Armand Van Helden - “I Want Your Soul” (YouTube)
I want a boom box that makes everything 1992. He may have some of you turning up your noses, but Armand Van Helden always knows what is going on… and you gotta love him for that. Plus this video is just so super. “I Want Your Soul” is out September 3rd…
Another in the line of Mike Mills/Blonde Redhead 23 colllabs. Last time, Mike had Miranda July holding poses and staring for one-second intervals to the tune of "Top Ranking," and it's a similar conceit here (one face per shot), only with more people, and more tears. We like to think of it as "A Series Of People Watching The Besnard Lakes' 'For Agent 13.'"
Still tired from our Chicago trip this weekend, and really it's all this 2AM show's fault. Word floated through the Pitchfork Festival on Sunday that a warehouse at Wolcott and Walnut (mnemonic device of the day: "Think 'Wall' ... then think 'CotNut'") would host the two acts accused of "stealing the festival" this year for an insane, post-midnight anything-goes afterparty. Sure, we had posts to do and an early morning flight to catch, but no way were we missing it. And sure, the threat of the cops coming and/or floor collapsing in the barely converted warehouse (in a definitely-not-residential area) was entirely real. Still, being there was the best decision we made all weekend.
We've talked about how Dan's shows are straight joy, how he's hilarious, etc. -- you've heard it. What we got to see on Sunday at 1:30AM was just how hard this guy hustles for these impromptu "house party" type gigs: searching for cords and outlets; fashioning together makeshift tables and supports for his speakers/pedals/lights, just to play for a few songs, just for the thrill of spreading the thrill.
A few bars into "Okie Dokie," the frenzied dancing started, followed by a splash of a mystery liquid onto Dan's rig. Music cuts. "Okay, if any liquid is thrown up here again, I'm stopping. I'm serious; it happened last night and I got electrocuted and it really hurt." Folks laughed, but he was serious, getting the shock treatment at an afterparty the night before (after getting firemarshalled at P4K, helluva day). Music stopped again later, as the way-too-packed crowd had the Deacon gut flush against his pedal table. "Guys, can we not push?! Just remember dancing doesn't mean pushing people around you. I'm not saying take a 'chill pill,' just take a 'we're not dancing at a satanic ritual pill." Thankfully, the liquid-tossing/crowd pushing ceased, though the kids didn't heed his "don't hang from the hot water pipes!" warning. Like, what else were they gonna do to get a view?
Minutes in, we noticed parts of the rig were toppling. "Hold this!" Dan yelled between vocodoered shouts to a fan standing in front of his table, insecure parts of his sonic contraptions wobbling from severe dance-impact. "This really is not a good idea," he looked up, smiling uneasily.
He may have been right, but the set went on, windows closed to minimize street noise. Had to be 110º in there. Basically a sweat sauna, other people's moisture in the air, saturating our shirts and jeans. Gross. But pretty much perfect.
Deacon's work wasn't done after closing with "Wham City," though (complete with sopping wet lyric sheets) -- at least, he didn't choose for it to be. Deerhunter arrived just as Dan finished up, and he followed his sweaty set by helping set up Deerhunter: lugging around PAs, running cords, etc. As soon as Bradford's mic was live, he said while crouched next to his loops: "Dan Deacon is the hardest working man in show business!" We cheered.
What to say about Deerhunter. The set was unreal, a personal Top Five concert experience. The set started like a séance, Bradford saying: "We'd like to dedicate this to the Germs ... We'd like to dedicate this to Brian Eno ... We'd like to dedicate this to David Bowie..." The performance corner of the room had some tree-pictured wallpaper and a random faux moose-head (see pics after the jump for a funny moose/hunter pic), with the band squeezed against the wall, fans forced to stand right on top of the band. Packt like sardines beyond all levels of safety, full of post-P4K attendees, random Chicago kids, a smattering of admiring artists (including Girl Talk and Jamie Lidell). We stood between Bradford and guitarist Colin Mee (literally), picking up an electric shock each time we were pushed into Colin's arm/shoulder, taking home a jolt like licking a 9-Volt. Think that justifies our describing the set as "electrifying," though maybe not the hyperbolic descriptor "legendary" -- which, it totally was.
Everything about Cryptograms and Fluorescent Grey becomes more intense live -- the swirling, ambient elements of their tunes turn into mystical, storm-summoning sheets of noise ("White Ink"); the pockets get deeper ("Cryptograms," "Octet"); the thrashing climaxes more ... climactic (pray for "Spring Hall Convert"). And then there's Bradford: instant vintage, utterly charismatic, totally lovable, equal parts shrieking amp-perched gargoyle, mic-fellating madman, straight-up pedal-enhanced rock hypnotist. They jammed through LP and EP tunes for an hour, Bradford taking hugs and high-fives for the next. We walked home at 5AM, off to the airport five hours later. Our ears are still ringing.
They were amazing at P4K Fest too (Grizzly Bear joining on a killer "Strange Lights"), and between the two sets -- and from the lips of most artists we chatted with -- Deerhunter were the weekend's MVP. Shit, they may be the year's MVP. See 'em live and you'll probably catch the fever. Maybe you'll get a dress (this weekend at the festival, not the warehouse), maybe you'll get a meltdown, maybe you'll see an intra-band BJ -- but here's hoping you don't. That stuff's fascinating, sure, but don't get it twisted: Deerhunter rocks harder than most, right now. More Deaconhunter warehouse pics after the jump, also a massive spread of the Bradford band's 'Fork fest photos with which to freak out your coworkers.
Unless you were born with one of those silver spoons, you likely work a day job, sneaking time for your own business when not taking care of someone else's. You're not alone. Every week, Brandon Stosuy finds out how our favorite indie artists make ends meet...
From their SST-referencing name and gracefully sloppy Ramones-meets-Kicking Giant sound to guitarist Randy Randall and singing drummer Dean Spunt's decision to release five limited edition vinyl-only EP's on five different labels as their introductory course, No Age seems to get everything right.
Weirdo Rippers, a favorite around here, is a superb selection of 11 tracks culled from the aforementioned EPs. If you still haven't snagged a copy, head to the end of the my discussion with Los Angeles's finest, a bona fide Band To Watch, and listen to "My Life's Alright Without You," a snotty fuzz-rock nugget that appeared on the self-titled Youth Attack EP prior to its inclusion on Weirdo Rippers. Additionally, the UK label Upset The Rhythm kindly gave us permission to post the punk-loping non-album track "Get Hurt" from the Get Hurt 12" EP.
No Age are great, but I wouldn't be mentioning Randall and Spunt in Quit Your Day Job if they were just a cool band: One teaches Special Education at an inner city school and the other works as a wardrobe stylist for television commercials. Intriguingly divergent, right? See who does what after the jump.
So Les Savy Fav is back after 6 years since their last full-length release with a bit of a different sound. I was surprised to hear their new single b/c I was expecting more of a dance-rock vibe and now they sound like more of an indie rock band…not necessarily a bad thing, just unexpected. The description of ‘Lets Stay Friends’ (out on French Kiss Records) on their myspace page makes this album sound like a mature and personal progression for the band in their effort to stay true to their nature in a world that wants them to change. Isn’t that kindof ironic since I just mentioned that I thought they had changed? hmmmm……
Les Savy Fav - What Would Wolves Do
They’ll make a lover out of you (more…)
Cross-genre'd indie covers are nothing new (see Christopher O'Riley, Brad Mehldau -- and remember the jazzy Pavement of Gold Sounds?), but we'll always love 'em. Get Jon Brion involved, and we're sold on the spot. The Section Quartet present Fuzzbox, a two-violin/viola/cello take on acts like Queens Of The Stone Age, Muse, Radiohead, Bowie, the Strokes, and the Postal Service -- with an eye toward keeping it rock, despite the classical orchestration. Linda Perry escaped Courtney Love's incessant shoutouts long enough to produce the LP, though its Jon Brion who helms this take on YYYs "Phenomena."
The Section Quartet - "Phenomena" (MP3)
TSQ's take on "Juicebox" and "Paranoid Android" are up on MySpace. Fuzzbox is out 8/21 on Decca, and the Quartet's doing a CD-release show at Mercury Lounge that night. Go and tell your mom you went to see a classical-string show.
New tune from Dave on this soundtrack-news Wednesday, written for the forthcoming Sam Rockwell psycho thriller JOSHUA (the all caps makes it SCARIER!). IMDB has the plot...
The arrival of a newborn girl causes the gradual disintegration of the Cairn family; particularly for 9-year-old Joshua (Kogan), an eccentric boy whose proper upbringing and refined tastes both take a sinister turn.Dave liks 'em dark! Ever since House, he's been so creeptastic. Here's "Fly" in incomplete, JOSHUA trailer format.
Why is Vera Farmiga screaming so much?! This kid's the next Haley Joel "I want to be a real boy" Osment. Y/y?
Advance listens from Danish indie outfit Figurines' forthcoming LP have seen 'em expand the American-guitar-rock aesthetic to include Brian Wilson nods and mountain-prarie psych pop, a promising peek at their life after Skeleton. Now the band's inviting you to join the listening party, with a full album stream of When The Deer Wore Blue. Just listening now, and hearing a decade shift in the sonics: Welcome to the '60s. Beach Boys harmonies ("The Air We Breathe," "Lips Of The Soldier") tambourine ("Angels Of The Bayou"), Summer of Love staccato riffage ("Drunkard's Dream"), all with that delicious Danish melodicism. Certainly psych-y, still need more spins to know if that's a good thing. See for yourself by launching the e-card here.
When The Deer Wore Blue is out 7/23 on Morningside.
The Budos Band - Chicago Falcon
I try to keep up, but sometimes other things come up, and I forget that local labels, like Brooklyn's own Daptone, are cranking out the real deal.
The Budos Band is releasing their second album, Budos Band II in a couple of weeks on the Bushwick funk-powerhouse, and I can't recommend it enough. According to their biography, the band totals eleven members (drums, bass, guitar, electric organ, two trumpets, bari-sax, and a percussion section), the core of which met playing in an after-school Jazz ensemble at a community center in Staten Island. They formed Los Barbudos (the bearded ones), but trimmed the name to Budos after one member shaved his beard off. The Budos Band released their first record on Daptone in 2005, and this album is a truly excellent follow-up. It is riddled with Afro-funk and soul. The band sounds super tight together, but funky and loose as hell at the same time. As is the case with pretty much everything that Daptone releases, if you played this for someone, you'd have no reason to suspect that it was new music: it sounds like totally classic, all-instrumental funk that belongs on a blaxploitation soundtrack circa 1973.
If this track whets your whistle, the rest of Budos Band II is totally essential stuff. Look for it in stores and online July 31st. Check the Daptone site (here) for more info on the album, and a string of live dates throughout August, and visit their myspace page for more info and tunes.
Remember when Zooey told Patrick Fugit to "Listen to Tommy with a candle burning, and you'll see your future"? Not the greatest advice, but you did it 'cause she has those huge, hypnotizing eyes? Well Zooey's used those powers of persuasion on indie-folk troubadour M. Ward, getting him to collaborate on a soundtrack cut for The Go Getter, an upcoming indie flick starring Deschanel, Jena Malone, and a quick cameo from Ward himself (making both his acting film soundtracking debut).
Zooey's been working the music angle for a bit now, singing and strumming and setting schoolkids' hearts afire as the teacher in Bridge To Terabithia, performing in cabaret outfit If All The Stars Were Pretty Babies, and playing out with M. at Sundance. So, no surprise she and M. make beautiful music together on "When I Get To The Border" by Richard and Linda Thompson (who have been on our radars lately). Have a listen of the original and the update at The Playlist.
After the jump, a cute pic of Zooey & M. together onstage.