Do OK Go really make albums anymore, or are they just soundtracks to amazing videos?
It seems like the Chicago quartet have a singular mission in life, and that's to bring back music videos (they're even getting sponsorship now -- State Farm Insurance). With each new attempt, their videos are more and more elaborately choreographed, so it makes sense that they'd eventually get around to building a Mousetrap-like setup for one of their songs -- in this case, for the single "This Too Shall Pass" (which actually is the second video for the song).
If you're wondering how many takes it took to get this one down, there's a series of behind the scenes videos to peruse (part 1, part 2, part 3, part 4).
TMBG's latest kidtastic venture, Here Comes Science, sees it's release on CD/DVD September 22, but three weeks ahead of that (next week!), Amazon and iTunes tag-team with some exclusive physical and digital (respectively) action.
As is the case with TMBG's children-oriented releases, having a kid is optional (but it does enhance the experience). Here's a special sneak peek in the form of an MP3 download and a video (which features Robin Goldwasser on vocals and more endearing animation in the vein of Here Come the ABC's and Here Come the 123's).
For a tour, John and John are making a rare appearance West of the Mississippi, hitting both Los Angeles (11/14) and Santa Barbara (11/15) (but still no Seattle... why Johns, why?)
I'm pretty sure that the Cali gigs are going to coincide with an appearance on The Tonight Show, given the band's history with Conan. Tour dates below:
They Might Be Giants Tour Dates NJ @ Union County Music Fest @ Oak Ridge Park 09/19: Raleigh, NC @ North Carolina Museum of Art 10/01: Ithaca, NY @ State Theatre 10/02: Albany, NY @ Hart Theatre/The Egg 10/03: Albany, NY @ Hart Theatre/ The Egg 10/04: New York, NY @ American Museum of Natural History 10/08: Detroit, MI @ St. Andrew’s Hall 10/09: St. Louis, MO @ The Pageant 10/10: Chicago, IL @ Vic Theatre 10/11: Madison, WI @ Barrymore Theatre 10/13: Indianapolis, IN @ The Vogue 10/15: Cleveland, OH @ Beachland Ballroom 10/16: Millvale, PA @ Mr. Small’s Theater 10/17: Kutztown, PA @ Kutztown University - Schaeffer Auditorium 10/18: New York, NY @ NYU - Skirball Center for the Performing Arts 11/14: Los Angeles, CA @ Royce Hall @ UCLA 11/15: Santa Barbara, CA @ Campbell Hall @ UCSB 11/21: Philadelphia, PA @ Theatre of Living Arts 11/27: Uncasville, CT @ The Wolf Den at Mohegan Sun Casino 11/28: Washington, DC @ 9:30 Club
While what we've seen so far of Flight of the Conchords' second season isn't quite up to the brilliance of the first, last night's musical entry, "Sugar Lumps," surely curled a few mouths. After Bret unwittingly bankrupts the band, Jemaine thinks they might make good prostitutes, given that "all the ladies go crazy for my sugar lumps." What follows is a lampoon, both musically and lyrically, of the regrettable "My Humps" from The Black Eyed Peas (a song long overdue for mocking), as is the case with these lyrics:
We see ya girls checkin' out our trunks. We see you girls checkin' out the front of our trunks. We see you girls lookin' at our junk, then checkin' out our rumps, then back to our sugar lumps.
Later, Dave (Arj Barker) gets into the action with an early Beastie Boys homage. As good as it (and the episode) was, it is one of only a few bright spots so far this season. Enjoy:
Is it too soon to laugh at a musical about 9/11? It probably is still for quite a few here in the US (and especially New York,) as the BBC America boards (sort of) lit up after the airing of this episode, which is really the only place to find a reaction, as the blogs seemed to go silent. The episode hasn't even made it to iTunes, and we're entering our fourth day since it aired. (Here's scenes from the musical in video below:)
I found the episode to be pretty funny, the musical to some extent, but especially Chris' reaction to everything ("now that's an ending!") I knew that would be my headline, and thankfully, the real ending was also special. Anwar using the filmography of Hugh Grant in an attempt to 'keep him in the game longer' was pretty funny, and found myself disappointed they didn't get to a certain film that also starred one Nicholas Hoult (Tony). So after some delay, when Anwar announced he "never gets as far as About a Boy," I ended up waking my wife with hysterical laughter.
This is probably the first episode I've seen where the replacement music they used in a scene was actually better than the original. The first creepy scene with Sketch at the beginning originally used Aqualung's "Good Times Gonna Come," but what ended up playing here was much cooler. The same snippet of song was used when Anwar climaxes as he repeats "Bridget Jones" a second time. I still would've liked to hear "North American Scum" at the drama teacher's party, since he confesses to solidarity with his New York bretheren, and the original placement of "Addicted to Love" would've worked wonders when dancing inappropriately with Michelle.
Praise be! The new TV on the Radio album Dear Science is in Rhapsody a week early, and now we can also watch the video for the "Wanna Be Starting Something"ish lead single "Golden Age." Complete with dancing cops and the band as muscled shapeshifters, it's a real head scratcher (in the good way):
If you thought that SP20 ended on Sunday, you're partly right... the official part did anyway. But like Green River and Fluid did the Thursday night before at the (tiny) Sunset Tavern, some bands were sneaking in more Sub Pop goodness outside the event. Monday night at Neumo's was billed as The Listening Party with Special Guests, and knowing that the band was getting set to start tour with Wolf Parade, some folks figured out that part of the secret pretty early. Yesterday morning, it was revealed that not only was Wolf Parade playing, but also Foals, essentially two of the three bands I most lamented missing out on by going Saturday instead of Sunday (the other being No Age).
The show was insanely great, Foals were tight as motherfuckers and Wolf Parade gave their usual stellar set. And I was surprised at how much I enjoyed The Listening Party as well, with their Pet Sounds, freak-folk, kitchen-sink sound. But ultimately, it was Wolf Parade's night, as evident in this video I captured of "I'll Believe in Anything," during their encore:
Note the annotated video... YouTube added that feature a bit ago, and this was my first attempt at using the 'Pop-up Video'-like technology on one of my videos.
By now, you already know the back catalogue for Paul McCartney (or 'Macca,' as he's affectionately known,) has finally made it into digital distribution circles (just in time for the buzziest Macca release in ages, Memory Almost Full.) It adds a lot of great music to the library, but it also unfortunately adds some real waste as well. Wild Life (1971,) Wings at the Speed of Sound (1976,) Back to the Egg (1979,) Pipes of Peace (1983) and that dogs of all dogs, Give My Regards To Broad Street (1984,) all need some desperate cutting.
I am, however, excited to have his first two solo releases, as both them, while critically panned at the time, feel ahead of their time in scope and feel. The minimal/nearly lo-fi approach of Paul McCartney (1970) and Ram (1971) seemed like a reaction to the wall-of-sound treatment that Phil Spector gave Let it Be's "The Long and Winding Road." In fact McCartney started his first recording in his home-built studio at the same time Spector was bringing in his opulence to those fated Let it Be mixes. The lack of production turned a lot of people off at the time, but the intimacy of the songs help close Macca's emotional distance, and, more importantly, they don't sound dated like some of his later fuller production with Wings (and moreso with his solo reboot in the 80s.)
Macca's self-titled debut was also the perfect reaction to being in a band for so long, as he plays every frackin' instrument. While there's little emotional impact from the songs (as his often the chink in Macca's armor,) the melodies are all there. "Junk" is recorded like a throwaway track (indeed it wasn't deemed worthy for The White Album or Abbey Road) but contains one of his most memorable melodies, and "Maybe I'm Amazed" might very well be the best song he's ever written.
His second album, Ram, was recorded in a real studio with some help, but still retained much of the minimalist production that Macca was toying with at the time. "Too Many People" and "Smile Away" are two of the most underheard Macca gems. "The Back Seat of My Car" signaled a move back to higher production value, and "Uncle Albert / Admiral Halsey" was a precursor a lot of the work he'd do with Wings. The reviews continued to be poor, and forming Wings helped served as a way to not have to take the brunt of the critics anymore. That's too bad, 'cause while Band on the Run was truly great, the rest of McCartney's work in that period is a mixed bag. It's fun to imagine what a solo McCartney would've sounded like through the rest of the 70's... without sheltering himself behind the Wings moniker, would he have been so willing to go so sickingly sentimental? Or was he just Linda-whipped and the rest was inevitable.
There's something to the Linda angle, as it took her tragic death to get him to back on track with the post-Linda trilogy (Flaming Pie, Run Devil Run, and Driving Rain.) Chaos and Creation in the Backyard furthered a necessary maturation in Macca, as he finally let go and let someone besides himself behind the board to co-produce (Nigel Godrich.) Now he's given up the reigns (almost) entirely with the forthcoming Memory in Full, which works very well.
The lead single ("Dance Tonight") is probably the simplist track on the album, but having Michel Gondry direct and Mackenzie Crook in your video more than makes up for it.
The week following the Grammys is typically a weak offering, with labels not wanting their releases to get stuck in the shadow of this typically weak event. Might've been a good time to roll the dice, though, as the Grammys were a non-event it seems. Folks have already moved on today, and what better way then profile some new releases.
Field Music's association with The Futureheads (drummer Peter Brewis was a founding member) has seemed to hurt them more then help, seemingly stuck in their shadow. With their sophomore release, Tones of Town, they've moved out of that shadow and are feeling the sunny glow of the California sun, ala Brian Wilson's Beach Boys. Think The Futureheads, but by way of XTC bowing to the altar the aforementioned Wilson, and you're getting closer. Might be the most perfect piece of indie pop we'll hear all year. The opener "Give It, Lose It, Take It" is a great example of the album - three-part harmonies woven through an unpredictable pop structure. The lead single "In Context" (see video below) starts off with a Futureheads-y riff and haromonies until the strings come in and sweep you off your feet. Probably a better example of their songwriting prowess is "A House Is Not A Home" which gets it's hooks in you by the time the George Harrison guitar lead brings you into the first verse. The only negative thing I can find about this album is that every song feels like it could be a single, and albums like that tend to fall off a bit after repeated listens... so time will only tell if it remains as one of my top albums of the year.
The video for Field Music's "In Context" is contextual genius:
This is essentially Charlotte Gainsbourg's first album, as a previous release was from when she was 13-years old, and was more a novelty release from a famous daughter (her parents are French legend Serge Gainsbourg and English actress/singer Jane Birkin.) While that first release had her father's hand guiding it, this one finds her leaning on some indie rock greats like Air, Jarvis Cocker, Neil Hannon (The Divine Comedy,) and producer Nigel Godrich (Radiohead, Beck, Air and Pavement.) Charlotte finally gets her big US introduction, not only thanks to this album, but also the beautifully weird film The Science of Sleep, which was released on DVD last week and features Gainsbourg's acting chops.
A pretty tame offering from this normally beautifully jagged outfit... seems radio-friendly and ready for it's spotlight. Not sure where and how new member Johnny Marr contributes in this song, but it's certainly his best shot at charting in the US since The Smiths disbanded. I refuse to believe this is indicitive of the album as a whole (flipping blinders on now.)
While shooting a PSA for drinking water in third world countries, Martin complains:
Can we get on with this? I've gotta do AIDS and Alzheimer's and land mines this afternoon, and I wanna get back for Deal or No Deal. Plus, Gwyneth's making drumsticks.
And this is after trying to get the agency shooting the spot to promote Coldplay's new Greatest Hits album coming out in the near fictional future (see video.) But some of the real fun comes later when Martin agrees (insists) to appear on the Andy Millman (Gervais) comedy When the Whistle Blows, and Martin sings "Fix You" for the factory employees because their radio stopped working. What are you doing here in a factory in Wigan? It's mental! Apparently trying to sell Coldplay records. Later on, Chris Martin sings the theme song (Cat Stevens' "Tea for the Tillerman") and after the credits, sings "Fix You"again as a duet with Gervais as Andy as When the Whistle Blows' Mr. Stokes.
Ricky Gervais' Extras continues to be hilarious in spite of the fact that much of the context is beyond us here in the states. I consider myself a bit of a comedic anglophile, so seeing Black Adder II's Stephen Fry sending himself up as a pompous BAFTA winner was spot on, but I (like the rest of the country) am pretty unfamiliar with comedian Ronnie Corbett and actor Richard Briers, both of who's appearances seem to hinge on being part of the viewers cultural vocabulary. That being said, there was still plenty of subtle things that had me laughing, like a BAFTA award being given out for a program titled The Women Who Gave Birth to Herself. The fact that creators Gervais and Stephen Merchant don't bother to translate for US viewers, seems to shows they're not interested in letting their creations end up like Andy Millman's When The Whistle Blows. Either that, or they'll franchise the series to other countries like they did with The Office.
Bowie writes an impromptu song called "Little Fat Man," after hearing Andy Millman (Ricky Gervais) complain about the series (When the Whistle Blows)he sold to the BBC.
Little fat man who sold his soul, Little fat man who sold his dream...
Pathetic little fat man, No one's bloody laughing, The clown that no one laugh's at, They all just wish he'd die. He's so depressed at being hated, Fatso takes his own life, He blows his stupid brains out, But the twat would probably miss.
He sold his soul for a shot at fame, Catchphrase and wig and the jokes are lame, He's got no style, he's got no grace, He's banal and facile, he's a fat waste of space
See his pug-nosed face...Pug, pug, pug, pug, See his pug-nosed face...Pug, pug, pug, pug, See his pug-nosed face...Pug, pug, pug, pug, The little fat man with the pug-nosed face, Pug, pug, pug, pug, Little fat man, pug-nosed face, Pug, pug, pug, pug, He's a little fat pug-nosed face, Pug, pug, pug, pug.
Used repeatedly at block parties back in the day by legends like Kool DJ Herc, Grandmaster Flash, and Afrika Bambaata, the album Bongo Rock (1973) was a must-have for any practicing DJ. But sadly it went out of print long ago. It's reissue tomorrow also includes the follow-up album, The Return of the Incredible Bongo Band (1974,) along with a couple bonus remixes, including one of "Apache" from Grandmaster Flash (used recently for a German TV commercial.)
Last night, the White Stripes got the Matt Groening treatment (that is, drawn yellow) and appeared on The Simpsons. Bart becomes a drummer and while perfecting his craft, goes on a "The Hardest Button to Button" psychedelic ride and runs into Jack and Meg White (now yellow,) and a battle ensues.
For those that have forgotten (or haven't seen) the "Hardest Button to Button" video (that the scene is based on,) YouTube has that as well. (PLAY)
Elsewhere, Lisa rescues some animals and walks down the sidewalk to "Little Green Bag" ala RESERVOIR DOGS, and Bart sits in on a rendition of Dave Brubeck's "Take 5." A most disjointed episode, as the second best line from the show attests: "I can't believe the plot lines intersected!"
Best line? Bart, after learning he'll never drum again: "I used to be a great drummer, but now I'm nobody, just like Phil Collins."
Sub Pop does it again... it was recently announced that Sub Pop added Sweden's Loney, Dear to their roster. For anyone that look/click at all on my EARS: albums to the right, you'll know I've had Loney, Dear's album SOLOGNE up there for ages - since I brought it back from Europe with me in early July, to be more exact.
February 7, 2007 is the release date for a new album entitled LONEY NOIR, which begs the question, when/where does SOLOGNE see a release in the US?
And, in case you missed it, here's TV On The Radio setting Letterman on fire two nights ago:
Do OK Go really make albums anymore, or are they just soundtracks to amazing videos?
