live band", and as such, this review is a good estimation of their prowess. We never saw them live in concert, but needless to say, we would have loved to, and if this is the closest we get, well, so be it.

Talking Heads Chronology is available now.

John Cale - Extra Playful

2011-12-02T11:07:00.001-08:00

John Cale entered into the new decade on the high of two critically acclaimed records, Black Acetate and Hobosapiens, that saw him giving a nod to his poppier guitar based rock instincts, and blending them with some delightfully experimental use of electronics and synthesizer. As such, it should come as no surprise that 2011 finds Cale continuing on the same path, to similarly great success.

Compared to the records mentioned above, Cale's latest, Extra Playful, is perhaps the most accessible of all. Where the others ebbed and flowed between poppy goodness and difficult sonics, Extra Playful is straight ahead pop, through and through. The instrumentation is Cale at his most accessible, firmly rooted in guitars and playful pianos. When electronics are brought into the mix, it's only to provide modest backing beats or synth textures.

Which isn't to say that the record is without depth. The strong moments are some of the best songwriting of his career, and calls to mind his creative heyday of the mid seventies. There are weaker points (we could do without the backup singers on "Hey Ray", for one), but overall the EP holds together remarkably well as a straight forward rock and roll record.

Extra Playful is apparently the precursor to another full length from Cale in 2012, and that's great news. His output as of late has been nothing if not a consistently rewarding treat. For now, we'll be giving this record more than a few spins, and eagerly awaiting the delivery of the next chapter.

mp3: John Cale - Perfection

Plants And Animals Set To Deliver The End Of That In February

2011-11-30T10:47:00.001-08:00

Well, color us damned excited. Out of nowhere, notice arrived in our mailbox this morning that HAD faves Plants & Animals are set to release their third full length this coming February. In the meantime, they've delivered the first tune from the disc ("Lightshow", below), and it doesn't even remotely disappoint. Loaded with the band's signature rhythmic interplay, the track really calls attention to the strengths that make them such an awesome live act.

Frankly, we've had the song on repeat since we got it, and it's among their best. We couldn't be more excited for this new disc. What's more, the band has a December 7th show at The Rock Shop - you can bet your ass we'll see you out there. In the meantime, enjoy the new track.

mp3: Plants And Animals - Lightshow

M83 - Hurry Up We're Dreaming

2011-11-22T06:24:00.001-08:00

We always like to spend holiday weekends with a new record. It gives us a chance to really dig into the meat of the record, and moreover, it gives us a really clear sense of space and time for that first listen. So it was that we pulled out M83's latest Hurry Up, We're Dreaming. last night and gave it a spin. Suffice it to say, we were not disappointed.

The two disc opus, which was recommended by HAD friend Nabocough, dropped back in October, and had largely evaded our view. Well, we stand corrected. The disc is a perfect blend of pop, dance, and straight ahead rock, that manages to simultaneously be nostalgic and completely new all at once. It's like discovering a great lost record, from a band you never knew you liked in the first place.

Now, we're sure the M83 faithful will be scoffing at this, saying they knew it all along, etc. etc., and that's just fine. The fact of the matter is that this record is going to be far more important to those who aren't already worshipping at the altar of these Frenchmen. They've no doubt (judging by reviews) been making killer records for years, and that's fantastic. But Hurry Up, We're Dreaming features such a diverse palette of textures and melodies, it's more than likely to take M83 into the mainstream.

We're not saying you have to like the disc, but we are saying it's a damned well-crafted piece of pop, and we're loving every minute of it. There are worse ways to spend your holiday weekend listening hours, but why bother?

M83 are in New York tonight and tomorrow.

mp3: M83 - New Map

Cull.tv Brings Back Video Watching As It Should Be

2011-11-18T06:11:00.001-08:00

Amongst the children of the 80's and 90's, there is almost always one universal lament when the topic comes to music videos: the demise of MTV. The television network popularized the medium, and managed to do so while seeming mainstream and edgy at the same time. They managed this balance for the better part of 15 years, before pop culture got the best of them. Once that happened, they headed for a downward spiral of reality shows, and barely any of the thing that had made them great: music videos.

With the arrival of the internet, and real streaming video, there was a feeling that this didn't matter as much, because people could choose their own content. Any video you wanted, any time you wanted. But the fact of the matter is, that didn't help, because much of MTV's influence was curatorial. What most people really want is to sit down and watch music videos they haven't seen before, and be exposed to something new and exciting. In short, the internet really only solved half the problem.

Enter cull.tv: the new site is an attempt to harness the power of "any video, any time", and wrap it in the feeling of good curatorial sense. The site takes on a fantastic full-screen experience and a minimalist interface to create an immersive, sit back and relax vibe. The user can search cull.tv's library of videos for new content, but really that's still the same old thing with a new wrapper. The real fun comes when channels are used.

Channels are predefined by curators, or users, and consist of what are essentially video playlists. However, as one watches videos, you can "love" them, resulting in a body of user metadata relating to video preference. Then it's just one click to a checkbox, and cull.tv starts "auto-DJ"ing for you. This is where it really starts to feel like the MTV experience: new music that you've never heard, but with shared genre and influences.

Granted, there are still kinks to work out. Video quality varies, ads sometimes randomly appear, and HD has to be toggled by the user. But, for the most part, cull.tv has nailed a new user experience (or rather, recreated an old one) in the online world. We've just started curating our own channel, and from there, the sky's the limit! You'll be saying "I want my cull.tv!" in no time.

Jim O'Rourke - The Visitor

2011-11-17T12:39:00.001-08:00

We first picked up Jim O'Rourke's 2009 record The Visitor for largely ancillary reasons to the music itself. First, we admired his work with Wilco so readily, we figured there had to be something rewarding in his own output. Second, the record is somewhat unusual in that it was never released in mp3, by O'Rourke's choice. It was only released on CD and vinyl, and required (gasp) actual physical interaction.

The result was that two years ago, we picked up a thick slab of vinyl with a bit of excitement and a heavy dose of curiosity. However, things being what they are, the disc languished in its cellophane. First, we didn't have a turntable hooked up. Then we were moving and there were boxes to unpack. Until, finally, last week we opened the record. We've been spinning it ever since. It's as novel as it is exceptional. Which is to say, in both cases, extremely.

O'Rourke entreats the listener to "Please listen on speakers, loud." in the record's jacket. And yet, this Ziggy-esque request is not (presumably) for quite the same reasons. O'Rourke's record is not a rock album, per se, and it is certainly not glam. Rather, one can assume that the high volume request is firmly seated in the desire of a mixologist's wish that his music be delivered in the same form he created it. In O'Rourke's case, this means the delivery of a dynamic, lush, and modern form of chamber music.

That description may seem a bit vague, but once you hear the record, it feels startlingly accurate. All of the instruments on the record are close miked, and this intimacy extends across the entirety. It gives the songs character and warmth akin to a jazz record. The interplay gives the impression of a group of tightly knit musicians making music in the privacy of bedrooms or dens, away from the prying eyes of the public.

The Visitor serves to solidify O'Rourke's place as a character unto himself, truly owning the word unique. This music is neither easily defined nor categorized. Instead it is a brand all it's own, enjoyable to listen to a hundred times over, and full of nuance and subtlety. It is a treasure waiting to be discovered in the shelves of record shops, and a reenforcement that maybe it's time that you put down your iPod for an hour or two, and give the old turntable a spin.

mp3: You didn't read the first paragraph, did you?

The Beatles and Jackie Lomax - "Sour Milk Sea"

2011-11-16T07:07:00.001-08:00

Last week as we were scouring Beatles bootlegs on youtube, which we are wont to do from time to time, we stumbled across a gem we had never heard before. "Sour Milk Sea" was written by George Harrison and demoed during The White Album sessions. Bearing a strong resemblance to melodically to "Savoy Truffle", the song never made the final cut.

It was, however, handed off to another Apple Records artist, Jackie Lomax. Not only that, but one better: three of the four Beatles (Lennon was absent) joined Lomax in the studio for the recording session along with Eric Clapton. The supergroup nailed it, and created the original version of the song.

However (and this is where it gets good), they also released a vocal-free mix that featured just the instrumentals. Through the wonder of the internet and modern technology, a kind soul has generated an "outfake" that is as good as the original in quality, but features Harrison's demo vocals. Essentially a new Beatles studio track, a la "Free As A Bird" or "Real Love". Happy humpday!

New Music - Churches, "Save Me"

2011-11-15T06:57:00.001-08:00

It's no secret that around these parts we love Caleb Nichols. In fact, we love him so much, we've released two records by his band Grand Lake over the past two years on our own record label! So when we got word from Caleb that he had started a new recording project called Churches, we got more than a little stoked.

After having spend the last 6 months on the road with the likes of WATERS and Release The Songbird, Caleb returned to the west coast with newfound inspiration and headed into the studio with some of his tourmates to get the new material committed to tape. The result is two incarnations of the track "Save Me", one the "original" and one the "remix".

From the first moment the track is unmistakably Nichols, with his well hones vocals diving into a strong vocal over a twangy guitar. However, the chorus is where things really get mixed up a bit. Clearly the time on the road has been feeding some of Caleb's love of balls to the wall rock, and it shows. The chorus is an epic cacophony of distortion and crashing symbols, while at the same time staying true to the song's melodic potential. We likey.

The remix, by stark contrast, is almost unrecognizable as the original. Drenched in sped up vocals and looped beats, it's exactly what a remix should be: awesome in its own way, and begging to be listened to just as much (if not more) than its seed. Combine that with a vibe that is simultaneously 80's retro and futuristic in one breath, and well, we're sold.

On top of all the musical goodness, Nichols has taken a unique perspective on releasing the track: in addition to falling under the "name your price" model, half of all Churches proceeds will go directly to 826 Seattle, the Pacific Northwest version of Dave Eggers' awesomely lovable tutoring charity. We've posted the track below, because we think you need to hear it, but if you find yourself, we highly recommend ponying up a bug or two for such a worthwhile cause. Not to mention some damn awesome tunage.

mp3: Churches - Save Me

Kurt Vile - "My Best Friends" Live At Webster Hall, Video

2011-11-14T13:37:00.001-08:00

This weekend our good pal Gretchen Robinette made her way to Webster Hall and caught Kurt Vile's Friday night set. We were bummed we couldn't make it from the get-go, but we were even more bummed when we caught wind of what had transpired.

Vile dug out the fantastic "My Best Friends" and delivered a killer full length version of the tune on solo acoustic guitar. Luckily for us (and you), Gretchen managed to capture the whole thing in epic HD goodness, and you can check it out above. Super awesome.

The Sea And Cake Played Bowery Ballroom - Pictures, Review

2011-11-09T14:55:00.000-08:00

Last night at Bowery Ballroom, The Sea and Cake delivered a lengthy set, complete with two encores, to a crowd of devoted fans. The show was part of their most recent North American tour, and was devoid of all pomp and circumstance. The band was traveling with no merch, and had a stage show that (as per usual) consisted of no more than four dudes playing their songs on stage. The caveat was thus: those dudes can play their music very, very well.

To say that The Sea and Cake can deliver a bulletproof set is an understatement. They are a well honed band to the nth degree, and their live show is akin to a more visceral version of their recorded takes. All the parts are there, and the arrangements are rock solid, but with just a touch more spice than one finds on the stereo. In particular, John McEntire's drumming takes on a whole new character in the live environ. When paired with Eric Claridge's unrelenting bass, it serves as an underpinning for the band as a whole.

However, by the end of the set, the well oiled machine had upped the pace to a frenetic hum, and the band began to, for lack of a better term, rock out. It was probably the most high-energy we've ever seen this bunch, and they seemed to be truly enjoying themselves. Hearing Archer Prewitt start to really tear into his guitar, one got the feeling that you were looking in on the more raw side of the band, the side that might bear its teeth at rehearsal space's or writing sessions behind the privacy of closed doors.

One thing remained true for the duration of the show: these are a group of musicians who are more than able to deliver on the promise of their craft. For the whole of the set (which consisted largely of newer material, with the occasional dip into the back catalog), tune after tune emerged in tip-top shape, and fell readily upon the ears of a crowd of highly enthusiastic fans. There was no trick, no illusion, no attempt to create something that wasn't actually there. Instead, it was completely heart-on-sleeve rendition of songs that were carefully crafted amongst the talents of the four men on stage. And therein lies the beauty of a Sea and Cake show: it's all about the music.

More pictures in the HAD Archive

The Features Played Mercury Lounge - Pictures, Review

2011-11-08T14:04:00.000-08:00

Last night we stopped in at the Mercury Lounge and caught an early set from Nashville indie rockers The Features. The band delivered an evening of music that definitely left a satisfied audience, and kicked and screamed its way through the breadth of their catalog. Through a mix of frenetic drumming, loping bass lines, and good old fashioned rock and roll, the unrelenting output emphasized the fact that they have the musical chops to truly deliver.

Unquestionably, The Features are a rock solid unit. The songs' parts are tightly integrated, and the band clearly have had enough time on the road that comfort on stage isn't even remotely an issue. This comfort also allows the band to expand their palette as they play, and dabble with the sonic textures that make up their distinctive sound. The result was a set that managed to do the dual-duty of emulating the records' highly recognizable arrangements, and at the same time expanding on them in the best way possible.

While singer Matt Pelham definitely has the vocal and guitar chops to run a stage show all by his lonesome, the rhythm section was the contingent of the band that really won us over. Over the course of the set, the bass and drums came together in a way that simply isn't present on the band's records, and it served the overall sound very well. While their records are certainly fueled by driving rhythms, the live environment allowed the band to cut loose, and really emphasized just how rollicking this band has the potential to be.

Interestingly, the crowd was still most closely tied to the tracks from the band's first full length. While the other material was rock solid, and had crowd support, it was the earlier singles that really made the deepest impact. It certainly was no fault of the band's, and many of the newer tunes had arrangements that were more inspired than their earlier counterparts. The gap in audience recognition brought to mind the latest challenge for this Nashville quartet: They've proven their a rock band to be reckoned with, now they just need their fans to realize that's just one piece of the puzzle.

More pictures at the HAD Archive

Crooked Fingers Played Mercury Lounge - Pictures, Review

2011-11-07T10:28:00.000-08:00

Before we say anything else, there is this: You must see Crooked Fingers on this tour. Over the past ten years we've seen a number of shows from Eric Bachmann's band, and never before have they been as on top of their game as they are now. Not only is the new record is fantastic, but the band is rock solid, and Bachmann is delivering balls-to-the-wall performances that are as endearing as they are jarring, as fiery as they are touching, and as lucid as they are blurry. In short, on Friday night at Mercury Lounge we saw one of the most dynamic performances in recent memory, and perhaps the best ever from Bachmann. And yes, we realize that's saying a lot.

The show began with a stirring rendition of Bachmann's solo piece "Man O' War" on solo acoustic guitar. The band sang backup, with the exception of a momentary guitar solo to replace the piano from the original track. The gentleness of the delivery was underscored by the clarity of the lyric, and the unquestionable perfection of Bachmann's voice. When the song finished, the immediate yelp from the crowd was a stark contrast to the quiet during the delivery, and it was clear that it was going to be a good night.

Over the next two hours, Bachmann hammered through Crooked Finger's catalog, dipping way back for "Crowned In Chrome" and "New Drink For The Old Drunk", and delivering brand-new barnstormers like "Bad Blood" and "Went To The City". Interestingly, the performances were so well constructed, and the band so tight, that the highly loyalist crowd was just as engaged by the classics as they were by the new material. It was a night of fantastic music, plain and simple, and Bachmann was clearly as delighted with the music as his audience.

Following the wrap of the regular set, Bachmann returned to the stage with guitarist/keyboardist/vocalist Liz Durrett, and the two did an off-mic duet of "Your Control" that simply took our breath away. The soul that was squeezed into that three minutes of music was palatable, and would have been worth the ticket price alone. Luckily, it was nowhere near alone, and the band returned to the stage for a stirring, massive rendition of "Typhoon" before they left the stage for good.

The fact is that there are good musicians, and there are great musicians, and Eric Bachmann is quite obviously the latter. For over twenty years he has been delivering songwriting that is as quirky as it is comforting, and he's always done so to the beat of his own drummer. On Friday night he proved that not only has the undertaking proved worthwhile, but that he is at the cusp of a new era of greatness that may see his labor of love be at its best yet. And, like we said, that's saying a lot.

Crooked Fingers are currently on a US tour.

More pictures at the HAD Archive