No joke. And let me be clear, when I say cool, I do not mean popular. Reggaeton is not "the sound" of Buenos Aires. Unfortunately, that distinction goes to the seemingly omnipresent "oonce oonce oonce" of cheesy eurotrance that dominates the city's nightclubs.
When I say cool, I mean that artsy Porteños that champion new music love themselves some reggaeton. Along with the sounds of dancehall, baile funk and cumbia, reggaeton is a key component of the Buenos Aires underground.
Before moving here, I thought reggaeton was on the way out. In the United States, reggaeton had its 15 minutes of fame and peaked with Daddy Yankee and "Gasolina". Other artists like Don Omar, Luny Tunes, Yaga & Mackie Rank, Wisin & Yandel and countless others churned out fun tunes and the genre temporarily seemed like a viable new source of dance music. I was delighted when radio station La Kalle ("Reggaeton y Mas!") started up in San Francisco. However, as the months passed it seemed like the music was growing stale. La Kalle was pumping out a lot less reggaeton and a lot more "y mas". Plus, a frightening offspring began to appear - reggaeton slow jams. Yikes. As quality dropped, it seemed like reggaeton was destined to be just another cycle in the United States' intermittent love affair with "Latin" music.
So imagine my surprise when I arrive in Buenos Aires and find that DJs at forward-thinking club nights like Zizek are consistently rocking reggaeton? The local scene even has its own budding reggaeton starlet, Princesa. Before my arrival, I figured that a Latin music trend that's dying out in the United States must be super passé in Latin America. I was wrong. Apparently, reggaeton never hit it big in Argentina in the first place. Although Daddy Yankee has appeared on the national pop charts, the genre has not reached the dizzying levels of popularity found in Puerto Rico, the Dominican Republic, Mexico, Columbia, the United States and much of Central America.
Here in Buenos Aires, reggaeton is primarily championed by two groups - local tastemakers and the lower classes. Seeing as how neither group has a huge voice in the media, reggaeton and other similar genres (like cumbia, which is even more popular) have largely remained underground. Class-based discrimination is alive and well in Buenos Aires, even in the world of music. As a result, reggaeton and its brethren are often labeled as "low class" and denied mainstream acceptance.
Thankfully, things are changing. Many Argentinians are open-minded and these musical styles are slowly seeping into the mass culture. In the meantime, at least I can rely on the underground music scene to get my fix of Nina Sky, not to mention whatever new sounds are being created by the locals.
Princesa - "I Feel So Good"
Tuesday, January 30, 2007
Wednesday, January 24, 2007
Where is the Rock?
People back home often ask me about the music scene in Buenos Aires. In San Francisco and Oakland, I went to shows all the time. Live music is everywhere in the Bay Area. With touring bands, local bands, club shows, house parties, gallery openings and more, the options are endless.
Sadly, the live music scene in Buenos Aires is incognito. Despite legions of young Argentinians who declare allegiance to rock n' roll, good local concerts are hard to find. Much of the problem stems from a December 2004 fire at the Republica Cromagnon nightclub. The fire killed 194 people and injured more than 700 others. Many concertgoers were trapped inside because four of the club's six emergency exits were apparently wired shut to prevent people from sneaking in without paying at the door. The incident prompted a national outcry and exposed the ineptitude and corruption of the city government in the realm of nightclub administration and safety inspection. Apparently the Argentinian government is basically rife with corruption (scroll down) across the board, but let's just focus on public safety for now.
In the wake of the fire, clubs across the city were closed and only allowed to reopen under strict new fire safety guidelines. Now I'm all for fire safety and rooting out corruption in government, but the live music scene in Buenos Aires seems adrift. Plenty of dance clubs have reopened, but smaller spots where bands can set up and play live are virtually nonexistent. Concerts here are often limited to international megstars or gigantic festivals, not exactly an ideal environment for new bands to get started and find an audience. To be fair, the city government is sponsoring a series of free outdoor January concerts featuring many independent Argentinian musicians. Also, some smaller international acts do breeze through town on occasion. Last Friday Erland Oye (from Kings of Convenience) played a solo acoustic show. I nearly wet myself when I saw that The Evens will be coming to town in March.
So maybe I'm just complaining too much. There's definitely cool music happening in Buenos Aires, especially in the underground cumbia/hip-hop/mash-up/electronic scene. I'm just waiting to be blown away by by some underground indie/art-rock/punk/post-whatever bands. I know they're out there!
In the meantime, there are some other Latin American musical goodies that I've stumbled across. One particular tune has seized hold of my brain, much to the annoyance of my girlfriend (who basically threatens me with physical violence whenever I start singing this song to myself, which is quite often). I'm talking about the song "Ni Freud Ni Tu Mama" by Mexican pop star Belinda. The former child actress has been huge in Latin America since her early teen years and apparently enlisted a slew of high profile producers for her most recent album Utopia. "Ni Freud Ni Tu Mama" is slicky produced dance-pop aimed at the teen set, but it's also highly enjoyable in the same way that Kelly Clarkson's "Since U Been Gone" was. Remember when hipsters were falling all over themselves to espouse the greatness of that song a couple years back? See for yourself - bonus points if you catch the Spanglish phrases and the cameo from Disney Channel sensation Raven Symone. Apparently the girls hooked up when Belinda had a role in The Cheetah Girls 2. It's a little sad that I know that. I blame Wikipedia - they had a whole Belinda biography. Of course, why I took the time to read it is another matter entirely. Just watch the video.
Sadly, the live music scene in Buenos Aires is incognito. Despite legions of young Argentinians who declare allegiance to rock n' roll, good local concerts are hard to find. Much of the problem stems from a December 2004 fire at the Republica Cromagnon nightclub. The fire killed 194 people and injured more than 700 others. Many concertgoers were trapped inside because four of the club's six emergency exits were apparently wired shut to prevent people from sneaking in without paying at the door. The incident prompted a national outcry and exposed the ineptitude and corruption of the city government in the realm of nightclub administration and safety inspection. Apparently the Argentinian government is basically rife with corruption (scroll down) across the board, but let's just focus on public safety for now.
In the wake of the fire, clubs across the city were closed and only allowed to reopen under strict new fire safety guidelines. Now I'm all for fire safety and rooting out corruption in government, but the live music scene in Buenos Aires seems adrift. Plenty of dance clubs have reopened, but smaller spots where bands can set up and play live are virtually nonexistent. Concerts here are often limited to international megstars or gigantic festivals, not exactly an ideal environment for new bands to get started and find an audience. To be fair, the city government is sponsoring a series of free outdoor January concerts featuring many independent Argentinian musicians. Also, some smaller international acts do breeze through town on occasion. Last Friday Erland Oye (from Kings of Convenience) played a solo acoustic show. I nearly wet myself when I saw that The Evens will be coming to town in March.
So maybe I'm just complaining too much. There's definitely cool music happening in Buenos Aires, especially in the underground cumbia/hip-hop/mash-up/electronic scene. I'm just waiting to be blown away by by some underground indie/art-rock/punk/post-whatever bands. I know they're out there!
In the meantime, there are some other Latin American musical goodies that I've stumbled across. One particular tune has seized hold of my brain, much to the annoyance of my girlfriend (who basically threatens me with physical violence whenever I start singing this song to myself, which is quite often). I'm talking about the song "Ni Freud Ni Tu Mama" by Mexican pop star Belinda. The former child actress has been huge in Latin America since her early teen years and apparently enlisted a slew of high profile producers for her most recent album Utopia. "Ni Freud Ni Tu Mama" is slicky produced dance-pop aimed at the teen set, but it's also highly enjoyable in the same way that Kelly Clarkson's "Since U Been Gone" was. Remember when hipsters were falling all over themselves to espouse the greatness of that song a couple years back? See for yourself - bonus points if you catch the Spanglish phrases and the cameo from Disney Channel sensation Raven Symone. Apparently the girls hooked up when Belinda had a role in The Cheetah Girls 2. It's a little sad that I know that. I blame Wikipedia - they had a whole Belinda biography. Of course, why I took the time to read it is another matter entirely. Just watch the video.
Sunday, January 21, 2007
I really am an American
I'm not some flag-waving, Bush-loving, warmonger patriot who bleeds red, white and blue. I don't hate the United States or anything but I've never been one to shy away from critiquing my homeland. However, no matter how educated and cosmopolitan I may fancy myself, being in a foreign country always reinforces that there is an innate "American-ness" rumbling around somewhere inside me.
(Quick side note: many Argentinians hate when people from the United States call themselves Americans because South Americans are also from the Americas. It's a valid point, but for the purposes of this post, I'm going to use "American" in reference to people from the United States.)
One American notion that has come up repeatedly is the idea of personal space. Those of us from the United States LOVE personal space. Maybe it's caused by suburban living conditions that encourage people to fence themselves off from one another. Perhaps our woefully puritan social history is to blame or simply an unhealthy fear of germs. Regardless, Americans like to operate as if they were surrounded by an invisible box. Unnecessary touching is a definite no-no.
That's not the case in Argentina. People here have no invisible box, and they're all about touching. Living in Buenos Aires means people literally running into you on the street. Strangers on the bus will not make an effort to avoid physical contact. At the clubs no one is going around you when you're getting down on the dancefloor. Most telling is the customary greeting - a kiss on the cheek. Clearly, that would never fly in the United States, the land of firm handshakes where hugs are only acceptable for the closest of friends.
This little examination isn't meant as a declaration of what set of social customs is better. One American quality I loathe is the constant need to declare ourselves "the best". Other peoples and places are just different and it's interesting to explore that sometimes. I may long for personal space on the bus but all the kisses on the cheek from girls I barely know ain't too shabby either. It's just different.
However, in recent days I have stumbled across something on YouTube that makes me proud to be an American. It's an unmistakably American tribute to our history and the father of our country. Watch and swell with pride.
(Quick side note: many Argentinians hate when people from the United States call themselves Americans because South Americans are also from the Americas. It's a valid point, but for the purposes of this post, I'm going to use "American" in reference to people from the United States.)
One American notion that has come up repeatedly is the idea of personal space. Those of us from the United States LOVE personal space. Maybe it's caused by suburban living conditions that encourage people to fence themselves off from one another. Perhaps our woefully puritan social history is to blame or simply an unhealthy fear of germs. Regardless, Americans like to operate as if they were surrounded by an invisible box. Unnecessary touching is a definite no-no.
That's not the case in Argentina. People here have no invisible box, and they're all about touching. Living in Buenos Aires means people literally running into you on the street. Strangers on the bus will not make an effort to avoid physical contact. At the clubs no one is going around you when you're getting down on the dancefloor. Most telling is the customary greeting - a kiss on the cheek. Clearly, that would never fly in the United States, the land of firm handshakes where hugs are only acceptable for the closest of friends.
This little examination isn't meant as a declaration of what set of social customs is better. One American quality I loathe is the constant need to declare ourselves "the best". Other peoples and places are just different and it's interesting to explore that sometimes. I may long for personal space on the bus but all the kisses on the cheek from girls I barely know ain't too shabby either. It's just different.
However, in recent days I have stumbled across something on YouTube that makes me proud to be an American. It's an unmistakably American tribute to our history and the father of our country. Watch and swell with pride.
Thursday, January 18, 2007
Dansinropa
Since I've been in Buenos Aires nearly two months, I figure that it's time to actually write something about it. Or least about something besides my favorite music of 2006.
We all know that MTV has cranked about some shoddy programming over the years, but here in Argentina one show in particular takes it to a new level - Dansinropa. Spanish speakers probably understand the Spanglish title, but let me break it down for the gringos:
Dance + sin ropa (English translation - "without clothes") = Dansinropa
The point of this program? Young MTV viewers dance and take off their clothes while their video of choice plays in the background. Just let that soak in for a few seconds. It's literally a strip routine. Private parts are blurred out, but there's plenty of skin and body hair - pubes included. Apparently only naughty bits need blurring here in Argentina, but the furry surrounding areas are A-OK.
To be fair, some of the dancers have fun with it and use the show as an opportunity to get goofy. I've seen plenty of costumes, from pirates to cowboys. But I've also seen way too many whoreish strippers in training, so there's that.
Oh, I almost forgot to mention that the show is hosted by two asinine young girls who appear to be locked in some kind of anorexia competition. Good times. MTV - polluting culture around the world.
See the magic for yourself - this dude's hairdo is also classic.
We all know that MTV has cranked about some shoddy programming over the years, but here in Argentina one show in particular takes it to a new level - Dansinropa. Spanish speakers probably understand the Spanglish title, but let me break it down for the gringos:
Dance + sin ropa (English translation - "without clothes") = Dansinropa
The point of this program? Young MTV viewers dance and take off their clothes while their video of choice plays in the background. Just let that soak in for a few seconds. It's literally a strip routine. Private parts are blurred out, but there's plenty of skin and body hair - pubes included. Apparently only naughty bits need blurring here in Argentina, but the furry surrounding areas are A-OK.
To be fair, some of the dancers have fun with it and use the show as an opportunity to get goofy. I've seen plenty of costumes, from pirates to cowboys. But I've also seen way too many whoreish strippers in training, so there's that.
Oh, I almost forgot to mention that the show is hosted by two asinine young girls who appear to be locked in some kind of anorexia competition. Good times. MTV - polluting culture around the world.
See the magic for yourself - this dude's hairdo is also classic.
Monday, January 15, 2007
Best Singles of 2006
This will be the last "Best of 2006" list. I promise. Before I moved to Buenos Aires I had all kinds of outlets to force my opinions on people. Now I only have the internet to soothe my ego, so let's just get this over with. Although not a strong year for albums, the singles of 2006 were quite good, especially in the worlds of hip-hop and R&B. Here's what I liked:
1. T.I. - "What You Know" (Grand Hustle/Atlantic)
A straight classic hip-hop number from the so-called "King of the South." T.I. lives up to the title here, but the undeniable star is the backing track provided by producer DJ Toomp. The instrumental alone could crack my singles list. Something about those triumphant synths just burrows into your head and refuses to leave. Cruising along at a medium tempo, the song gives the impression that T.I. knows just how dope he is. Why hurry when there's nothing left to prove? The song hits hardest during the repeated line, "What you know about that?" I know that this song is a fucking jam. And that's enough.
2. Liars - "The Other Side of Mt. Heart Attack" (Mute)
For an album filled with utter conflict and chaos, Drum's Not Dead also contained a few moments of serene beauty. On this track, Liars shed the squall and get back to basics. Besides the vocals, there's little than some sparse atmospherics and a noodling guitar. Noticeably absent are the drums that dominated the rest of the album. Here the vocals take center stage, with lines like "If you need me, I can always be found" and "If you want me to stay, I will stay by your side". There's something melancholy yet hopeful about the song and it's an unusual way to wrap up an album so dominated by darkness and terror. Regardless of the band's intentions, the track is a welcome respite and perhaps the finest piece of music the band has ever made.
3. Gnarls Barkley - "Crazy" (Downtown/Atlantic)
There's not much more to be said about this track. It's a beast, an international megahit. As one of those few songs that grandparents and cool kids can agree upon, you'll find no argument from me. It's too bad Danger Mouse and Cee-Lo couldn't extend the magic for an entire album, as St. Elsewhere was wildly uneven. However, "Crazy" is truly the defining pop tune of 2006.
4. Justin Timberlake featuring T.I. - "My Love" (Jive)
Timbaland deserves some kind of award. The man has been the defining hip-hop producer for years now, yet the artists he works with get all the fame. I guess he'll just have to comfort himself with the mountains of cash he's earned along with the insane level of cred he's gained in the music community. In the wrong hands, "My Love" could have been a disaster - just another sappy ballad from a boy band refugee. But Timbaland takes a ridiculous synth riff from the shitty trance anthem playbook, slows it down, adds some drums and just happens to make a song that's a stone-cold jam. Seriously folks, a trance riff? Timbaland could sample polka and make it sound fresh. Oh yeah, that Timberlake kid can sing alright too. Bonus points to T.I. for weaseling his way onto one of the biggest tracks of the year.
5. Peter Bjorn & John - "Young Folks" (Witchita)
Sweden might be the coolest place on the planet. Swedes are so cool that most people have no idea just how cool they are. Cool clothes, cool furniture, cool music - they've got it all. Maybe there is some secret coolness gene in Swedish DNA. Whatever they're doing, it's working. "Young Folks" is just a breezy midtempo indiepop song. There is literally no urgency. It sounds like the boys were just sitting around and decided to make a little pop tune on a whim. Peter says "let's add some bongos" while Bjorn is like "cool, how about some whistling". John chimes in and says "let's get our pal Victoria from the Concretes to come over and lay down a vocal harmony". They probably finished the whole thing in 15 minutes and then left to get cool haircuts and buy modular furniture. Sweden is the coolest.
6. Nelly Furtado featuring Timbaland - "Promiscuous" (Geffen)
I wasn't kidding about an award for Timbaland. Who else could take a passe hippyish singer for the granola coffeehouse set and transform her into genuine sexpot? Have you seen the video for this track? Remember the feelgood wierdo who sang "I'm like a bird"? Apparently that girl died and has been replaced by a svelte and slinky lady who is genuine wank material for boys of all ages. Who knew it was possible? Apparently Timbaland. Once again, his production is on point. Off-kilter drums, synth stabs and tons of odd little flourishes make this track yet another Timbaland classic. Only one thing about this song doesn't make sense - has anyone else noticed that the girl doesn't seem to be all that promiscuous? Timbaland spends half the song trying to talk his way into her panties and she doesn't seem to be going for it. If she was really promiscuous, she'd let him do her in the bathroom stall at the club. I'm just saying.
7. Too Short - "Blow the Whistle" (Up All Nite/Jive)
In a year when hyphy dominated the Bay Area hip hop scene, leave it to an old school master like Too Short to drop the hottest Bay rap tune of the year. Even though Too Short relocated to Atlanta several years back, he's still repping Oakland. The track pays lip service to the hyphy movement, but this tune is really just another entry in a long line of Too Short classics. The man hits on some of his favorite themes (Oakland, his own rap skills, getting frisky with the ladies) and his game is still tight, even on album number 16 (which he of course makes sure to point out).
8. E-40 - "Tell Me When to Go" (BME/Warner Bros.)
As far as the hyphy movement is concerned, "Tell Me When to Go" is THE anthem. Solidifying E-40's position as one of the dons of the Bay Area rap game, this track alerted the rest of the world that Bay Area hip hop was back. After years of sleep-inducing "conscious" Bay Area rap, this track really woke everyone up and got the party started again. Best of all, "Tell Me When to Go" is basically a hyphy instruction manual. Stunna shades? Check. Thizz face? Yup. Going dumb? Not a bad thing after all. Ghostride the Whip? You know it. It's all here. Your mom could get hyphy after listening to this song.
9. The Federation - "18 Dummy" (Reprise/Warner Bros.)
Although E-40 snagged the hyphy spotlight on a national level, much of the credit should really go to The Federation and their producer Rick Rock. They've been talking about hyphy for years but no one outside of the Bay Area was listening. Well, if they keep dropping tracks like "18 Dummy," finding listeners shouldn't be a problem. An ode to getting wasted on 1800 Jose Cuervo Tequila, what really separates this song from the pack is the Rick Rock beat. Reminiscent of old-school electro, it clocks in around 120 beats per minute and immediately establishes a truly hyphy vibe. The actual rapping is secondary here, as "18 Dummy" is all about getting crazy and losing control. The Federation are here to party - let someone else be subtle and introspective.
10. Cassie - "Me & U" (Bad Boy)
I thought I hated this song. The beat is little more than a basic drum track and a few taps on a keyboard. How many notes are in this track? Four? Five? Honestly, a little kid could have stumbled across this melody. But I quickly realized that the simplicity is what makes this track great. Even the vocal is unassuming, as there's no over-the-top vocal theatrics to be found. There is a genuine void in the this song, both in the music and Cassie's delivery. In a R&B genre plagued by overproduced tracks that are too often weighed down with frivolous bells and whistles, "Me & U" whittles the music down to the bare essentials. The result is a very refreshing slice of pop R&B.
11. The Pack - "Vans" (Up All Nite/Jive)
You know the Bay Area hip hop scene was popping when a group of kids from Berkeley High School turns out a track like this one. With a minimal beat and laid back feel, "Vans" is not a club banger. However, the lyrics are amazing. It's four hip hop kids rapping about shoes - Vans. They even refer to Vans as a "punk rock shoe." What the do these kids know about punk? I'm guessing about as much as the white kids at their school know about hip hop. Regardless, the Pack gets major props for not taking the easy way out and rapping about hyphy like everyone else this year. These guys must be the kings of their school. Can you imagine being in high school with a hit song on the radio? The Pack must be setting records for getting laid. They probably have to designate break times for their genitals. This is depressing.
12. Casiotone for the Painfully Alone - "Young Shields" (Tomlab)
Speaking of depressing, Owen Ashworth took his music to a new level this year with the stellar Etiquette. "Young Shields" was undoubtedly the standout track. When compared with much of his earlier work, this song really picks up the pace. Plus you can actually hear Ashworth's vocals - clearly! Filled out with some swirling synths and clever lyrics, "Young Shields" is a lovely nugget of synth pop goodness.
13. Rick Ross - "Hustlin'" (Def Jam)
"Who you think you fucking with, I'm the fucking boss." I could probably stop there, because that opening line pretty much sums up the whole song. This is hands down the most epic hip hop cut of 2006. What else would you expect from a 6 foot, 300 lb. monster like Rick Ross? Oozing confidence and grandeur, Ross is letting everyone know that he's the baddest motherfucker on the block. Would you question him? Also, he apparently knows all about slinging coke, so maybe you can score some china white if you stay on his good side. Or maybe he'd just turn you into a drug mule. Frankly, I'd probably do just about anything Rick Ross told me to do.
14. TV on the Radio - "Wolf Like Me" (Interscope)
The biggest rocker from the excellent Return to Cookie Mountain shows TV on the Radio at their best. The band is going full throttle and there's a genuine sense that everything could spin wildly out of control at any moment. Plus the lyrics are all about being a werewolf. Running around and howling at the moon in the middle of the night sounds fun to me, especially if TV on the Radio is supplying the soundtrack.
15. Yung Joc - "I Know You See It" (Bad Boy South)
Just plain dirty. Any song with the line "chewing on the dick like a piece of bubble yum" is certainly pushing the boundaries of good taste. Also, how much oral sex has Yung Joc experienced if he relishes this "chewing" technique? Someone should tell that guy that teeth and oral sex usually don't mix. Questions of sexual technique aside, "I Know You See It" is an insanely catchy synth-driven hip hop track. The filthiest guilty pleasure of the year.
16. Justice - "Waters of Nazareth" (Vice)
This French duo serves up electro just the way I like it - tough and gritty. In a somewhat lackluster year for electronic music, Justice really came through with this one. Granted it's one of those electronic songs for the rock set, but "Waters of Nazareth" cooks from start to finish. Full of raw, dirty synths, it's Daft Punk run ragged. Nothing is cleaned up here. Justice get in your face and stay there with an unrelenting barrage of filtered synth mayhem. The experience is intense, but you won't want to back down.
1. T.I. - "What You Know" (Grand Hustle/Atlantic)A straight classic hip-hop number from the so-called "King of the South." T.I. lives up to the title here, but the undeniable star is the backing track provided by producer DJ Toomp. The instrumental alone could crack my singles list. Something about those triumphant synths just burrows into your head and refuses to leave. Cruising along at a medium tempo, the song gives the impression that T.I. knows just how dope he is. Why hurry when there's nothing left to prove? The song hits hardest during the repeated line, "What you know about that?" I know that this song is a fucking jam. And that's enough.
2. Liars - "The Other Side of Mt. Heart Attack" (Mute)
For an album filled with utter conflict and chaos, Drum's Not Dead also contained a few moments of serene beauty. On this track, Liars shed the squall and get back to basics. Besides the vocals, there's little than some sparse atmospherics and a noodling guitar. Noticeably absent are the drums that dominated the rest of the album. Here the vocals take center stage, with lines like "If you need me, I can always be found" and "If you want me to stay, I will stay by your side". There's something melancholy yet hopeful about the song and it's an unusual way to wrap up an album so dominated by darkness and terror. Regardless of the band's intentions, the track is a welcome respite and perhaps the finest piece of music the band has ever made.
3. Gnarls Barkley - "Crazy" (Downtown/Atlantic)
There's not much more to be said about this track. It's a beast, an international megahit. As one of those few songs that grandparents and cool kids can agree upon, you'll find no argument from me. It's too bad Danger Mouse and Cee-Lo couldn't extend the magic for an entire album, as St. Elsewhere was wildly uneven. However, "Crazy" is truly the defining pop tune of 2006.
4. Justin Timberlake featuring T.I. - "My Love" (Jive)
Timbaland deserves some kind of award. The man has been the defining hip-hop producer for years now, yet the artists he works with get all the fame. I guess he'll just have to comfort himself with the mountains of cash he's earned along with the insane level of cred he's gained in the music community. In the wrong hands, "My Love" could have been a disaster - just another sappy ballad from a boy band refugee. But Timbaland takes a ridiculous synth riff from the shitty trance anthem playbook, slows it down, adds some drums and just happens to make a song that's a stone-cold jam. Seriously folks, a trance riff? Timbaland could sample polka and make it sound fresh. Oh yeah, that Timberlake kid can sing alright too. Bonus points to T.I. for weaseling his way onto one of the biggest tracks of the year.
5. Peter Bjorn & John - "Young Folks" (Witchita)
Sweden might be the coolest place on the planet. Swedes are so cool that most people have no idea just how cool they are. Cool clothes, cool furniture, cool music - they've got it all. Maybe there is some secret coolness gene in Swedish DNA. Whatever they're doing, it's working. "Young Folks" is just a breezy midtempo indiepop song. There is literally no urgency. It sounds like the boys were just sitting around and decided to make a little pop tune on a whim. Peter says "let's add some bongos" while Bjorn is like "cool, how about some whistling". John chimes in and says "let's get our pal Victoria from the Concretes to come over and lay down a vocal harmony". They probably finished the whole thing in 15 minutes and then left to get cool haircuts and buy modular furniture. Sweden is the coolest.
6. Nelly Furtado featuring Timbaland - "Promiscuous" (Geffen)
I wasn't kidding about an award for Timbaland. Who else could take a passe hippyish singer for the granola coffeehouse set and transform her into genuine sexpot? Have you seen the video for this track? Remember the feelgood wierdo who sang "I'm like a bird"? Apparently that girl died and has been replaced by a svelte and slinky lady who is genuine wank material for boys of all ages. Who knew it was possible? Apparently Timbaland. Once again, his production is on point. Off-kilter drums, synth stabs and tons of odd little flourishes make this track yet another Timbaland classic. Only one thing about this song doesn't make sense - has anyone else noticed that the girl doesn't seem to be all that promiscuous? Timbaland spends half the song trying to talk his way into her panties and she doesn't seem to be going for it. If she was really promiscuous, she'd let him do her in the bathroom stall at the club. I'm just saying.
7. Too Short - "Blow the Whistle" (Up All Nite/Jive)
In a year when hyphy dominated the Bay Area hip hop scene, leave it to an old school master like Too Short to drop the hottest Bay rap tune of the year. Even though Too Short relocated to Atlanta several years back, he's still repping Oakland. The track pays lip service to the hyphy movement, but this tune is really just another entry in a long line of Too Short classics. The man hits on some of his favorite themes (Oakland, his own rap skills, getting frisky with the ladies) and his game is still tight, even on album number 16 (which he of course makes sure to point out).
8. E-40 - "Tell Me When to Go" (BME/Warner Bros.)
As far as the hyphy movement is concerned, "Tell Me When to Go" is THE anthem. Solidifying E-40's position as one of the dons of the Bay Area rap game, this track alerted the rest of the world that Bay Area hip hop was back. After years of sleep-inducing "conscious" Bay Area rap, this track really woke everyone up and got the party started again. Best of all, "Tell Me When to Go" is basically a hyphy instruction manual. Stunna shades? Check. Thizz face? Yup. Going dumb? Not a bad thing after all. Ghostride the Whip? You know it. It's all here. Your mom could get hyphy after listening to this song.
9. The Federation - "18 Dummy" (Reprise/Warner Bros.)
Although E-40 snagged the hyphy spotlight on a national level, much of the credit should really go to The Federation and their producer Rick Rock. They've been talking about hyphy for years but no one outside of the Bay Area was listening. Well, if they keep dropping tracks like "18 Dummy," finding listeners shouldn't be a problem. An ode to getting wasted on 1800 Jose Cuervo Tequila, what really separates this song from the pack is the Rick Rock beat. Reminiscent of old-school electro, it clocks in around 120 beats per minute and immediately establishes a truly hyphy vibe. The actual rapping is secondary here, as "18 Dummy" is all about getting crazy and losing control. The Federation are here to party - let someone else be subtle and introspective.
10. Cassie - "Me & U" (Bad Boy)
I thought I hated this song. The beat is little more than a basic drum track and a few taps on a keyboard. How many notes are in this track? Four? Five? Honestly, a little kid could have stumbled across this melody. But I quickly realized that the simplicity is what makes this track great. Even the vocal is unassuming, as there's no over-the-top vocal theatrics to be found. There is a genuine void in the this song, both in the music and Cassie's delivery. In a R&B genre plagued by overproduced tracks that are too often weighed down with frivolous bells and whistles, "Me & U" whittles the music down to the bare essentials. The result is a very refreshing slice of pop R&B.
11. The Pack - "Vans" (Up All Nite/Jive)
You know the Bay Area hip hop scene was popping when a group of kids from Berkeley High School turns out a track like this one. With a minimal beat and laid back feel, "Vans" is not a club banger. However, the lyrics are amazing. It's four hip hop kids rapping about shoes - Vans. They even refer to Vans as a "punk rock shoe." What the do these kids know about punk? I'm guessing about as much as the white kids at their school know about hip hop. Regardless, the Pack gets major props for not taking the easy way out and rapping about hyphy like everyone else this year. These guys must be the kings of their school. Can you imagine being in high school with a hit song on the radio? The Pack must be setting records for getting laid. They probably have to designate break times for their genitals. This is depressing.
12. Casiotone for the Painfully Alone - "Young Shields" (Tomlab)
Speaking of depressing, Owen Ashworth took his music to a new level this year with the stellar Etiquette. "Young Shields" was undoubtedly the standout track. When compared with much of his earlier work, this song really picks up the pace. Plus you can actually hear Ashworth's vocals - clearly! Filled out with some swirling synths and clever lyrics, "Young Shields" is a lovely nugget of synth pop goodness.
13. Rick Ross - "Hustlin'" (Def Jam)
"Who you think you fucking with, I'm the fucking boss." I could probably stop there, because that opening line pretty much sums up the whole song. This is hands down the most epic hip hop cut of 2006. What else would you expect from a 6 foot, 300 lb. monster like Rick Ross? Oozing confidence and grandeur, Ross is letting everyone know that he's the baddest motherfucker on the block. Would you question him? Also, he apparently knows all about slinging coke, so maybe you can score some china white if you stay on his good side. Or maybe he'd just turn you into a drug mule. Frankly, I'd probably do just about anything Rick Ross told me to do.
14. TV on the Radio - "Wolf Like Me" (Interscope)
The biggest rocker from the excellent Return to Cookie Mountain shows TV on the Radio at their best. The band is going full throttle and there's a genuine sense that everything could spin wildly out of control at any moment. Plus the lyrics are all about being a werewolf. Running around and howling at the moon in the middle of the night sounds fun to me, especially if TV on the Radio is supplying the soundtrack.
15. Yung Joc - "I Know You See It" (Bad Boy South)
Just plain dirty. Any song with the line "chewing on the dick like a piece of bubble yum" is certainly pushing the boundaries of good taste. Also, how much oral sex has Yung Joc experienced if he relishes this "chewing" technique? Someone should tell that guy that teeth and oral sex usually don't mix. Questions of sexual technique aside, "I Know You See It" is an insanely catchy synth-driven hip hop track. The filthiest guilty pleasure of the year.
16. Justice - "Waters of Nazareth" (Vice)
This French duo serves up electro just the way I like it - tough and gritty. In a somewhat lackluster year for electronic music, Justice really came through with this one. Granted it's one of those electronic songs for the rock set, but "Waters of Nazareth" cooks from start to finish. Full of raw, dirty synths, it's Daft Punk run ragged. Nothing is cleaned up here. Justice get in your face and stay there with an unrelenting barrage of filtered synth mayhem. The experience is intense, but you won't want to back down.
Friday, January 12, 2007
Best Albums of 2006
Let's keep the narcissism flowing! "Best of" lists are something I've been doing for years. An archive of sorts can be found on the KALX web site. But honestly, 2006 was a weird year for music and I've found the annual list-making procedure much more difficult. To be sure, 2006 was not the year of the great album. There's not one full-length that I could say is brilliant from start to finish. Perhaps my ambivalence has something to do with the slow death of the album as a defining art form. Regardless, I've cobbled together some of my favorites:
1. Liars - Drum's Not Dead (Mute)
I was so ready to hate this record. Prior to its release I had spent an unhealthy amount of time ranting about how the Liars had gone to shit. I loved their first record, They Threw Us All in a Trench and Stuck a Monument on Top. That thing pretty much defined everything that was great about "dance punk" or whatever you want to call it. Plus they recorded it before every loser with an asymmetrical haircut memorized the words to "House of Jealous Lovers" and made little shrines to James Murphy and Karen O. Unfortunately, Liars decided to take a creative dump on their fans with their next album, They Were Wrong, So We Drowned. To say that record was a dramatic departure from the previous album would be an understatement. Gone were the angular bass lines and sharp songs. In their place was a creative jumble of noise experiments and "songs" about witches. Yes, witches.
The change in direction wasn't entirely shocking, as the band lost its bass player and drummer after the first record. What really defined They Threw Us All in a Trench and Stuck a Monument on Top was the rhythm section. However, the complete and total change in direction was just too much for me. In my mind, the band had lost it and the departed members had taken all the good ideas with them.
Well, I was wrong. Drum's Not Dead is a monster. A noisy, weird, experimental monster. I usually hate these kinds of records. I like "songs". You know, verses and choruses and tunes that avoid prolonged periods of static and shrill noise. Drum's Not Dead is the exception to that rule. I was 100% wrong about Liars. They definitely know rhythm, especially drums. The drums are the star on this record, constantly pounding, pummeling and pulsing into the psyche. "Let's Not Wrestle Mt. Heart Attack" sounds like the soundtrack to an alien invasion. Much of the album is truly nightmarish music, an unrelenting assault of drone and drums. Even the albums quieter moments are only a temporary refuge, somber realizations that something terrible is coming and nothing can stop it.
I won't be shit-talking Liars anymore.
2. The Mall - Emergency at the Everyday (Secretariat)
Hardcore with a dance beat? Disco hardcore? Hardcore dance? Whatever you want to call it, this record is one of the most slept-on releases of 2006. The debut album from this San Francisco trio is 20 minutes of pure bliss, assuming that you define bliss as repeated bursts of ear-splitting manic energy. The Mall's formula is simple - drums, guitar and keyboards. Most songs clock in at 90 seconds or less. Vocals are screamed, howled and yelped. The Mall have a job to do and time is of the essence. Seconds are rarely wasted on musical excess, as the band is a no-bullshit operation. The Mall shows up, gets your feet moving, punches you in the face and leaves. The odd part is that you'll find yourself inviting them back for another go-round, again and again.
3. CSS - Cansei De Ser Sexy (Sub Pop)
This group might have been secretly assembled by the music industry to capture the elusive "indie" demographic. Look at the details - a bunch of Brazilian art-school kids with catchy dance tunes that reference sex, alcohol, Paris Hilton and Death from Above 1979. They're on Sub Pop. They're friends with Diplo. It's like a hipster perfect storm. Regardless of whatever evil forces might be behind this madness, count me in. I fell for it. The accents, the catchy tunes, the noticeable riot grrl influences, the somewhat amateurish musicianship - I'm sold. Plain and simple, this album is fun. Fun is good. Remember, kids?
4. TV on the Radio - Return to Cookie Mountain (Interscope)
Umm...what was Interscope thinking when they signed these guys? Imagine some executive making this sales pitch to the other suits: "Hey, this New York band combines shoegaze, experimental electronic soundscapes, and vocals simultaneously reminiscent of Peter Gabriel and classic soul - we're going platinum!" What a snow job because TV on the Radio are too fucking weird for the mainstream, and that's a good thing. Saying that these boys are "breaking the mold" only scratches the surface. TV on the Radio are pushing musical boundaries while making songs that grab at your heart; a tough balancing act they manage with ease. And when will it become officially okay to mention that most of the band members are African American? Reviews and features on this band are almost universally colorblind, which negates the unmistakable black influence in their music. It's a good thing people! Get over your collective self-imposed guilt because you're an educated white intellectual/artist. It's okay to point out that things are different. Different does not equal bad. A group of white boys could not have made this album. TV on the Radio are anything but the average indie rock band, and that should be celebrated.
5. The Knife - Silent Shout (Rabid/Mute)
A few music pundits have referred to the Knife's music as "haunted house". Get it? Their electronic music is dark and spooky - haunted house! Genius. Ridiculous new subgenre naming attempts aside, with this album the Knife ventured into musical waters not often celebrated by the American indie rock intelligentsia. Bridging the divide between camp synth-pop and overly aloof minimal techno, the Swedish brother/sister duo distills cool electronic precision and structure into a manageable pop framework. With soaring synths and an astounding array of vocal effects, the songs are loaded with tangible emotion, not to mention an initially alarming resemblance to (yikes) trance music. The album is undeniably electronic, as the Knife never leave the impression that anything is spiraling out of control. It's Kraftwerk with a hearty dose of human melodrama. Perhaps the term "haunted house" isn't so ridiculous after all, as the Knife take you on a journey that is undoubtedly exhilarating despite the fact that all the thrills have been planned out in advance.
6. Islands - Return to the Sea (Equator)
I never liked the Unicorns. I tried many times, but always thought they sounded like a mess. Their songs were full of great pop nuggets, but the Unicorns seemed content to bury them in goofball antics or quickly abandon them altogether. So I was not particularly looking forward to the Islands record. After all, the other post-Unicorns project (rap group Th' Corn Gangg) had been an exercise in wankery. Well, I was wrong (again). 2006 was a year of musical surprises, including the pop delights that litter Return to the Sea. This time around the boys decided to take the pop nuggets and polish them into gems. Piano, horns, strings, whistles and vocal harmonies are all present and compliment the songs without damaging their pop luster. Moving with a light and breezy pace the songs are a welcome reminder that simple pop pleasures can be just as nice as complex musical mysteries.
7. MSTRKRFT - The Looks (Last Gang)
Am I the only person who liked this album? Possibly. Jesse Keeler apparently was hiding a secret love for techno underneath all the rock n' roll swagger of his sadly defunct previous band, Death from Above 1979. Actually, the transition isn't all that surprising. For all their brawn and bravado, DFA1979 always had an undeniable sense of rhythm. Now that sense is being channeled overtly. With new partner in crime Al-P, Keeler has crafted a collection of electro-synth tunes heavily influenced by Daft Punk's Discovery. There's a whole lot of vocoder going on here. Despite the similarity, MSTRKRFT has carved out a sound that's meaner than the average disco outing. Many of the songs have a tough quality with a heavy dose of raw synths. Perhaps the ragged edge shows that Jesse Keeler hasn't completely abandoned the rock n' roll spirit. Nowadays he's just putting it to work on the dancefloor.
8. Casiotone for the Painfully Alone - Etiquette (Tomlab)
I've said that 2006 was a year of musical surprises and the new Casiotone album was a big one. Before this album was released, I thought I knew everything I needed to know about Owen Ashworth and his heartbreaking music. I expected more lo-fi tales of woe made with cheap keyboards and even cheaper recording equipment. Apparently, he decided to up the ante this time around. Etiquette sounds like it was recorded in an actual studio. There's guest musicians playing actual instruments like guitar, bass, cello, flutes and even steel pedal. The usual Casiotone keyboards and quirky storytelling remain the stars here, but this album doesn't sound like it was recorded in a bedroom. Pop ideas are fleshed out and fully realized. Oddly enough, the extra elements actually make Ashworth's songwriting, especially his vocals, stand out more than ever. His lyrics paint concrete tales of mid-20's drudgery. In the world of Casiotone, life is often static and monotonous. High drama is left for someone else to document. Being miserable has rarely been so enjoyable.
9. Sonic Youth - Rather Ripped (Geffen)
Old bands are often sad. At some point the notion of making art stops and groups become little more than cover bands. Sure, they're playing their own songs, but only as a retro novelty act at some soulless corporate event or county fair. Given the sorry state of affairs for most bands in their age bracket, Sonic Youth become increasingly impressive with each passing year. After threatening to become a boring noise-rock/jam outfit in the late 90's, the band has released an impressive string of albums over the past few years. Rather Ripped is no exception and is perhaps the best of their post-millennium efforts. The album is a focused collection of pop mayhem in the spirit of past albums like Goo and Dirty. Of course, a Sonic Youth pop song is no calorie-laden empty confection. These songs have teeth and arrive with the same angst and sneer present in the band's earliest efforts. It's nice to know that some independent flames haven't been extinguished.
10. Black Heart Procession - The Spell (Touch & Go)
Why are so many good bands from San Diego? Maybe it's the Mexican food, which is simply fantastic. Seriously though - Drive Like Jehu, Hot Snakes, Rocket from the Crypt, Pinback, Three Mile Pilot, etc. Granted, many of these bands share members so maybe it's just a small cadre that's making the rest of the city look good. Regardless, Black Heart Procession are doing San Diego proud. Known for their dark tales of despair and woe, The Spell did little to stray from the usual Black Heart formula. Nevertheless, this record did reel in some of the grandeur of recent efforts like Amore Del Tropico. Although the band has streamlined and focused their sound on The Spell, the darkness has been kept intact along with frontman Pall Jenkins' signature wail. Plus this album added just a touch more "rock" to the proceedings. Plain and simple, Black Heart Procession are a great band to make you feel good about feeling bad.
11. Ghostface Killah - Fishscale (Def Jam)
This guy deserves a gold medal just for making a great hip hop album. Albums on the whole have been taking a nose dive, but hip hop albums in particular have just plain sucked in recent years. In a world where singles reign supreme, Ghostface actually managed to put together a cohesive effort that retains its quality from start to finish. Sure it's too long, includes stupid skits and unnecessary guest spots from his Theodore Unit crew, but Fishscale is light years ahead of most major label hip hop efforts. Plus it's all about coke, and who doesn't love that? Whether he's spitting true-life narratives ("Shakey Dog"), marrying tales of drug-slinging to samples of schoolhouse films explaining the metric system ("Kilo") or making ludicrous and impossible-to-decipher metaphors (most of the album), Ghostface is in top form here.
12. Yeah Yeah Yeahs - Show Your Bones (Interscope)
The NYC art kids grow up and make a "mature" album. Who knew they could still be good without Karen O howling like a psychopath and pouring beer all over herself? Not me.
13. Band of Horses - Everything All the Time (Sub Pop)
They sound like the Shins. One time on my KALX show I played a song from this and said it was a new Shins song. Not one person called in and said they didn't believe it. Sometimes ripoffs can be good.
14. Mika Miko - C.Y.S.L.A.B.F. (Kill Rock Stars)
Imagine that your little sister and all her friends started a punk band and it just happened to sound like an updated version of X-Ray Spex. Well, this group of young Los Angeles ladies did it and it's amazing just how much they sound like the genuine article. Punk is not dead just yet.
15. Thom Yorke - The Eraser (XL)
Like this was going to be a bad album. Sure it has some boring moments of electronic noodling, but what solo record isn't a little uneven? Most of this thing is high quality Radiohead-esque experimental goodness. Good times.
1. Liars - Drum's Not Dead (Mute)I was so ready to hate this record. Prior to its release I had spent an unhealthy amount of time ranting about how the Liars had gone to shit. I loved their first record, They Threw Us All in a Trench and Stuck a Monument on Top. That thing pretty much defined everything that was great about "dance punk" or whatever you want to call it. Plus they recorded it before every loser with an asymmetrical haircut memorized the words to "House of Jealous Lovers" and made little shrines to James Murphy and Karen O. Unfortunately, Liars decided to take a creative dump on their fans with their next album, They Were Wrong, So We Drowned. To say that record was a dramatic departure from the previous album would be an understatement. Gone were the angular bass lines and sharp songs. In their place was a creative jumble of noise experiments and "songs" about witches. Yes, witches.
The change in direction wasn't entirely shocking, as the band lost its bass player and drummer after the first record. What really defined They Threw Us All in a Trench and Stuck a Monument on Top was the rhythm section. However, the complete and total change in direction was just too much for me. In my mind, the band had lost it and the departed members had taken all the good ideas with them.
Well, I was wrong. Drum's Not Dead is a monster. A noisy, weird, experimental monster. I usually hate these kinds of records. I like "songs". You know, verses and choruses and tunes that avoid prolonged periods of static and shrill noise. Drum's Not Dead is the exception to that rule. I was 100% wrong about Liars. They definitely know rhythm, especially drums. The drums are the star on this record, constantly pounding, pummeling and pulsing into the psyche. "Let's Not Wrestle Mt. Heart Attack" sounds like the soundtrack to an alien invasion. Much of the album is truly nightmarish music, an unrelenting assault of drone and drums. Even the albums quieter moments are only a temporary refuge, somber realizations that something terrible is coming and nothing can stop it.
I won't be shit-talking Liars anymore.
2. The Mall - Emergency at the Everyday (Secretariat)
Hardcore with a dance beat? Disco hardcore? Hardcore dance? Whatever you want to call it, this record is one of the most slept-on releases of 2006. The debut album from this San Francisco trio is 20 minutes of pure bliss, assuming that you define bliss as repeated bursts of ear-splitting manic energy. The Mall's formula is simple - drums, guitar and keyboards. Most songs clock in at 90 seconds or less. Vocals are screamed, howled and yelped. The Mall have a job to do and time is of the essence. Seconds are rarely wasted on musical excess, as the band is a no-bullshit operation. The Mall shows up, gets your feet moving, punches you in the face and leaves. The odd part is that you'll find yourself inviting them back for another go-round, again and again.
3. CSS - Cansei De Ser Sexy (Sub Pop)
This group might have been secretly assembled by the music industry to capture the elusive "indie" demographic. Look at the details - a bunch of Brazilian art-school kids with catchy dance tunes that reference sex, alcohol, Paris Hilton and Death from Above 1979. They're on Sub Pop. They're friends with Diplo. It's like a hipster perfect storm. Regardless of whatever evil forces might be behind this madness, count me in. I fell for it. The accents, the catchy tunes, the noticeable riot grrl influences, the somewhat amateurish musicianship - I'm sold. Plain and simple, this album is fun. Fun is good. Remember, kids?
4. TV on the Radio - Return to Cookie Mountain (Interscope)
Umm...what was Interscope thinking when they signed these guys? Imagine some executive making this sales pitch to the other suits: "Hey, this New York band combines shoegaze, experimental electronic soundscapes, and vocals simultaneously reminiscent of Peter Gabriel and classic soul - we're going platinum!" What a snow job because TV on the Radio are too fucking weird for the mainstream, and that's a good thing. Saying that these boys are "breaking the mold" only scratches the surface. TV on the Radio are pushing musical boundaries while making songs that grab at your heart; a tough balancing act they manage with ease. And when will it become officially okay to mention that most of the band members are African American? Reviews and features on this band are almost universally colorblind, which negates the unmistakable black influence in their music. It's a good thing people! Get over your collective self-imposed guilt because you're an educated white intellectual/artist. It's okay to point out that things are different. Different does not equal bad. A group of white boys could not have made this album. TV on the Radio are anything but the average indie rock band, and that should be celebrated.
5. The Knife - Silent Shout (Rabid/Mute)
A few music pundits have referred to the Knife's music as "haunted house". Get it? Their electronic music is dark and spooky - haunted house! Genius. Ridiculous new subgenre naming attempts aside, with this album the Knife ventured into musical waters not often celebrated by the American indie rock intelligentsia. Bridging the divide between camp synth-pop and overly aloof minimal techno, the Swedish brother/sister duo distills cool electronic precision and structure into a manageable pop framework. With soaring synths and an astounding array of vocal effects, the songs are loaded with tangible emotion, not to mention an initially alarming resemblance to (yikes) trance music. The album is undeniably electronic, as the Knife never leave the impression that anything is spiraling out of control. It's Kraftwerk with a hearty dose of human melodrama. Perhaps the term "haunted house" isn't so ridiculous after all, as the Knife take you on a journey that is undoubtedly exhilarating despite the fact that all the thrills have been planned out in advance.
6. Islands - Return to the Sea (Equator)
I never liked the Unicorns. I tried many times, but always thought they sounded like a mess. Their songs were full of great pop nuggets, but the Unicorns seemed content to bury them in goofball antics or quickly abandon them altogether. So I was not particularly looking forward to the Islands record. After all, the other post-Unicorns project (rap group Th' Corn Gangg) had been an exercise in wankery. Well, I was wrong (again). 2006 was a year of musical surprises, including the pop delights that litter Return to the Sea. This time around the boys decided to take the pop nuggets and polish them into gems. Piano, horns, strings, whistles and vocal harmonies are all present and compliment the songs without damaging their pop luster. Moving with a light and breezy pace the songs are a welcome reminder that simple pop pleasures can be just as nice as complex musical mysteries.
7. MSTRKRFT - The Looks (Last Gang)
Am I the only person who liked this album? Possibly. Jesse Keeler apparently was hiding a secret love for techno underneath all the rock n' roll swagger of his sadly defunct previous band, Death from Above 1979. Actually, the transition isn't all that surprising. For all their brawn and bravado, DFA1979 always had an undeniable sense of rhythm. Now that sense is being channeled overtly. With new partner in crime Al-P, Keeler has crafted a collection of electro-synth tunes heavily influenced by Daft Punk's Discovery. There's a whole lot of vocoder going on here. Despite the similarity, MSTRKRFT has carved out a sound that's meaner than the average disco outing. Many of the songs have a tough quality with a heavy dose of raw synths. Perhaps the ragged edge shows that Jesse Keeler hasn't completely abandoned the rock n' roll spirit. Nowadays he's just putting it to work on the dancefloor.
8. Casiotone for the Painfully Alone - Etiquette (Tomlab)
I've said that 2006 was a year of musical surprises and the new Casiotone album was a big one. Before this album was released, I thought I knew everything I needed to know about Owen Ashworth and his heartbreaking music. I expected more lo-fi tales of woe made with cheap keyboards and even cheaper recording equipment. Apparently, he decided to up the ante this time around. Etiquette sounds like it was recorded in an actual studio. There's guest musicians playing actual instruments like guitar, bass, cello, flutes and even steel pedal. The usual Casiotone keyboards and quirky storytelling remain the stars here, but this album doesn't sound like it was recorded in a bedroom. Pop ideas are fleshed out and fully realized. Oddly enough, the extra elements actually make Ashworth's songwriting, especially his vocals, stand out more than ever. His lyrics paint concrete tales of mid-20's drudgery. In the world of Casiotone, life is often static and monotonous. High drama is left for someone else to document. Being miserable has rarely been so enjoyable.
9. Sonic Youth - Rather Ripped (Geffen)
Old bands are often sad. At some point the notion of making art stops and groups become little more than cover bands. Sure, they're playing their own songs, but only as a retro novelty act at some soulless corporate event or county fair. Given the sorry state of affairs for most bands in their age bracket, Sonic Youth become increasingly impressive with each passing year. After threatening to become a boring noise-rock/jam outfit in the late 90's, the band has released an impressive string of albums over the past few years. Rather Ripped is no exception and is perhaps the best of their post-millennium efforts. The album is a focused collection of pop mayhem in the spirit of past albums like Goo and Dirty. Of course, a Sonic Youth pop song is no calorie-laden empty confection. These songs have teeth and arrive with the same angst and sneer present in the band's earliest efforts. It's nice to know that some independent flames haven't been extinguished.
10. Black Heart Procession - The Spell (Touch & Go)
Why are so many good bands from San Diego? Maybe it's the Mexican food, which is simply fantastic. Seriously though - Drive Like Jehu, Hot Snakes, Rocket from the Crypt, Pinback, Three Mile Pilot, etc. Granted, many of these bands share members so maybe it's just a small cadre that's making the rest of the city look good. Regardless, Black Heart Procession are doing San Diego proud. Known for their dark tales of despair and woe, The Spell did little to stray from the usual Black Heart formula. Nevertheless, this record did reel in some of the grandeur of recent efforts like Amore Del Tropico. Although the band has streamlined and focused their sound on The Spell, the darkness has been kept intact along with frontman Pall Jenkins' signature wail. Plus this album added just a touch more "rock" to the proceedings. Plain and simple, Black Heart Procession are a great band to make you feel good about feeling bad.
11. Ghostface Killah - Fishscale (Def Jam)
This guy deserves a gold medal just for making a great hip hop album. Albums on the whole have been taking a nose dive, but hip hop albums in particular have just plain sucked in recent years. In a world where singles reign supreme, Ghostface actually managed to put together a cohesive effort that retains its quality from start to finish. Sure it's too long, includes stupid skits and unnecessary guest spots from his Theodore Unit crew, but Fishscale is light years ahead of most major label hip hop efforts. Plus it's all about coke, and who doesn't love that? Whether he's spitting true-life narratives ("Shakey Dog"), marrying tales of drug-slinging to samples of schoolhouse films explaining the metric system ("Kilo") or making ludicrous and impossible-to-decipher metaphors (most of the album), Ghostface is in top form here.
12. Yeah Yeah Yeahs - Show Your Bones (Interscope)
The NYC art kids grow up and make a "mature" album. Who knew they could still be good without Karen O howling like a psychopath and pouring beer all over herself? Not me.
13. Band of Horses - Everything All the Time (Sub Pop)
They sound like the Shins. One time on my KALX show I played a song from this and said it was a new Shins song. Not one person called in and said they didn't believe it. Sometimes ripoffs can be good.
14. Mika Miko - C.Y.S.L.A.B.F. (Kill Rock Stars)
Imagine that your little sister and all her friends started a punk band and it just happened to sound like an updated version of X-Ray Spex. Well, this group of young Los Angeles ladies did it and it's amazing just how much they sound like the genuine article. Punk is not dead just yet.
15. Thom Yorke - The Eraser (XL)
Like this was going to be a bad album. Sure it has some boring moments of electronic noodling, but what solo record isn't a little uneven? Most of this thing is high quality Radiohead-esque experimental goodness. Good times.
Tuesday, January 9, 2007
Another Fucking Blog???
Look, I know blogs are lame. I've been saying it for years. I even said it the last time I did a blog. At least that time I had an excuse. The Noise Pop festival ASKED me to blog for them. This time it's all on me. So sorry to subject you to yet another forum for self-important grandstanding and navel gazing.
In my defense, I just moved to Buenos Aires. That's in Argentina for all you geographically deficient types out there. People back home keep e-mailing and asking for details. How is it? What's the music scene like? How's the food? Now I can just direct people to the blog. So really this is all about my own laziness. Or maybe it's some ingrained American capitalist notion of efficiency that I just can't shake despite my change in hemispheres.
We'll see what happens.
In my defense, I just moved to Buenos Aires. That's in Argentina for all you geographically deficient types out there. People back home keep e-mailing and asking for details. How is it? What's the music scene like? How's the food? Now I can just direct people to the blog. So really this is all about my own laziness. Or maybe it's some ingrained American capitalist notion of efficiency that I just can't shake despite my change in hemispheres.
We'll see what happens.
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