One of my personal most anticipated release of the upcoming new year is definitely Spoon’s “Transference“. We’ve talked a bit about the new Spoon record in the past, more exactly about the few Transference tracks that have already been played live on the band’s last tour. It now seems people will get the chance to have a first hand account of the new Spoon sooner than one may think, as in the following months the band will be touring through out the U.S. and Europe in support of Transference, which, by the way, will officially land on January 25th via Merge. Here are a few live songs off Transference you can get jiggy to before heading out to one of their shows.

Spoon - “Is Love Forever?” (Live) (MP3)
Spoon - “Written In Reverse” (Live) (MP3)
Britt Daniel - “Who Makes Your Money” (Live) (MP3)

Spoon 2010 tour dates:

12-03 Kansas City, MO - Midland Theatre
12-04 Boston, MA - Orpheum Theatre #
12-11 Portland, OR - Crystal Ballroom *
12-12 La Jolla, CA - RIMAC Arena
12-31 Milwaukee, WI - Riverside Theatre !
02-14 Glasgow, Scotland - King Tut’s
02-15 Manchester, England - Academy 3
02-16 London, England - Electric Ballroom
02-18 Amsterdam, Netherlands - Paradiso
02-19 Cologne, Germany - Luxor
02-20 Berlin, Germany - Frannz Club

# with Phoenix, Passion Pit
* with Black Joe Lewis
! with Jay Reatard

[via P4K]

The Gaslight Anthem | “The ‘59 Sound” | 2008

From its Born to Run opening riff to its down-and-out, working man lyrics (including repeated lines), the title track to The Gaslight Anthem’s second outing is the best pure rock song of the Aughts. [Maybe I'm slightly biased. It is, as of the time of this writing, the second-most played song on my last.fm account.]

To give you an idea of just how Springsteen-esque this song is (never mind the fact that the band’s from Jersey), simply notice that singer/guitarist Brian Fallon begins a sentence with see: as in, “See, I was playing a show down the road…” It don’t get much more working-class than that. Or how about that repeated line motif: “Cause the chains I’ve been hearing now for most of my life/ And the chains I’ve been hearing for most of my life” from the first verse and “And I know cause we were kids and we used to hang/ And I know cause we were kids and we used to hang” from the second.

Even the song’s subject matter is so totally Bruce. The song wonders what kind of music the narrator’s friend heard as he was dying. But the music being inquired about is only a superficial meaning. When Fallon opens the song with, “And I wonder which song they’re going to play when we go/ I hope it’s something quiet, mannered, peaceful and slow” he’s not simply asking for a soft ditty that calms the spirit. OK, he is. But that’s not the real objective of the song. What Fallon’s actually asking is if his friend’s soul - or anyone’s, really - is truly at peace. In Fallon’s eyes, heaven (or wherever people arrive when they “go” - sidebar: notice how he uses “go” instead of “die”, another Springsteen-ism) is filled with songs from the past, the best stuff: hence, “The ‘59 Sound.” And, of course, if you’re gonna sing about how music, however literal or metaphorical it may be, was better back then, you may as well play it throwback style. It all makes perfect sense.

Having two guitarists in the band - Fallon and Alex Rosamilia - allows some fantastic interplay during “Sound.” One chimes the melody during the verses while the other dances along with Alex Levine’s up-and-down bassline. It’s subtle yet stunning. We can’t forget Benny Horowitz who does his best Max Weinberg impression, either. Yet, through all that the real star of the song is Fallon. Not only is he channeling Springsteen more so than any other element here, but he’s also absurdly honest. He knows that some of the lyrics are clichés (”did ya hear the old gospel choir” and “into the everlasting arms”) but he doesn’t care; Fallon believes in what he’s saying. As a result, there’s a certain dignity, a certain transcendence of reality, here that modern music lacks.

Maybe that’s the goal, though. Maybe, just maybe, TGA wants nothing more than to serve as a reminder that certain songs (usually old ones, or new ones that recall old ones) are designed to take you to a place beyond. Beyond what is left for you to decide.

Spoon | “The Underdog” | 2007

Perhaps it isn’t surprising - or, isn’t supposed to be - that the most fun song Spoon released this decade features uplifting Motown-esque horns. The lyrics, too, are notably upbeat with a concise message of not giving up, laying down in the face of difficulty or, most importantly, being (or becoming) social garnish. The song’s lyrics are quotable ad infinitum, whether he’s describing what perfection is to most people (”it can’t all be wedding cake” and “it may not be photo op”) or the desire to remove one’s self from “the middle” while concurrently wondering if that’s what you honestly want (”I wanna forget how convention fits/ But can I get out from under it?”).

Oh, but then there’s that opening. It’s damn hard to create an epic song movement with an acoustic guitar, but if anyone can do it, Britt Daniel can. Since the three-piece horn section takes over the melody, Britt’s guitar largely moves to the rhythm section where it causes your pulse to race. Then there’s Jim Eno’s drums at the end: they’re like fireworks.

It also shouldn’t be a surprise that this is the only Jon Brion-produced track from Ga Ga Ga Ga Ga. Having done Fiona’s and Kanye’s sophomore efforts, his production discography suggests that he’s a master of pushing an artist in a direction they need to go instead of want to. Especially on Late Registration, Brion’s string arrangements augment Kanye’s work without overpowering it. Here, it’s obvious that the horns are meant to carry the song’s melody but the key to it, as it is with most key Spoon tracks, is Britt’s starry-eyed, if slightly hesitant, kid voice. He wants to get his message across, but he knows the ideas he’s shoving towards you are probably ridiculous to the average person. That, of course, is why he’s is so adamant about convincing you to “get free from the middle man,” lest reality hits you with a blow from which “you will not survive.”

Actually, “The Underdog” is such a fantastic composition that is overshadows every other song on Ga Ga, a shame considering it’s one of the top records of 2007. It’s one of the very few tracks that doesn’t need any tinkering at all. Every instrument, every note, every second - they’re all essential to making it a truly great anthem of overcoming mediocrity.

“Realism“, the third Magnetic Fields record in the “no-synth” trilogy (following i and Distortion) is slated for a early 2010 release, so evidently a grand North America tour has been announced to support it. Merrit and company can be seen playing their soothing indie pop starting from February, when the tour will kick off in DC, before coming to an epic end in London towards the end of March. A somewhat brief trek, indeed, but expect a second leg to surface, as the band is known through out the scene as a notorious touring act. Realism will be out January 26th, 2010 via Nonesuch Records.

[MP3] Magnetic Fields - ‘California Girls’

02/04 | Washington, DC | Lisner Auditorium
02/06 | Montreal, Quebec | Corona Theatre
02/08 | Toronto, Ontario | Queen Elizabeth Theatre
02/10 | Boston, MA | Wilbur Theatre
02/11 | Boston, MA | Wilbur Theatre
02/13 | Brooklyn, NY | BAM Howard Gilman Opera House
02/21 | Portland, OR | Aladdin Theater
02/22 | Portland, OR | Aladdin Theater
02/23 | Seattle, WA | Town Hall
02/24 | Seattle, WA | Town Hall
02/27 | Oakland, CA | Fox Theater
03/01 | San Francisco, CA | Herbst Theatre
03/02 | Los Angeles, CA | Wilshire Ebell Theatre
03/04 | Milwaukee, WI | Pabst Theatre
03/05 | Bloomington, IN | Buskirk Chumley Theater
03/06 | St. Louis, MO | The Pageant
03/07 | Chicago, IL | Harris Theater at Millenium Park
03/10 | New York, NY | Town Hall
03/11 | New York, NY | Town Hall
03/22 | London, England | Barbican Centre

SNL’s satire music video I’m on a Boat stirred a lot of comments when it first surfaced more than half a year ago, bashing auto-tune and the current MTV scene. Looks like some well intended good-doers decided to capitalize on the video’s viral success and produce a hilarious spoof to help raise money and donate goats for some of the poorest people and villages in India. People just have to head over to the project’s website, customize their own goat (you can add Converse hooves, punk hairdos, etc.) and donate 20$, roughly the equivalent of a goat it seems. It’s a fun and original campaign, that well enough sounds a lot better than watching an arrogant douchebag informing me how a nickel a day can save countless lives. One question to the producers, though, if any of them happen to came across this blog: is the offer available for non-indian residents as well? Twenty bucks a goat sounds like a bargain!

The Clash of the Titans 1991 tour was one of the most epic and spectacular series of metal gigs to ever have graced the planet, basically making various venues in the US  and Europe the very center of the scene for a day. Now, Megadeth and Slayer are set to embark on a tour of almost equal proportions in 2010, called the American Carnage Tour. They even brought on Testament as openers to re-create the Clash of the Titans vibe. The bands haven’t forgot the harsh times we all live in either and have introduced a special batch of limited supply $10 “recession-proof” tickets, so that everyone can enjoy the show, no matter the social status. Presale happens this Wednesday at 10am at Ticketmaster.com for most of the dates.

Both Megadeth and Slayer have released some incredible new albums this year, namely “Endgame” and “World Painted Blood” out now.

1/18 WaMu Theatre, Seattle, WA*
1/19 Memorial Coliseum, Portland, OR – tickets sold via www.rosequarter.com
1/21 Cow Palace, San Francisco, CA*
1/22 Long Beach Arena, Long Beach, CA* (tickets on sale 11/21)
1/23 Dodge Theatre, Phoenix, AZ**
1/25 Magness Arena, Denver, CO*
1/26 Tingley Coliseum, Albuquerque, NM*
1/27 El Paso Coliseum, El Paso, TX*
1/29 Verizon Wireless, Houston, TX**
1/31 Municipal Auditorium, Nashville, TN*
2/1 Gwinnett Arena, Duluth, GA* (tickets on sale 11/20)
2/2 Broadbent Arena, Louisville, KY* (tickets on sale 12/4)
2/4 Roy Wilkins Auditorium, Minneapolis, MN* (tickets on sale 12/4)
2/5 UIC Pavilion, Chicago, IL* (tickets on sale 12/4)
2/6 Cobo Arena, Detroit, MI*
2/9 Chevrolet Theatre, Wallingford, CT**
2/11 Izod Center, East Rutherford, NJ*
2/13 Susquehanna Center, Camden, NJ*
2/14 Tsongas Arena, Lowell, MA*
2/16 Pavillon de La Jeunesse, Quebec City, QC – tickets sold via Billetech.com
2/18 John Labatt Centre, London, ON – tickets on sale 11/27 via JohnLabattCentre.com
2/19 Air Canada Centre, Toronto, ON – tickets sold via Ticketmaster.ca
2/20 Bell Centre, Montreal, QC – tickets sold via Admission.com
2/22 Moncton Coliseum, Moncton, NB – tickets sold via MonctonColiseum.com
2/23 Metro Centre, Halifax, NS – tickets sold via TicketAtlantic.com

* tickets sold through Ticketmaster
** tickets sold through LiveNation.com

People are stupid. Unendingly, gruesomely stupid, like a lobotomised, shaved badger - every last one of us a fetid, gormless lump of uselessness.

I apologise for the crass generalisation there, but really, it needed to be said. And really, I should have said it in big bold letters: a collection of blithe, oblivious pixels, squatted thoughtlessly right there on your screen, taunting the entire laughable idea of your pointless existence. A person is just a massive stockpile of meat and sweat, given two arms and an ugly face, granted the ability to totter around meaninglessly by the aimless dalliances of evolution, and cursed to be forever incapable of anything resembling intelligent thought in large groups. People are stupid. Stupid stupid stupid.

Need proof? Just look at the reaction stirred up by the apparently questionable decisions on ITV’s documentary on the collapse of western civiliastion, The X Factor, recently. A pair of talentless pipsqueaks (John and Edward, referred to by idiots as “Jedward”) get picked to stay in the competition over some faceless identi-voiced drone (Lucie, a.k.a SINGER MODULE 5.7) and entire nation guffed themselves silly in indignation. It was front page news. Once more for effect: two walking, talking lumps of asbestos were made into front page news by your collective splutterings. People are stupid.

Let’s be very clear: I don’t give a flaming monkey’s ballsack about who wins or loses or wets themselves after an errant firework explodes in their face on X Factor - anytime I watch it, I end up having to amuse myself by imagining each contestant being picked off by a determined, well-hidden sniper. (Or, at the very least, amusing myself by participating in a grim, Twitter-wide bollocking of the show.) But I did find myself laughing at the people complaining about slipping standards on the show - that it used to be decided on talent rather than carefully-judged marketing potential as assessed by a collection of devastatingly sterile judges, combined with the passing whims of the unwashed and unthinking masses.

Please. The day Shayne Ward - winner of series two - is the most talented anything in a series is the day Satan’s arsehole ruptures open and envelopes the earth in a colossal fecal tsunami.

Oh, sure, Leona Lewis is talented - she can do a convincing impersonation of Mariah Carey molesting some octaves, if that’s what you’re into - but don’t kid yourself into thinking she won because she has elastic vocal cords. She won solely because that was where the money was - because that’s what people were paying to see. Same as people are paying to see Jedward (honestly, a little piece of me dies every time I say that). It’s a circus freak show, and Jedward are the freakiest of the freaky - and people are always looking to be freaked out for some cheap entertainment. (As evidenced by the continued presence of Cheryl Cole, or as she’s known in the freak show industry, “The Prettiest Girl With The Ugliest Voice”. It’s like there’s a wormhole in her windpipe that every word has to go through, becoming mangled and strained along the way. It’s genuinely distressing.)

I’m not saying anything most people don’t already know, I realise. We’re all painfully aware that The X Factor is just an easy way for Simon Cowell to line his pockets with the money of berks, and for Louis Walsh to take his sleazy used car salesman act to TV once or twice a week, and for Dannii Minogue to work through her interminable inferiority complex. It’s an easy way for ITV to get incredi-normous ratings every weekend - y’know, by alternately embarrassing and exploiting members of the public - and it keeps about four thousand pyrotechnics engineers and editing suite workers in paid employment.  We’re all in on the joke, to some extent, even if it’s on us.

So can we drop the outrage and get on with laughing about it? If Jedward end up winning this series - and let’s face it, chances are they will, given that the current “judges’ favourite” has all the charisma of a blank sheet of A4 paper - let’s all just laugh and laugh until our eyes fall out. We’ll add it onto the list of the omens of the coming rapture and get on with our lives, until next series, when the Four Horsemen of the Apocalypse audition, singing fucking “Bleeding Love”. We’d have to be pretty stupid not to vote for them, right?

We’re doomed.

If The Simpsons managed to land a Coldplay guest spot for their forthcoming 20th anniversary episode, there’s no reason another satirical TV show can’t have a top band guesting. Seth MacFarlane’s American Dad is going all indie on the show’s November 22nd episode,which will be all My Morning Jacket-centric. The episode is even titled “My Morning Straitjacket”. For the fans, here’s a quick synopsis:  Stan Smith (the main character) becomes obsessed with the band My Morning Jacket (guest-voicing as themselves) and decides to become a groupie. Co-creator Mike Barker tells FILTER the story of how it all came together below:

How’d this collaboration come about? Who seduced who?
“Who seduced who?” That makes it sound like this game is already over. Look, this isn’t over until halfway through a live performance of Steam Engine, Jim reaches into the audience and pulls me up on stage like I’m a pre-cougar Courtney Cox. But if I might be professional for a moment, the word “seduction” implies that there has been some sort of manipulation on either my part or the band’s, when in fact, it’s the two art forms themselves – Writing and Music, that sought each other out. In the end, we are all just instruments of the Goddess of Art. I’m not sure who that is, but in my head she looks exactly like Scarlett Johanssen.

What makes My Morning Jacket a good fit for American Dad?
The best band in the world appearing on the 59th top-rated show on television? It’s a no-brainer.

If Kiss is the semi-official Family Guy band, does that mean My Morning Jacket is the semi-official American Dad band?
Hell, let’s just make them the official band.

Photos courtesy of Stewie’s Playground.

Ah, finally! I’ve been nervously waiting for a follow-up to Made In The Dark, which is quite the pop gem, for ages now, and I can only rejoice at the news that Hot Chip’s new album, titled “One Life Stand“, will get released at the beginning of 2010. Here’s what I’ve read about the record in a press release I’ve just received:

One Life Stand sees a proliferation of influences as diverse as the burgeoning UK funky scene to soul music, modern R&B, Northern Soul, Gospel, Golden Age Electronica, House, the sounds of Arthur Russell, Prince and Theo Parish- and they all sit effortlessly alongside the band’s signature pop aesthetics, wild electronics, off kilter beats and intoxicating musical experimentation in a way that only Hot Chip can execute.

Sounds like your typical Hot Chip album alright. Look for a couple of guests as well, as they brought in Charles Hawyard from the 70’s group, This Heat, and Leo Taylor from London indie band the Invisible. Still now word regarding the first single or tracklist for that matter, but the band was still kind enough to unveil “Take It In” for the public. One Life Stands will officially surface on February 9 on Astralwerks and February 8 in the UK on Parlophone.[via Indiescreet]

[MP3] Hot Chip – ‘Take It In’

Hot Chip on tour in 2010:

02-12 Glasgow, Scotland - Academy
02-13 Edinburgh, Scotland - Picture House
02-15 Nottingham, England - Academy
02-16 Leeds, England - Academy
02-18 Newcastle, England - O2 Academy
02-19 Manchester, England - Academy
02-20 Birmingham, England - O2 Academy
02-22 Bournemouth, England - O2 Academy
02-23 Bristol, England - O2 Academy
02-24 Norwich, England - O2 Academy
02-26 London, England - Brixton Academy
02-27 London, England - Brixton Academy