pulp and circumstance, juiced.

I never said I was clever?

noreply@blogger.com (Jenna!) — Mon, 09 Nov 2009 15:48:00 +0000

The loverly Mr. Jarvis Cocker has recently released a pretty intriguing video for the title track from his sophomore effort "Further Complications".

In true Jarvis fashion, the Stéphanie Di Guisto-directed clip pretty much just features the man pushing around the camera, bottled up if you will, close up shots, swinging from pipes, and trying to escape it all in true complicated Cocker fashion.

If that wasn't enough, Mr. Cocker as recently been working a whole bunch of those "installation" sessions he loves so much; and I can't stop watching his recent performance at Galerie Chappe, Paris--which featured about 7 tracks, some yoga soundtracking, and of course, the obvious hosting gig. You can check out one of my favorites, "Slush" here, day 5 of his entire showdown at Montmarte with "I Never Said I was Deep", and his final day peformance of "Leftovers" in the doorway (threat of rain, you know).

You can delve into the whole "Jarvis Cocker as Installation" art here, of course.

Love, don't cry...

noreply@blogger.com (Jenna!) — Mon, 09 Nov 2009 15:27:00 +0000

One of my favorite bands of all time, Yeah Yeah Yeahs, really can't do wrong here in this space.

Their latest record, released earlier this year--It's Blitz!--has a whole host of stand-out tunes on it; but it's the latest acoustic version of track "Skeletons" that has this here blogger weak in the knee.

Available as a bonus on the Deluxe edition of the record, it's well worth scooping up for a few extra coins; there are also acoustic versions of "Soft Shock", "Little Shadow", and "Hysteric".

Golf claps.

[Yeah Yeah Yeahs - Skeletons.]

This is my love cry...

noreply@blogger.com (Jenna!) — Fri, 06 Nov 2009 16:28:00 +0000

As Nialler9 so brilliantly gave us a heads up recently, the beauteous Kieran Hebden of Four Tet fame will be releasing a limited edition 12-incher.

That being said, K.H. as Four Tet will drop his 5th studio record There is Love in You in January 2010.

"Love Cry", which will be featured on the 12-incher, is the second track on There is Love in You, and watch out, because soon enough, you'll become quite addicted.

Which, of course, never hurt anyone...

See for yourself.

[Four Tet - Love Cry.]

Call me up, we'll hang out...

noreply@blogger.com (Jenna!) — Thu, 29 Oct 2009 11:51:00 +0000

Last night, P&C got out to review one of its favorite outfits, the brilliant electronic duo Simian Mobile Disco, for their second go-around this year at The Paradise. Boston was the first stop in a pretty splendid fall stateside tour in support of their sophomore LP, Temporary Pleasure, which dropped here on September 15. Vacillating betwixt their live show and a host of DJing gigs, the boys set to wow crowds with their hustle--oh, and the bug zap lights, too.

As the lights dimmed and the hipster kitties wearing tank tops for dresses, which I have now named "tankards", filed into the Paradise last night, I sat and looked on perched in a bar stool enjoying a cold one when my phone chirped: "Less stinky. Driving."

It was a one Esteban Miguel, P&C oft reviewing and good friend, informing me that he'd showered up after his hockey game and was making an impromptu attempt to get to the gig; to use a very apropos term, he was hustling.

And by a mere two tunes into Simian Mobile Disco's robust one hour set last night, Esteban was by my side knocking his head in tune. Before long, he was right in line--nodding and bobbing to tunes "It's the Beat", "Hustler", and "10,000 Horses Can't Be Wrong"--all the while looking severely confused during the second half of the set after whispering in my ear, "Uh, did that dude just flash me a gang sign?"

No gangs here, for sure. The Dise was packed with fresh-faced hipsters wearing cardys, leggings, and various footwear unsuitable to a club gig. Case in point, two girls make eye contact, recognize each other as long lost camp friends, squeal, run toward each other, before one face plants directly on Steve's shoes to a chorus of "oohs" and "she took a haaard fall". I declared to Steve I thought it was my Native American juju working on the hip and swinging youngster, for she sported on her feet some bright red knock-off "Native" moccasins a la these ones and looked a fool all the way down toward ground.

The highlights on the night came when a sick overture waved through my gut as the bug lights worked full blast as James Ford and Jas Shaw sustained their attack, built it up again, and blasted into two new tracks off Temporary Pleasure: "Audacity of Huge" and "Cruel Intentions". The entire crowd shimmied and shaked what their Mum's gave (or didn't give for that matter!) them before throwing their hands up as the choruses banged out.

But the interesting live mixes of "Audacity of Huge" and "Cruel Intentions" really brought the tunes to a new level; on the Chris Yeasayer vocal track, a few repeats and blips and bleeps introduced a new vibe during the tune's breakdown, and the manipulation of Beth Ditto's vocals on "Cruel Intentions" allowed for the track to last a bit longer and the crowd certainly embraced The Gossip frontwoman's wonder, even if it was merely blasted through some 3 foot speakers and not her voice to mic.

The quick set ended with an equally quick encore--Temporary Pleasure, for sure--which ushered in an audience who had reached solace state, as the kitties skanked in slow-mo unison to the brilliant 2007 track "I Believe" before ending on a rather abrupt path of gravely fuzz and generally painful noise. While it wasn't the way I expected SMD to end a set, it was certainly new; unfortunately for the crowd, they didn't know what to do with all that noise, grind, and squeak, and stood mouths agape with a look of, "Is it over?"

File Under: Unfortunately for us, it was. For the rest of the country, not so.

What a temporary pleasure this will be!

noreply@blogger.com (Jenna!) — Wed, 28 Oct 2009 14:14:00 +0000

Can't control...the soon to be...temporary pleasure!

Some quite exciting news, kitties. One of Pulp and Circumstance's favorite duos, the boys of Simian Mobile Disco, are once again going to knock the socks off of Boston gig goers.

Tonight, in fact, Jas Shaw and James Ford will once again take the stage at one of my favorite venues, The Paradise, to put on a rousing set featuring tracks off their August sophomore effort, Temporary Pleasure.

The boys were last at The Paradise this past Spring, where they wowed with old favorites and a few new tracks off the forthcoming album, despite a few hiccups with sound and what not. The entire affair was magic, particularly in the small sweaty club, and I expect nothing short of this tonight, as well.

Gigs at 8 p.m. DJ sets will open. I think the gig will certainly have the "audacity" to be "huge", and for sure, James Ford and Jas Shaw better knock out "Cruel Intentions" feat. Beth Ditto to create a rousing.

Hope to see you there! Of course, P&C reviews over a pint...

[Simian Mobile Disco feat. Beth Ditto - Cruel Intentions.]

Wading in the Reservoir...sure, are, a fan!

noreply@blogger.com (Jenna!) — Wed, 28 Oct 2009 13:23:00 +0000

For some reason of late, humble blogger has been on an Interpol kick; and when an Interpol kick occurs, so too, does all musical experience related to Interpol.

Enter Fanfarlo, a Swedish band which makes use of interesting instruments as well as traditional drum and bass, to create uniquely lush soundscapes. But why mention Interpol, then?

Well, the debut record, Reservoir, released circa February 2009, was in fact produced by a one Pater Katsis, who has worked with Interpol, oh, and The National.

The delicious indie pop is the brainchild of Simon Balthazar, who has claimed influences from Belle & Sebastian to Broken Social Scene, Pavement, and Neutral Milk Hotel.

Perfect background accompaniment for a rain-soaked Boston day, it's meandering and intriguing pop will get you through today. It's our soundtrack in work, for sure, as I type.

Enjoy.

[Fanfarlo - Luna.]
[Fanfarlo - Harold T. Wilkins or How to Wait for a Very Long Time.]

The echo on the drive back was never met...but twas apparent on the early hours...

noreply@blogger.com (Jenna!) — Sat, 24 Oct 2009 21:54:00 +0000

P&C oft reviewer and good friend Esteban Miguel and I took a roadtrip out of state to see my friend Jon Ericson's band, Echo and Drake, support the High Dials at a rousing gig in Hartford, Conn. last night. While the ride down featuring Esteban's brilliant deeps and falsetto singing skills, particularly during the portion in which he displayed his guilty love for girlish pop tunes amidst a backdrop of redheaded beauts like Florence and the Machine, we can finally, and officially, declare, together, than Jon E. should create a little side-project of sex-drenched, funky jammers reminiscent of Prince...and to get me and Esteban's newly formed band, Shower Seirons, to back his beauteously high range. Esteban Miguel reviews further...without babble...

Echo.and.Drake.

The name immediately raises expectations of a fusion of Echo and the Bunnymen and Nick Drake. That wasn't too far from the case.

At Sully's Pub in Hartford, Conn., Echo.and.Drake showed a sheen that transcended the small bar atmosphere. (Sully's Pub has a rumpus room in the attic complete with a pool table and leather couches.) Jon Ericson wasn't afraid to go falsetto and channeled singers such as Fran Healy of Travis and a bit Ben Gibbard from Death Cab for Cutie.

Another noticeable strength is the guitar playing of Rich Devito. We're talking chiming guitar that isn't afraid to standout and add texture to the songs - not beat the listener senseless.

And it was all supported with a strong and "funky" rhythm section made up of Dave Zerio (channeling a former editor of Jenna and ours at the Boston Herald, Jules Crittenden, on drums) and bass player Chris Foley.

Under the dim blue stage lighting, the band already seemed self-assured and ready for a larger audience.

File Under: If were to offer one semi-drunken suggestion - how about an ironic cover song thrown into the mix. I love those.

(Case in point: here, or hither.)

Gigs up....!

noreply@blogger.com (Jenna!) — Fri, 23 Oct 2009 15:30:00 +0000

Pulp and Circumstance reviewer Esteban Miguel and I will graciously attend the Echo & Drake/High Dials Gig at Sully's Pub in Hartford, Conn. tonight.

My friend Jon is the lead singer for Echo & Drake, who are meant to support psychedelic masters of Montreal, High Dials.

A review by Esteban Miguel will be forthwith. If you are in the Hartford-area tonight, please kick it at the gig with us.

The White Bloom heads this way...it's winter in New England, after all...

noreply@blogger.com (Jenna!) — Thu, 22 Oct 2009 23:25:00 +0000

In anticipation of the great "white" plumes of winter headed New England's way, I can't quite stop spinning White Water, Winter Bloom, the brilliant new LP by the lovely Alex Church, the master behind Sea Wolf, an LA-based indie outfit making absolutely deliciously enticing tracks that reek of sadness, longing, and string.

Standout track, and first single, "Wicked Blood", will blow you away. It's got this pretty robust orchestration reminiscent of all the things I love about a sea of other indie bands--and Church makes it feel easy.

The entire affair is just that--an intriguing, albeit anxious and mysterious experience, but nothing beats the deep stringed angst on "Wicked Blood". And despite this not being the actual track on a refused to be named upcoming teen-obsession flick, it might as well be...what for the name and all.

Enjoy.

[Sea Wolf - Wicked Blood.]

Bombs in birdcages to create quite a frenzy...

noreply@blogger.com (Jenna!) — Thu, 22 Oct 2009 23:13:00 +0000

Pulp and Circumstance is quite "blown away"...and it's creating a frenzy, of course, fine as that is.

What is all the jumble humble blogger speaks of? Welp, the fall release from the ever brilliant A Fine Frenzy, Bomb in Birdcage, which has already released 4 singles, to of which, I believe, were digital release exclusives (one to iTunes, one to Amazon).

The entire album is the perfect accompaniment to fall in Boston; its soothing and refreshing and has moments that really knock you out of coma like tendencies--perfect background music for life in work, which is where its absorbed of late.

Check for yourself.

[A Fine Frenzy - Blow Away.]
[A Fine Frenzy - Coming Around.]

Manic Street Preachers No Longer Forever Delayed

noreply@blogger.com (Jenna!) — Fri, 09 Oct 2009 12:23:00 +0000

Last night, P&C reviewer Esteban Miguel strapped back on his live musical boots and straps and got out to review one of his favorite bands, which actually found success on a stateside tour and impressed our humble reviewer into becoming a calisthenics freak? Read on, kitties....

It took several tries but the Manic Street Preachers finally finished a US tour...a fact Bassist Nicky Wire acknowledged toward the end of last night's concert at the Paradise in Boston, the last stop on the band's US jaunt. (Nicky Wire also noted his sailor cap might be a "little too Frankie Goes To Hollywood" as well.) Since playing TT the Bear's sometime in 1992, the Manic cancelled a US tour in the wake of guitarist Richey James' disappearance (He was never found.) and then failed to play Boston when singer/guitarist James Dean Bradfield fell ill while they were touring their "most commercial album," This Is My Truth Tell Me Yours, in 1999.

The small venue seemed a strange fit for the band. Their earlier material and the more stripped down latest album, Journal for Plague Lovers, seemed to work at the Paradise. But the more orchestral numbers, such as A Design for Life, from their commercial prime seemed a bit out of place. (Not a bad thing, just an observation.)Also noticeable was how strong James Dean Bradfield is as a performer. Richey James' tragic story and cryptic lyrics and Nicky Wire's on-stage rants, costumes and calisthenics grab most of the attention. But Bradfield's ability to turn those lyrics to solid tunes, his fantastically visceral guitar solos and rich voice (despite a cold last night) are what make the band A-Leaguers in their home country.

And despite being relative minor leaguers in the US, the Manic Street Preachers were still greeted with a lot of diehards who either waited all those years to see them or traveled across the pond to experience them in a smaller venue. The band's albums aren't too easy to find here in the States, if they even see a US release, but the crowd apparently knew every word to every song, even helping Bradfield out when his cold got in the way.

The setlist was actually a pretty comprehensive survey of the band's catalogue. While they played four tracks off their latest, Journal for Plague Lovers, which was written using lyrics left behind by Richey James, they also played four songs off their 1992 debut, Generation Terrorists, including the opener, Motorcycle Emptiness. Their biggest hits (A Design for Life, If You Tolerate This Your Children Will Be Next) were also played with A Design for Life serving as a rousing singalong to close the set. In that moment, as they performed their signature song, the band got the adoration they've been seeking stateside for almost two decades, even if it came in a smaller dose than at home. As he walked off the stage, Nicky Wire held up a fan-made sign alluding to that night's penultimate song and the feeling in the building. It simply read: You Love Us.

I did not choose him, he did not choose me?

noreply@blogger.com (Jenna!) — Thu, 08 Oct 2009 00:03:00 +0000

Why can't I stop listening to the spring EP from the beloved Florence + the Machine?

A Lot of Love, A Lot of Blood is the genius of South-London indie alt-pop artist Florence Welch; but what screams splendid love and blood out of this record is the deeply soulful edge to Ms. Welch, as seen on the entire EP (released only in the states, April 2009).

But what has really hooked me of late his her brilliant, haunting cover of Cold War Kids' "Hospital Beds", which happens to be my favorite track they've ever done (off Robbers and Cowards, fall 2006). Florence manages to put a unique spin on the track (less alt-country vibe with a twang or two and more stripped down soul drenched sadness) while keeping it so recognizable you'd think she may have done the original.

But there's the brilliance.

Decide for yourself? Oh, and pick up the record. Now.

[Florence + the Machine - Hospital Beds (Cold War Kids cover).]
[Cold War Kids - Hospital Beds.]

Electric Blue...Jugs, and all that hoo...baby.

noreply@blogger.com (Jenna!) — Wed, 07 Oct 2009 15:53:00 +0000

This past spring, a brilliant thing happened: Sign of the Three Eyed Men was release.

What's that, you say? It's this beyond brilliant 10-disc box set of stereo and mono mixes of all of the 13th Floor Elevators albums, including two more records worth of previously unreleased material, as well as some delicious live materialO.

And if you didn't like psychedelia, may I introduce you to one of the genre's first. I have, since that release, been working my way through much of the material housed on the set--albeit more on days like today, when its raining buckets and I can play some tunes in work.

One of the most intriguing things about this band was Tommy Hall's electric jug playing; jug bands are a favorite of this here Pulp and Circumstance, having been popular in the south during the 1920s--the jug played as an instrument by poor blacks who built up bands around raggle taggle trash.

And it sounded brilliant. Part of the band's rhythm section, a musician creates sound by buzzing the lips above the opening of the jug without the mouth ever making contact; it simply acts as a way to resonate the sound a musician makes with the mouth through the chamber and amplifies it back out.

While it is most often used as an acoustic instrument, Hall was known for his electric version--also used as "musical prop".

So in honor of the rain, Tommy Hall, the jug band, and psychedelia, I bring you one of my favorite 13th Floor Elevators track.

[13th Floor Elevators - Baby Blue.]

A pop of soda and a few handclaps...

noreply@blogger.com (Jenna!) — Fri, 02 Oct 2009 17:44:00 +0000

Pulp and Circumstance has a new reviewer, my kitties! Hailing from Massachusetts and currently a sophomore at Tufts University, Sara Harari will bring you her vibrant, fresh perspective on all types of gigs happening in and around the city...no the matter whether she has to get her college ass out of bed the next morning for some class I surely would never have even been allowed in during my schooling days. She'll juice all that musical pulp for you on those few hours of sleep the youngins can get by on...so welcome her kindly, and you shall think of her fondly.

Last night, Sara had her first gig review. She caught up with The Phenomenal Handclap Band at the Paradise, chatted with founding member Sean Marquand, and generally had herself a ball during headliner Bajofondo...all while sipping that cool, refreshing charm of underage-dom: Diet Pepsi. So here's her caffeine and bubbles fueled review...

................

The floorboards of the Paradise (if you could have seen them under the crush of boots and loafers) danced with the thumping beats of two very different big bands last night. My friend and I got to the club a few minutes before the Phenomenal Handclap Band took the stage. We were maybe two of twenty people milling around and sipping drinks, (although possibly the only ones drinking diet Pepsi).

The lights changed and with little fuss the eight members of Phenomenal Handclap Band filed on. When I introduced myself to one of foundering members, Sean Marquand, after the show, he explained that their album is an amalgamation of many talented musicians, but only the eight “core” members were on tour. The band’s first melodic strain took the crowd by surprise. Each member of the band looked like they came from a different time period, with 70’s, 80’s and modern haut couture outfits checkering the stage.

Their crazy mesh of styles speaks to the origin of the band’s sound. A little bit of everything that comes together in their music to make something unique. In one song, the band mixed harpsichord with electric guitar and sultry vocals. And it was amazing. A seamless blend of disco music, club music and rock. And they could all sing, even the drummer.

Once they started playing, it was impossible to stand still. The crowd started bobbing their heads, you could tell they were thinking, Hm, this could be interesting. By the end of the set, we were all moving to the throbbing beat with abandon to match the enthusiasm of the group members. The band loved their music and loved sharing it: crazy keyboard slides followed wild tambourining, and electric guitar slides. Sean told me that the group had originally set out to duplicate their studio sound onstage, but once the tour got underway, the songs took on a life of their own.

When the band started their best-known song, “15 to 20,” the crowd went wild. The catchy lyrics make for the perfect song for summer driving with the windows rolled down. I heard one girl near me shout to her friend, “Wait, who are these guys? They’re good!”

This may be the geek in me speaking, but I swear one song incorporated intergalactic space war sounds into the booming beat and constant tambourine that threaded throughout the set. The song was like a modern version of a soundtrack to one of those eighties space movies that you watch over and over again just for the music. (Or is that just me?)

The Phenomenal Handclap Band closed their set with “I Been Born Again.” Though it carries religious undertones, Sean explained that the is more about being part of a community. It seemed to me the lyrics described their music, a re-birth of the disco style, left at the wayside. This group parties on stage, completely in love with the music they were making.

I had one last question for Sean: Who’s the phenomenal handclapper? He laughed and, assuring me that this was the true story behind the band name, explained, “Handclapping is a specialized skill. We have different techniques and like to switch it up with claps right before or right after the beat [as opposed to on it].” The band started off focusing on this, but as the idea for the band changed, the name stuck.

And so the Phenomenal Handclap Band filed off the stage and roadies began to re-arrange equipment for Bajofondo, a group that is redefining tango music.

Bajofondo’s set opened with a stirring violin solo, quickly followed by an eclectic mix of strings, accordion, turntable and visual effects. The band’s eight members are from Argentina and Uruguay and sing in Spanish, when they sing at all. The crowd was mostly Spanish speaking and as my friend noted, Spanish speakers love to dance. They love to move, they love to catcall and they love Spanish guitar.

Bajofondo’s music was set against a projected backdrop; a mesh of images that changed with the beat and energy of the music. A violin that laced through all of their songs, even over the thumping bass, was the soul of the music, and the violinist, seeming to sense this, rarely opened his eyes. At the end of each song, the band courteously accepted the crowd’s adoration. They tipped their hats and smiled.

The band would periodically take a break from the dance-music and each artist had a chance to showcase their instrument with an acoustic song or two. They jokingly commented to the audience that they’ve been playing together for five years, and still don’t know how to describe their music. To me, their mix of tango and club is the essence of modern Latin music.

As a non-Spanish speaker, I just followed the flow of the people around me. My friend, on the other hand, is fluent and loved that everyone around us was speaking Spanish. Unfortunately, we had to cut out early, as I had an 8:30 class on Differential Equations the next morning, but both of us emerged from the Paradise with new favorite bands.

Take to the gas mask and live in Doom if you don't get this mag...

noreply@blogger.com (Jenna!) — Wed, 30 Sep 2009 00:51:00 +0000

If you are a regular reader of the New Yorker magazine, you will be pleased with the Sept. 21 edition, which I just finally plunged into after weeks of too busy to take time.

In the glossy pages is a brilliant feature of the life, times, and career trajectory of one of my favorite rap artists, Doom, formerly known as MF Doom, or by given name Daniel Dumile.

Doom provides some interesting bits about his early years and his feelings on rap music, its changing tides, and why he wears that mask. The reason? So he can "control the story". There's some details on 3rd Bass and "The Gas Face" helping to beak Dumile and KMD, as well as the period directly following, when rap was highly commercialized and Doom receded into private life.

Thanks to this delicious surprise in the pages of one of my favorite magazines, I have had Doom on repeat, particularly his early work with 3rd Bass and KMD, particularly "PeachFuzz", which turned into a pretty descent hit for KMD.

So enjoy some Doom in honor. Golf claps, New Yorker. Golf claps.

[KDM - Peachfuzz.]

It's all wild...and O-bsessive.

noreply@blogger.com (Jenna!) — Tue, 29 Sep 2009 21:48:00 +0000

Apparently, I am O-fficially O-bsessed.

Today marks the release of the soundtrack for the film adaptation of one of my favorite childhood reading pleasures, Where the Wild Things Are.

And thanks to the brilliant Karen O, the Kids were conceived and 14 deliciously intriguing tracks came out of it. What's more, you can stream the entire album today, so be sure to check it. Ms. O also recently explained how the Kids came to be, and all the hoo, so watch out.

Where the Wild Things Are, the Spike Jonze film, will be released on Oct. 16. Who is in?

YYY. Yes. Yes. Yes.

noreply@blogger.com (Jenna!) — Tue, 29 Sep 2009 16:11:00 +0000

The brilliant Yeah Yeah Yeahs tee my sister bought me last night when we went out to The Orpheum to see the band tour new record It's Blitz!

Um, brilliant.

To read humble bloggers review of the gig, gander.

I know...what I know...

noreply@blogger.com (Jenna!) — Tue, 29 Sep 2009 15:24:00 +0000

Katsina dolls are Hopi American Indian relics believed to have supernatural qualities in order to bring rain, halt sun, exercise control over all things earthly, and ultimately act as messenger betwixt spiritual world and mere mortal.

And after last night's gig in The Orpheum, Karen O., in my humble opinion, can proudly declare that she doesn't just pull off a costume; she may very well have similar powers...over an audience of gig go-ing devotees of Yeah Yeah Yeahs.

As Ms. O strutted on stage below a hovering, giant eyeball that seemed to bore into the backs of all our heads, my sister turned to me and declared, "She looks like a Katsina!" as she shimmied across the stage, posed, and gently lifted a foot to reveal a brilliant suede moccasin nothing like those freakish slippers trendy girls like to wear these days. Frocked in draped robes covered in robust, geometric designs over blue hued tights and a woven bit of cloth draped as shirt and pants all together, she surely looked like she took inspiration from those dolls that have adorned my childhood home for as long as I can remember.

When you are Native American, you never dream your most favorite front woman would take inspiration in relics of your culture. If I needed more reason to bow at Karen's feet, I got it last night.

Blistering through a set that mixed angelic slow tunes with the pummeling yealps and grunts that made her famous, Yeah Yeah Yeahs managed to pay homage to all of their albums while ushering in ab era of glam with tracks like Shell Shock and Zero.

During humble blogger's favorite track off It's Blitz!, "Skeletons", the giant eyeball gave way to a soothing full moon and Karen O exercised her pipes in ways never seen before; she went from a spitting, swaggering, feisty brute to an ethereal, visceral and absolutely delicate singer right before us. It was transcendent.

Of course, they played the classics with an uncanny exuberance as if they were anxious to debut a whole bunch of genius they have been crafting for years--Maps was dedicated to the lovely Nick Zinner (...still want to have his...ah, never mind.) and his Boston family, while the crowd gleefully bounced and roared to "Honeybear", "Gold Lion", "Cheated Hearts", and "Turn Into".

But nothing was more thrilling than the encore, received after Zinner famously snapped photos of the crowd from various angles and with various camera-ing devices; Karen O, strutting out to a completely dark theater in what looked like a Zombie mask covered in tubing lit up with florescent red liquid, immediately kicked into "Heads Will Roll".

Yeah Yeah Yeahs has long been one of my favorite acts; after last night's gig, I think I can, hands down, argue it is my favorite act that is still performing and creating records as a band...today.

File Under: I know, what I know...Karen O and co. couldn't come back sooner. The heads, they'll roll.

I've got the blues before sunrise...

noreply@blogger.com (Jenna!) — Thu, 24 Sep 2009 13:46:00 +0000

He's at it again. P&C is pleased to mention the amazing Mike Rugel over at the Delta Blues Museum has recorded up yet another one of his famous blues podcasts: this time, tunes written about the Jim Crow South.

The podcasts features tracks from Cow Cow Davenport, the beloved Leadbelly, and even a female blues singer: Maggie Jones. I highly reccommend this read about the role blues music played in not only helping the black community deal with this disgraceful, dirty time in American History, but in the ways in which it helped them to resist.

For anything P&C has written about The Uncensored History of the Blues podcast, gander away.

Enjoy the splendid podcast. Gold claps, Mike Rugel, golf claps.

This "temptation" certainly is hard to fight...

noreply@blogger.com (Jenna!) — Thu, 24 Sep 2009 12:44:00 +0000

There is nothing better to get you through the last few moments of a long week than the juxtaposition of the gritty, raw vocals of soul genius George McGregor paired with the sweet, soft, absolutely delicious vocal harmony backings of the lovely Bronzettes.

And then, the Bronzettes hit you with some hollering come chorus.

Enter one of the first cuts from the oft forgot Twinight Label, "Temptation is Hard to Fight". Pure Genius.

If you fancy yourself a lover of soul, then you better know this tune, for sure. The Twinight Label didn't have the gusto, pizazz or polish of a label like Motown, but between 1967 and 1972 they churned out some of the most eccentric and intriguing soul tunes--with artist Syl Johnson at the helm, their flagship artist who produced something like 8 hits for Twinight.

But its George McGregor, his McGregor Brothers, and the help of the Bronzettes that really set P&C reeling. What's more, if you're lucky enough to have the "Temptation is Hard to Fight" 45, the b-side "Every Time I Wake Up" is total funk, and who doesn't want that, really?

You can get all sorts of delicious tracks from the Twinight Label on the essential “Eccentric Soul: Twinight’s Lunar Rotation”--which focuses less on their main act, Syl Johnson, and more on those lesser known gems...all the more reason to add this to your collection.

To whet your appetite for a "soulful meal"...

[George McGregor and the Bronzettes - Temptation is Hard to Fight.]

Sitting 'round the well...drinking Beam and Wine?

noreply@blogger.com (Jenna!) — Thu, 17 Sep 2009 23:57:00 +0000

And keeping with the trend of reaching for records toward the bottom of the stack, this breezy, brisk Boston weather as we hit fall full force has been invigorating on my listening pleasure: and bringing me back to that well.

Sam Beam's well, that is. If you haven't already checked out Sam Beam as Iron and Wine's collection of B-Sides and Rarities, called Around the Well, you must head for the two-disc collection and gobble gobble gobble.

Two stand out tracks come on disc 2; "Belated Promise Ring" is an excellent warbler and a definitive Sam Beam folk track. The second is quite unexpected--a New Order cover. And boy, does Beam do excellence to this by making it entirely his own in an intriguing way while maintaining the tune's integrity. Wowsers. I see it in a whole new dimension; all fans of Iron and Wine, and ahem, New Order ones, too, should check out this track.

And the entire rest of the collection, which boasts a whopping 23 tracks never before released, out of print, or featured b-sides.

Enjoy my two favorites. Happy fall, for sure. Usher it in, with these.

[Iron and Wine - Belated Promise Ring.]
[New Order - Love Vigilantes (New Order cover).]

Don't stop listening to this...

noreply@blogger.com (Jenna!) — Thu, 17 Sep 2009 23:37:00 +0000

Lately, I've been hitting the stacks of records I haven't visited in awhile, looking for an eclectic blend to pump me up and reduce the chances I'll notice a lot of the action in work all day is repetitive.

Might as well find something that gets my move on a bit more.

And that brings me to the deliciously blended electro beats of New York's own Brazilian Girls, who have lovingly been delivering me their unique house meets tango meets lounge act tunes since way back in those absolutely carefree college years.

Hands down, their greatest tune is by now, a classic in my listening pleasure; released in 2005 off their self-titled debut record, "Don't Stop" will leave you begging for many more Brazilian Girls. Really.

And you're lucky. They've released 2 lps since humble blogger first deliciously stumbled upon their record, which brought me warmth and fun in one of the most devastating of times in Boston: February.

Enjoy. It's classic.

[Brazilian Girls - Don't Stop.]

You didn't stand by me? Oops.

noreply@blogger.com (Jenna!) — Sat, 12 Sep 2009 13:05:00 +0000

There's nothing better than making lists of great tunes. It's a hobby I have held since I was a wee young one.

And I was quite pleased to be asked to help my brother and his fiance gather up tunes for the reception of their impending nuptials. I mean, with just 1 hour to make my mark, what kind of statement would I make? And is a statement at someone else's wedding, with masses of people with varying tastes in musical treasures, really what I want to do?

I struggled a lot with finding tunes that would not only please my musical palette and exude not only my love of music but my vast love of various genres, but to find those tunes that everyone loves, wants to dance to, and signify a "good time".

While I once went to a party in their place and the entire room, dancing widly to Neil Diamond and Britney Spears, stopped dead silent, no dancing to be had, when The Clash's "London Calling" piped on the speakers, I thought "oh shit, this one's going to be hard."

That being said, the list was finalized, I feel complete, sufficient, a nice mix of love tunes, slow tunes, dance tunes, and a few obscure ones sprinkled about those standard party favorites, and sent off just days ago.

But two tunes kept coming up on my list, despite that little incident with "London Calling" and the fact these tunes aren't about sappy love, but rather a kind of romantic destruction. How could you not want to stomp your feet to these, I ask? How could you not?

Still, was I really cut out for this wedding tune selection thing? Oh well, bring on the destruction!

[The Clash - Should I Stay or Should I Go?]
[The Clash - Train in Vain.]

Artist(s) to Watch: ARMS.

noreply@blogger.com (Jenna!) — Sat, 12 Sep 2009 12:54:00 +0000

Spread your ARMS, and embrace this, for sure.

Already a fan of Brooklyn's own Harlem Shakes, its no wonder I haven't really dug into the little lo-fi bedroom project of the band's guitarist, Todd Goldstein, before this rainy weekend. Because, welp, its gorgeous.

Goldstein, working under the moniker ARMS, released a record a few years back, called Kids Aflame, which was merely a meager import. But, buzz abounded, and the response was: create a proper release here stateside.

Hence, the re-release of ARMS record Kids Aflame, with a few bonus tracks. And nearly every track on this record has made me squeal with intrigue. It exudes the exact melodious beats I look for this time of year; something that mixes a bit of the somber with a pepppy backbeat, and I couldn't be more pleased.

Golf claps, Mr. Goldstein, golf claps.

The entire Kids Aflame record manages to walk its way through a variety of emotions: from sad bastard wreckage to those ooey-goo-ey smilers all around. And the entire thing feels balanced despite its bi-polarity.

So take a gander. Pretty soon, you'll too open your ARMS in embracing wonder.

[ARMS - Kids Aflame.]

Now there's a place right across town...whenever you're ready...

noreply@blogger.com (Jenna!) — Tue, 08 Sep 2009 22:51:00 +0000

"Whenever you're ready" to feel some soul and get a dance groove on, look no further. As a young lass of junior high-ish age, I was looking for something for my feet to feel--and found it in Major Lance (yes! it was his real, true given name) and his smooth, Latin-inspired Chicago 1960s soul.

Every day after school, I'd flip on my first introduction to Major Lance--the film Shag, featuring Bridget Fonda, Annabeth Gish, and Pheobe Cates, which is set along the boardwalk of Myrtle Beach, 1963, when four friends were looking for one last hurrah before marriage or college.

Pudge wanted nothing more than what I wanted; to move her feet and dance. And for years, as she danced across the screen to Major hit "Monkey Time", so too, did I. It took me a couple of years to finally track down this tune and claim myself owner (give me a break: pre-interneting pirates and ordering items from across the globe through one or two clicks), but in those early days, it was plenty enough to fast forward to the best bits and stand attention when the Major spoke to me.

Lance, who empitomized 1960s Chicago soul and was an integral performer for the Okeh label, had a string of hits in the 1960s--most written by one of the greatest music men in American history, a one Curtis Mayfield. My favorite tune, "Monkey Time", dropped in 1930, placing #2 on the US R&B charts and #8 on the Billboard Hot 100.

The bass in the tune, as well as the Latin backbeats, were classic of the pair's hitmaking potential, with vocal harmonies supported by The Impressions, a genius match. And the hits would keep on coming, even after Lance and Mayfield ended their collaboration. Unfortunately, Lance was plagued by heart disease and would ultimately fall early in life--aged 55, more than a decade ago.

But, there is in no way a chance his delicious blend of Northern R&B meets Soul meets pop crossover tunes will ever see a similarly short fate; and I will be shagging my way across my living room floor for always, just as I did in those days as a seemingly awkward 13 year old with a love for feet fluttering beats.

You can gobble up Major Lance doing an incredible live TV performance of "Monkey Time" in 1963, and of course, you ought to check out a few frames of what introduced me to his greatness, Shag: The Movie.

Oh, and turn these two favorite hits into regular rotators in your listening pleasure. Enjoy.

[Major Lance - Monkey Time.]
[Major Lance - Girls.]
[Major Lance - Um, Um, Um.]