Review: Let’s Go To War – Life We Live

A slightly creepy ‘Casadaga’ era Bright Eyes styled nourish intro’ morphs into a philistine yet comforting, distorted chorus. This cruising techno tilt of a single shows up the freshness and baseness of Peter-John and DJ Circuit. Creating a edginess akin to Eric Prydz and enough disco energy to keep capture the attention of the likes of the Creamfields organisers.

B-side ‘Burn Down The Disco’, whilst relying a little too heavily on cocky re-iteration of the song title and an edgy bass element. The song does build up in impact to produce the sort of effect that The Rapture and Shy Child would, should they be asked to do a conjoined guest slot on X Factor. Urban sliced hip-hop skirting slow burner, ‘The Whole City’s Got A Cold’ bemoans the narcotic culture and how it is inhibiting people:

“Everybody’s sniffin’ sniffin’… People don’t dance no more all they do is sniff, all they do is sniff.”

The last track especially shows that Let’s Go To War want to bring gyration back, but also that they have something to say. In this credit crunch, P-J and Circuit, cruise around several genres for you, so you don’t have to max out your I-tunes account in your search for variety and, they seem to know what they are doing in each one.

Moody Jazz

    Holiday music can become a little bit overwhelming. Brenda Lee has been stalking me this year, rocking around her Christmas tree in just about every store I set foot in. I’m going to be rocking someone’s tree if I hear it once more. If, like me, you are weary of the holly jolly tunes this season, let me suggest some classic jazz listening for any mood, any time.
              If the endless “goodbying” and the fire so slowly dying in “Let it Snow!” has you bursting into tears and cursing love everywhere, there are some songs that would agree with you. “You Don’t Know What Love Is,” sung by Dinah Washington, is a must. “You don’t know what love is/ Until you’ve learned the meaning of the blues/ Until you’ve loved a love you had to lose/ You don’t know what love is.” Dinah Washington, having been married seven times, has the right to claim authority on this one.
              Billie Holiday’s “I’m a Fool to Want You” was released in 1958 on the last album she ever made. The raw, wearied warble in her voice speaks of a life hard lived. She draws out the first line of the song with a tangible ache of honesty that draws her listeners in for more. Nobody does heartache like Lady Day.
              Perhaps wallowing is not your style. You’re moving on and need something upbeat to match your outlook. “Walkin’ My Baby Back Home” is one of my favorite Nat King Cole tunes. The big band arrangement is at the top of my list of hard-swinging charts. Anita O’Day sings to another great arrangement (Billy May) on the tune, “I Get A Kick Out of You,” by Cole Porter. Frank Sinatra’s version may be more well known, but Anita takes this song to a whole different place by setting a tempo so fast your foot can barely keep up. And while your foot is going, take a listen to Ella Fitzgerald’s wildly wonderful scatting on her version of “How High the Moon.” You will be yelling like you are in the front row by the time it’s over. And of course, if you are looking for cheer , you cannot go wrong with anything Louis Armstrong. “Sunny Side of the Street,” anyone?
              Two pieces I would recommend for sheer beauty are Duke Ellington’s “Isfahan” and Count Basie’s “Lil’ Darlin’.” The former was one of the last of the famed musical collaborations between the Duke and Billy Strayhorne. The piece is a part of Ellington’s “Far East Suite,” his attempt to musically convey what the group saw and heard on the band’s 1963 tour of the Middle and Far East. “Isfahan” (named after one of the largest cities in Iran) features the lush tone of saxophonist Johnny Hodges, a veteran Ellington band member. The exquisite melody is matched with an equally exquisite sound from Hodges, backed by the full beauty of the horns and rhythm section. “Lil’ Darlin’,” from the album “Atomic Basie,” is similar in its masterful arrangement (Neal Hefti) and beauty. The tempo is a leisurely stroll, the theme simple, and the result classic. If you are ever in need of accompaniment while de-stressing, these two pieces are it.
              It seems that the compilation-meisters have found their compilation heaven in the trove of music deemed “romantic jazz.” “Jazz for lovers,” “Jazz by Moonlight,” “The Most Romantic Jazz Music in the Universe…” apparently jazz musicians like their loving. I will just make two suggestions for this category that has been so thoroughly mined before. The first is “Easy Living” by Chet Baker. “Living for you is easy living/ It’s easy to live when you’re in love…” Although he is known primarily as a trumpet player, Baker has a vocal style that matches his horn playing: intimate and relaxed. Really relaxed. Being stoned for the majority of his career might have contributed to this stylistic feat. For romance you also cannot go wrong with a bossa or two. I would choose the 1963 album “Getz/Gilberto,” featuring the expressively warm tenor saxophone of Stan Getz, guitarist and singer João Gilberto, Antonio Carlos Jobim as pianist and composer, and Astrud Gilberto. Oh and Portuguese. Everything sounds more romantic in Portuguese.
              And not one to leave out the equally deserving, yet overlooked moods, let me suggest the song “Peel Me a Grape” sung by Anita O’Day if your holiday has you feeling haughty, and June Christy’s version of “Ev’rything I’ve Got” if you need some vindictive venting. “I have eyes for you to give you dirty looks/ I’ve got words that do not come from children’s books,” starts the song. And it only gets more spiteful from there.  Probably not good material for your holiday party, but hey, we can’t all be Brenda Lee.

Video: Dan Black – SYMPHONIES

The video for Dan’s latest single. He is also hitting the road next year with a few select dates

Upcoming tour dates:

Thu Feb 18 – NYC @ Mercury Lounge

Fri Feb 19 – Montreal @ Belmont

Sat Feb 20 – Toronto @ WrongBar

Tue Feb 23 – Los Angeles @ Cinespace

Thu Feb 25 – San Francisco @ Popscene / 330 Ritch

The Builders and the Butchers – Salvation is a Deep Dark Well

This album actually came out a few months ago.  I was totally excited when I learned of its existence.   It flew under my radar, so I figure some of you might have also missed it.

I saw these guys earlier this year opening for Murder by Death (who have brought at least one opener that I have enjoyed every time I’ve seen them; a pretty impressive feat).  They had two drummers, horns, mandolin, played a kind of folky/traditional Eastern European/Southern Gothic sound and sang about water, Spain, vampires, and plants.  After the show, I went downstairs and bought the two discs they were selling.

Salvation is their second full length, and their sound has grown since the self-titled debut.  They have a slew of musicians and singers throughout the album that gives it a much thicker sound.  Its produced by disgraced guitarist, Chris Funk, who no doubt helped to expand their sound, but also makes them sound a bit more like The Decemberists (who I like; but are already a band).  Take the good with the bad, I guess.

Anyway, this is one of my favorite albums this year and is  good from start to finish, from the foreboding haunted Golden and Green (click on the link below for download) to the triumphant gospel-like The World is a Top.

01 Golden And Green

News: Owl City Announces Spring 2010 US Headlining Tour!

Owl City announces a Spring headlining tour of the US kicking off on March 30th in Boise, ID and hitting every major US market including New York, Los Angeles, Chicago, Atlanta, San Francisco, Denver, DC and more before ending on May 2nd in Milwaukee.

March 30th Knitting Factory Boise, ID

31st Knitting Factory Spokane, WA

April 1st Paramount Theater Seattle, WA

3rd Roseland Theater Portland, OR

5th Fillmore San Francisco, CA

6th Fillmore San Francisco, CA

7th Fox Theater Pomona, CA

8th Soma San Diego, CA

9th Club Nokia Los Angeles, CA

10th Marquee Phoenix, AZ

12th Salt Air Salt Lake City, UT

13th Ogden Denver, CO

15th Stubbs Austin, TX

17th Nokia Theater Dallas, TX

19th War Memorial Nashville, TN

20th Tabernacle Atlanta, GA

22nd DAR Hall Washington, D.C.

23rd House of Blues Boston, MA

24th Terminal 5 New York, NY

25th Electric Factory Philadelphia, PA

28th House of Blues Cleveland, OH

29th Royal Oak Detroit, MI

30th Riviera Theatre Chicago, IL

May 1st State Theater Minneapolis, MN

2nd Eagle Ballroom Milwaukee, WI

Video: Editors – You Don’t Know Love

Editors – You Don’t Know Love

EDITORS | MySpace Music Videos

New video from Editors You Don’t Know Love

Review: Cymbals Eat Guitar – Why There Are Mountains

WHOA-OO-WHOA-OO-WHOA-OO-WHOA-OO-OH! – the delightfully manic-depressive ‘…And The Hazy Sea’ grabs you by your hair and slams your face into ‘Why There Are Mountains.’ ENTIRELY unpredictable it yells at you, gently explains matters, yells at you again, consoles you, drifts into thoughtful silence and, while you rightfully shiver in your corner, then lets out a final frustrated scream in your direction before skulking away.

This barely-out-of-teens Brooklyn quartet must be aware of their own skills, as they released their debut album independently of any evil record label. Their confidence is not misplaced but then again, if you’d had The Wrens’ Charles Bissel giving you guitar lessons and recording your demos, you’d probably be pretty smug youself.

Cymbals Eat Guitars have a sound that is essentially a more elaborately conceived version of Pavement’s, to which they add a (what would usually be seen as) incongruous mixer in the form of a markedly Shields-ian drone. A sound you get a taste of in the opening of ‘Indiana’, and one that is shoved down your throat on ‘Share’ which incorporates both Loveless-era MBV as well as the more jangle-pop stylings that characterised their early years. As similarly epic as ‘…And The Hazy Sea’, ‘Share’ is quite the masterpiece as it manages to smoothly integrate, of all things, a horn section and a distorted hair-metal guitar squeal, as if these were the most natural things on earth to accompany the equally natural Pavement/MBV hybrid.

They branch away slightly from overbearing drone on Wind Phoenix veering more in the direction of perky, chime-laden indie-pop and oh, so much Malkmus. Wait, did I say indie-pop? I’d like to take that back. As hook-laden as the vocals are, there’s nothing ‘pop’ about the discordant cacophony that explodes in the midst of the song before peacefully subsiding and picking up the initial indie-pop thread where it had left off and then carrying on as if nothing had happened. It’s like having your day interrupted by the apocalypse and finding it to be nothing more than a minor distraction in the course of your usual routine. Cymbals Eat Guitars are impressively sure of themselves and with a sound as this polished and professional, you wonder if the reason they remain liberated of a label is because they simply haven’t been snapped up or because they’re earning themselves some indie cred.

Review: Danielle Spencer – On Your Side

Journeying Antipodean pop-folkstress Danielle Spencer, through the carefree, jovial and weaving ‘On Your Side’, combines the quirky skip of Feist, with the sincerity of Ane Brun. It provides a snippet of the refreshing, uplifting pop and folk flirting that is to come as this Spencer starts to make a name for herself.

The leading lady comforts and reassures you on your journey down the road of life. A slight 50’s noire element seeps though to lend variety and intrigue to the number. Having already cracked it in her native Australia, Spencer with this smoothly sauntering single, could be a taking the first step on the road to UK recognition.

Video: Ash – Tracers

Tracers live and acoustic, Tim Wheeler with Emmy the Great. Directed by Josh Kletzkin. Tracers is D in the A-Z Series, subscribe to the A-Z Series

Video: Fyfe Dangerfield – She Needs Me

Fyfe Dangerfield’s brand new video for ‘She Needs Me’

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