Ketchup

So a few things have happened since my last post...

About a week ago I finished my final class for my Biology BA, so now I just have to deal with waiting for UCSC to get all the paperwork and documents in order so that I can really apply for graduation and finally get that diploma. Finally. But what that leads into is the more pressing need to look for a job. While I'd love to find something that fits in better with my interests/schooling background, I have a feeling that its going to probably end up being the lines of temping at an office. Hopefully somewhere within walking distance of our apartment here in downtown PDX.

Something affecting the job choice involving time constraints is that it looks I'll finally take my first big step out of the country this summer. Yes, my international travel virginity looks like its going to be taken by Spain this summer, when Becca and I get to spend a few weeks with her family there getting to know Madrid and exploring the country. I could try to express my excitement through words here, or a link to some ridiculous video (N64 kid anyone?) but I'll just let you assume with this: (:D)

Also, I turned 24 last Friday. I know there's 'no big deal' to one year older and such, but its proximity to my finishing class and looking for a job seems a bit symbolic and intimidating. Each year since turning 20 has been progressively scarier, feeling like I have less and less of my crap figured out basically. So here's to hoping 25 doesn't feel like that next year. AHHHHH.

On the music front, which has actually felt like I've been progressing a little, with a couple songs written out (just not associated with music yet) and a bank of riffs in my head, I feel ready to finally work with people and try to start a band. In addition to my job search this week, I was going to write up an ad and put it on the local Craigslist, Willamette Weekly, and Portland Mercury. I figure if I put up exactly what kind of work that I'm interested in doing, I'm less likely to try to end up playing with music with some people who decide later that what they really want to do is be the next Linkin Park... Bleh. I will keep a lookout for anyone that looks like we could be a match musically though.

Also, my Christmas gift from my parents has finally made its way to PDX via Fed Ex. Its a Jay Turser JT-Res:

Its pretty, and definitely an interesting sound to play with. Maybe I'll put together a little track by the end of the week.

In the meantime, here are some Soundcloud's I posted over the last few weeks. They're just as noisy and lofi as before, so prepare your headphones/speakers accordingly and understand that in person, it sounds much better.

Shoegeiser by nerfherderhan

Droney tremolo reverb testing by nerfherderhan

Fuzzy riff bits by nerfherderhan

Favorite Albums of 2010

This took way too long to complete considering that it was started in early December of '10. Well here you are:

Originally I had titled it the "Best 10 Albums" but then I really wanted to make a list of the albums that I know are most likely to stay in my rotation of more consistent listening. Hope you all had a great new years and I'm looking forward to a new year of new music and possibly even some of my own recordings?! We'll see.

10: Broken Bells - Broken Bells -> Now for those who know me, they probably have heard me whine about The Shins after the whole Garden State Soundtrack being the go to 'indie' mix. But, after hearing the simple enjoyability of 'The High Road' and recognizing Brian Burton's (Danger Mouse) crisp and simplistic production, I realized I do enjoy James Mercer's voice and I had to give the Portlander a fair shake. I love this album and will probably still be enjoying it in a few decades. Also the Chistina Hendricks starring video for 'The Ghost Inside' is pretty darn cool (and the song sounds like Danger Mouse modeled it after his work with Damon Albarn on Demon Days)

9: Yeasayer - Odd Blood -> If this album is an indicator of where music is going, I'm pretty excited. I know it can feel a bit like the trite dance indie-electronica that makes PF (not as much as Kanye does), but there are just so many interesting sounds and juxtapositions of sounds here that at loud volumes, you can't help but be interested. His voice can be a bit whiny at times, but I quickly forget as the songs really draw you in. Other than the number 1 on this year's list, this actually probably my most listened to album of the year. Also, the bridge of 'Ambling Alp' makes my ears do somersaults of happiness.

8: Karen Elson - The Ghost Who Walks -> Jack White's wife Karen Elson's debut album was not one of those 'I know the right people so I got an album made' kind of deal. While the album was produced by her husband, this is not a Jack White derivative album. It is a thoughtful, beautiful sounding collection of well written songs by Elson. While some songs do 'rock out' a bit more, like 'The Garden' the majority play the album covers' slightly spooky tone. Its a haunting collection of singer songwriter songs that will continue to be enjoyed by myself for years.

7: Big Light - Animals in Bloom -> The last time I saw the Mother Hips in Santa Cruz, I had the privilege of seeing Big Light open for them at Moe's Alley. Coming in and not doing my research beforehand, I was surprised to be greeted with a great new band out of San Francisco. 'Heavy', a highlight song from the concert as well as their EP and Animals in Bloom gives you an idea of where they come from in concert.

6: Hot Chip - One Life Stand -> While I know there have been many great electronic releases this past year, Hot Chip's newest album is the only one I think that will really end up remain in my musical consciousness. There are great dance songs, and beats that just lead to introspection when coupled with the satirical and honest lyrics. Also, 'I Feel Better', while one of the standout tracks, has one of the best/funniest music videos I've seen in a long time.

5: LCD Soundsystem - This is Happening -> Critics love James Murphy. PF loves him too. And. Well. Yah, I love this album too. From the obvious Bowie nods to the just genuine flow of thoughts within his lyrics. 'Pow Pow' is my favorite track with its whole 'from this position' mantra. Something I find relatable, and enjoy hearing the thoughts move from one thought to the next.

4: Electric Six - Zodiac -> This band is pretty darn prolific. Other than the two year gap between Fire and Señor Smoke, they've been releasing an album a year since 2005. Not only do they now have an almost overwhelming catalog of songs, but they're good. Their smarm and musicality has been honed over the years with their disco-punk-glam satire rock just getting better and better. Zodiac was no exception to this and with a cover of The Spinners' 'Rubberband Man' and such strong songs like 'Jam it in the Hole' and 'Love Song for Myself' make me feel like next years outing will probably also make the top 10.

3: Blitzen Trapper - Destroyers of the Void -> Having been one of my favorite bands since Furr, and cementing that with their Black River Killer EP, Blitzen Trapper's new album was one of the most anticipated of the albums for me. It did not disappoint with the strong songwriting skills of Eric Earley and meandering folk-prog-rock that ensues (exemplified by the first track). But the strongest moment on the album would have to be the story telling of 'The Man Who Would Speak True'.

2: Apples in Stereo - Travellers in Space and Time-> As I said in my first review, this is one happy, good vibe spouting album. It is going to stay in my album rotation for quite some time into the future.

1: Gorillaz - Plastic Beach-> Definitely the highest anticipated album of the year for myself (if you know me, you know my obsession with the Gorillaz, ESPECIALLY 2005's Demon Days) and it did not leave me wanting. Albarn's amalgam of all forms of modern pop musical styles and artists with selected eclectic tastes are exemplified in the title and concept of the album. A beach so far from civilization where all of the remnants of trash and culture mix together to form something creative, emotional, thoughtful and at times, beautiful.

NMT: Daft Punk's 'Tron: Legacy' Soundtrack

Now usually I start one of these reviews with a bit of my own personal background with the band and how I 'found' them and so on. But this is Daft Punk. Everyone and their mom knows them (including mine). My first album I owned of theirs was Discovery and I've been hooked since I was given it for Christmas of '01. That album has led to so many things ranging from arguments, dancing sessions, an inordinate amount of nostalgic conversations and good feelings.

Their other releases (Homework, Human After All, Alive 1997 & 2007) have similar good feelings and thousands of plays from my various audio devices. So needless to say, hearing word that Daft Punk would be involved with the score/soundtrack of the new Tron left me frothing at the mouth.

Now being familiar with their film work with Interstella 5555 and Electroma, I was fairly sure that this was not going to be a 'typical' Daft Punk album. Not that any of them have been typical when compared to their antecedent, its just that this was not going to be as much of an electronic pop album. Its the score to a film with appropriate drama and instrumentation to fit the epic visuals and feeling of a large scale sci-fi film.

Starting out with the overture, the album sets an appropriate tone for the rest of the album, with a somber and dark classical music styled progression with crashing symbols and a hint of digital distortion; coming off as a less bombastic 'Zarathustra' as seen through the eyes of the French electronic duo. This track sets the tone for the score which follows with amalgam's of digital effects and full outright orchestration, providing strong and moving soundscapes that I am sure will more than back up the film when it is released on December 17th.

The album works well as a mood setter and has particularly energetic 'stand-out' tracks such as 'Derezzed' (which has just received a new music video release), 'End of the Line', and 'Arena' which gives you a taste of what the albums most electronic and energetic tracks will be built upon.

My only criticisms come as a Daft Punk fan looking for individual tracks to pick out and play for friends and in the car, but I won't let those mar how I view this album. As the track 'The Game has Changed' is named, the album and music must be viewed differently. Daft Punk have always been something different in the pop music, dance and electronic scene. They are artists and this project is just further evidence that this duo can keep changing, and keep making memorable and forward thinking music. While I can't personally say its as enjoyable as Discovery (which is in my Island 5), it is of the par to keep it in the same league as the rest of their body of work and should not be dismissed like some music fans would discount Queen's 'Flash Gordon' soundtrack (though the theme song is SO catchy).

Daft Punk's 'Tron: Legacy' Soundtrack - > 4.5/5

Also an interesting fact; I saw an interview with Joseph Kosinski where he discussed how he asked Daft Punk to work with them, and they came to him with a full set of songs before even seeing any of the material. From the way he described it, the demos did not change very much and even ended up effecting the movie's production. These projects were developed in coordination with one another and I look forward to seeing how the music affects the pacing of the film in two weeks!

Is it just me or does the little Disney symbol kinda ruin the simple design of the cover?

NMT: Simian Mobile Disco's 'Delicacies'

This is the third studio album from the UK based electronica band and it definitely sets it self apart from the previous two electronic pop albums. This is sans-singing electronic album that sounds it best at loud volumes on headphones.

What you can take from the name and the names of the tracks is that this may have something to do with food, seeing as each track is named after some form of edible that at least some culture in the world would deem a 'delicacy'. Seeing that and keeping track of my foods as the album plots along let me really feel how these pieces all seemed to be composed with that particular dish in mind. Now without lyrics, how would you do that?

Well with track one "Aspic", the beat has a noticeably bouncy quality. I know. A bouncy beat and that is easy to bob ones head to. That sounds like electronica. True, but its particular bouncy-ness adds a bit of wiggle with some of the more interesting synth effects used. This only lead me to look up/remember what exactly aspic is. A gelatinous meat-salad of sorts. Needless to say, I laughed a bit and it only made me appreciate it even more.

The rest of the tracks follow this same sort of concept. If you pay attention to the title and keep mind of it, you'll be able to come to your own conclusions on how you see the dish in mind exemplified within the music. These are sonically interesting and full sounding and have no lack of thumping bass, thus this album shouldn't turn off old fans too much, though I could see how the lack of a more easy to pick out pop song could distract some listeners. It is definitely album thats more rewarding with the more thought you put into it, unlike many musical peers of the artist duo.

As far as the instrumentation goes, it is still as aggressive and dark as most of their previous work, just minus the pop-song structuring. Taking away the voices has allowed them to explore more as electronic artists and this is what Delicacies really is. An electronic music concept album thats succeeding at getting you to bob your head while simultaneously allowing them to explore their own artistic thoughts without having the pressure of delivering a new club hit like "Hustler".

But they aren't one to go down with an album that doesn't have something that is immediately applicable to playing in front of the wanting crowd, so the second disc (51 minute long 9th track on digital download) is a mix of Delicacies prepared properly for mass consumption.

Simian Mobile Disco - Delicacies -> 4.1/5

If you're interested in an... interesting video of theirs, watch this. Though if you're a vegetarian, you would probably prefer to not watch. It has one of those "I want to stop watching, but I keep watching for some reason" vibe. So yes, its a bit creepy and probably not safe for work unless you want some judgmental looks.

*Bonus* NMT: Smashing Pumpkins' 'Teargarden by Kaleidyscope, Vol. 2: The Solstice Bare'

The second volume of the Smashing Pumpkins' *cough* (Billy Corgan's), massive 11 volume project by the name of Teargarden by Kaleidyscope was released in limited edition vinyl and cd sets. This makes the overall title of the four song piece, Teargarden by Kaleidyscope, Vol. II: The Solstice Bare. Yes. Thats a mouthful.

Only two of this collection have been released for free public consumption and downloading via their website ('Freak' and 'Spangled'), but it is possible to listen to the first and third tracks on YouTube.

Since there are only four songs I'll do individual reviews of each.

'The Fellowship' starts off this selection of four with an erratic keyboard riff that builds up the powerful chorus belting out "are you with us tonight?", which, thematically, is a pretty good way to draw the listeners in and get them excited for the rest of the package. Fortunately the song itself escalates enough in sound and presence to earn the songs title and chorus. Its appropriately bombastic and grandiose, similar to (but not nearly as epic sounding as Vol. I's first track, 'Song for a Son').

Following up 'The Fellowship' is the current single 'Freak' that has apparently been floating around. For those of you who did not thumb your nose at Zwan, you'll like this track. Its ability to be heavy and uplifting at the same time, coupled with Corgan's signature voice just immediately launches pictures of white backgrounds with rainbow guitars flying every which way. Not much to say other than 'Freak' could have easily been squashed between 'Endless Summer' and 'Baby Lets Rock!' on Mary, Star of the Sea.

'Tom Tom' starts off smoothly and flows into a chorus more along the vibes of that of Infinite Sorrow era Pumpkins, while not sticking to old formulas. Lyrically mystical and distinctly Corganesque, this is my favorite of the four. Hopefully a higher quality is available for download on the website soon? (I'm talking to you Billy. Streaming from YouTube doesn't do you justice.)

Rounding out The Solstice Bare is 'Spangled', whose harpsichord love song beginning sets you up for a music genre meandering song that borders on a medley of musical styles. Just listen. Strings come in and out, horns mutedly accent the pre-chorus and then it all ends in an intimate sounding, warmly distorted measure on the guitar. This is a well crafted song and a great pop piece that would appeal to a lot of different people.

Smashing Pumpkins' Teargarden by Kaleidyscope, Vol. II: The Solstice Bare-> 4.7/5

If you go to their site, you can download the 7 of the 8 total tracks off of Volumes I and II.

NMT: Röyksopp's 'Senior'

Röyksopp's latest album Senior is the follow up to last years fun, guest heavy, pop-electronica album Junior in more ways than chronology.

The Norweigan duo used Junior as a platform for exhibiting and displaying the raucous, energetic, all frills side to their music which has been present since the beginning. The addition of vocals and heavier, faster, danceable, and hook laden tracks showed a dimension that the duo had alluded to on past albums Melody A.M. and The Understanding. With those moods fully fledged and explored, they were aptly named Junior to exemplify the youthful energetic aspects of their musicality.

Where Senior comes in is as more of a counterpoint, than a follow up. A yang to Junior's yin. Where Junior was youthful and exuberant and sporadic, Senior is a carefully developed electronic soundscape virtually devoid of any of the dance beats and youth of the previous album. It is an example of a sound maturing not unlike (at least to me) the comparison of Brian Eno's work with Roxy Music, and his later ambient albums. Its not better or worse. Its an evolution. You can hear in the album, Röyksopp exploring with many of the methods they used on their freshman and sophomore albums. Applying their earlier sensibilities to the more developed Junior pallet, has their sound ending up sounding wiser. Slowed down, toned down, with hardly any hooks other than the retouching of Junior's 'Tricky Tricky' with 'Tricky Two'.

Another way you could compare these albums and thus understand Senior more as a whole would be to relate Junior to the first two thirds of a party. Its all energy, dancing, exciting, but it gets followed up with the more downplayed introspective end to the party. When most of the people have left and people are really sitting down and talking and getting to know eachother. Its cathartic and ends up feeling a bit deeper. This is how Senior feels to me. Its definitely meant to be ingested as a whole and leaves me feeling how I think Röyksopp meant for it to.

'The Alcoholic' at five minutes long, sounds as if it has been at least a bit influenced by the Boards of Canada, and that is not a bad thing. This track and 'Tricky Two' are the most standout tracks on the album, but that doesn't undermine its value as a whole. If you want an album experience that allows you to really think a bit introspectively, as well as wonder what their motivations and inspirations were, you will love Senior.

Röyksopp's Senior-> 4.4/5

Oh and the video for 'The Drug' is pretty interesting. Check it out.

NMT: Stereolab's 'Not Music'

The last Stereolab album I had was Emperor Tomato Ketchup and it served up at least a few months of repeated listening when I first discovered it my freshman year of college. That was an amazing album that I would rate at about a 95%, so, with my limited knowledge of the rest of their work, that album will be my reference. Now I know this album is made up from the remainders of the recordings used to make 2008's Chemical Chords, but I'm aiming to look at this objectively as its own album.

Now I do like the general whimsical quality of their more standard tracks, I do get a little bored with the opening track, 'Everybody's Weird Except Me'. While I like Stereolab a lot already, hearing a song that sounds like their sound generalized and homogenized down into an odd summary of the sound just doesn't work for me. It sounds more like someone trying to describe their sound, than it actually sounding like them.

Moving past the negative part, the entire album is not at all in line with this.The second track is a bit tame until it evolves at the break down with a bit of Herbie Hancock-esque funky instrumentation. This is when the album really started to grab my attention a bit more. 'Silver Sands' is another hi-light of the album embracing a bit more experimental sound for them with some thumping synths sounding like it'd be at home in a TRON landscape.

While the album itself is definitely a pleasant listen, I have just had a hard time being 'wowed' by it. It has its high points that you would likely be different than what I notice, but as far as having a funkier, jazzier pop album to listen to when you're not really paying attention, you could do better and listen to one of their older albums. Its still enjoyable, but leaves me feeling a bit unfulfilled.

Stereolab's Not Music-> 3.4/5

But who knows, with the way things go for me, I could see myself coming back to this entry and adding that after numerous listens I realized my previous feelings were completely unfounded. Meh.

NMT: Invisible Hand's 'Invisible Hand'

New Music Tuesday has become just NMT, since I do it consistently enough, I deem it worthy of shortening.

This week I found an exciting new band's debut full album (not to discount their various smaller releases over the past couple years). Fronted by Adam Smith (heh heh, get it, Adam Smith and the Invisible Hand), this band hits me in pretty much all the right places. This good impression was improved especially when looking them up and finding they would love to be described as influenced by The Kinks (a personal favorite). Though I don't find too much to be similar in their sound, I can see the influence of the spirit of that mid-late 60's garage-pop-rock sound, mostly exemplified by the energetic band accompanying the much more modern sounding voice.

While I don't think I could venture out and say that this is 'the new sh*&', I am definitely happy with this album. Witty lyrics coupled with solid production and composition fills the album with the more experimental sounds arriving in the first half of the tracklist.

'Two Chords' starts off the album with an introspective tone, and is appropriately followed by the energetic 'There's Room In My Will', which lets you know a little more of the tempo and sound they seem to be the most comfortable with.

I could talk plenty about the rest of the album, but I think I can just save you the time by just suggesting the album to you in that this is a great rock album. Not rawk. Just good rock and roll with solid songwriting, melodic hooks, fun tempo changes, and some decent harmonizing. You'll do yourself a favor dropping the $10 or so on this.

Invisible Hand- 'Invisible Hand'-> 4.6/5

And as a suggestion. Try listening loudly through a surround sound system. Theres a lot of the production you will miss without the proper listening device.

New Music Tuesday: Brian Eno's 'Small Craft On A Milk Sea'

Brian Eno is one of those guys I've known about forever. Heard about forever. Probably even laughed at jokes about his ambient records and talent in recording an album with everyone ever. Hell, the only album I listened to with his name on it before was his 2008 project with David Byrne. I tried to listen to some Roxy Music, but it didn't pull me in right away.

But this. Wow. When I heard 'ambient' and 'instrumental', I didn't think of music that would be very volatile or moody. I thought of light, thoughtful soundscapes barely above the par set by those Target ambient CD booths. Obviously I'm an idiot.

The textures and sounds on this album are full and all encompassing, no matter what the mood is. While I enjoy the more whimsical beginning, I REALLY enjoy the descent into the darker moods in the title (and third) track. The album itself works as an emotional roller coaster with '2 Forms of Anger' being the emotional downhill speeding car. It builds emphatically from a tense thumping to a cacophony of sound and adrenaline at ~2:09.

The album works itself back to a greater, but suspicious calm with the immediately following 'Bone Jump'. The most I can say about this album is that each song elicits a specific and intended emotion and I love the way this 'background' music and influence the particular mood that I am in face experiencing. A very interesting album to drive with at a loud setting, and it definitely should be digested as a WHOLE. Not in single track snippets.

Brian Eno - 'Small Craft On A Milk Sea' -> 4.4/5

Listen to the whole album streaming here.

New Music Tuesday: Martina Topley-Bird's 'Some Place Simple'

I had a bit of trouble trying to find something to be interested in this week, searching my various sources for new albums this week. I'm pretty sure I listened to about 20 various new releases Myspace band pages that I would love to un-hear. Needless to say, I was very close to skipping this week's new release Tuesday.

That was until I found this. While I'm not even quite positive today was the release date, I don't really care at this point, because I was immediately drawn to Topley's sound.

The album's title is a perfect nomer (minus the mis-) with a toned down, simply orchestrated and beautifully vocalized collection of tracks.

In doing some simple research on her, I found her to be a collaborator on the first Tricky album, which would explain why her voice was a tid bit familiar. But rather, the tone she reminded me of, was of a slightly more subdued, yet sublime and more articulate Sia Furler (ala her album, 'Some People Have Real Problems').

All of the instrumentation are distinctly muted allowing MTB's voice to play center stage, which is perfect for overall sound. I don't have many albums that hit me fairly instantly as sounding this plain good immediately.

Interestingly enough, the album's architecture is part of what I find to be the most intriguing about the overall composition. The track titled 'Intro' is at number 7, letting me know that this whole time that the previous six tracks, MTB has been acting as her own warm-up act. And as promised and alluded to by the title 'Intro' its the beginning of a more upbeat and show stealing set of songs that treat the rest of the album as the main event.

Some highlights from this track set include the Nancy Sinatra's 'Bang Bang' inspired sound of 'Sandpaper Kisses', and the album finisher 'Harpsichord Kiss' sendoff track that leaves you feeling like the instrumental is pleasantly waving 'goodbye' and asking you to visit again sometime soon. Just an overall great album from an artist I'm glad to have just learned about today, and look forward to hearing more soon.

Martina Topley-Bird's 'Some Place Simple' -> 4.85/5

ADDENDUM: It turns out I didn't do enough research into her older albums to realize that this is a LIVE compilation album with just a few new tracks. However, considering it took me a while to find the information without noticing at all, I am even further impressed with the sound quality and clarity of the album.

New Music Tuesday: Belle and Sebastian's 'Write About Love'

Belle and Sebastian are one of those bands that I've heard about for years, had continually suggested to me, and even heard songs of and enjoyed what I heard. Yet, this is the first album of theirs I've actually really had a chance to absorb, so my history with them is the opposite of my review of the Mother Hips' 'Shootout'.

I did a little research ahead of writing in order to not feel completely ill-prepared to review an already successful and well received band's 8th album and was able to see all of the previous album covers. I was impressed with the similarly styled covers, letting me know that they seem to be consistent in image, which could definitely convince me to check out the rest of their discography if I really enjoyed this one.

And now to the music. The first track, 'I Didn't See it Coming' immediately draws you in with its simple but effective piano and drum accompaniment. But what really gets me here is the melody of the chorus in this song. I've been humming it the last couple days. Simple, but pretty and effective for an upbeat pop rock song. The song also has the chance to evolve in the bridge with some fun organ usage and noisy bits to make it really build up for its triumphant return to that hookiest of melodies decorating the chorus. Needless to say the album starts very strongly with this.

I appreciated the immediate chip tunes sound of the synth in the follow up track, 'Come on Sister'. While not quite as strong on its own and brain stealing as the hook in the previous track, it serves as a good B side to 'Coming's A side sound.

The next real standout song of the album would be 'I Want the World To Stop', coming in after the pallet cleansing 'Calculating Bimbo' (slow jam pop song akin to the 'Sun King' by The Beatles in vibe). 'I Want the World To Stop' would sound fairly natural on the next Broken Bells album, with Stuart Murdoch's voice sounding like he has a vocal brother in James Mercer. Also the beat and production of the piece sound exactly like what Burton was aiming for with Broken Bells' debut album earlier this year. Yet, I have the feeling that since this sounded so natural for Belle and Sebastian, and I do not have the benefit of knowing their previous albums to make a correct call, I'd bet Broken Bells were more inspired by B & S than the other way around.

Now I have a habit of falling for the more upbeat songs on albums before the quieter and more understated songs such as 'Little Lou, Ugly Jack, Prophet John', but they just don't stick out very much to me, especially when sandwiched between 'I Want the World To Stop' and the excellently executed 'Write About Love'. I definitely prefer the songs with both the female and male vocals on this album.

'I Can See Your Future's horn intro and walking bass line creates a fun pop experiment with the beat being periodically dropped and the airy female voice being accompanied by even more orchestra work. You can tell the band was really having fun with this, and that can only make the listener have fun with it as well.

Overall the album is a fun 11 song modern pop rock album that could do without a song or so to feel complete. Again, as someone not familiar with the rest of their work and not sure where it fits in with their other pieces, I am seeing this as a stand alone album. And by itself I see a well executed album with some definite standouts and unfortunately some more forgettable tunes, but giving a full listen will not leave you disappointed.

Belle and Sebastian - 'Write About Love' -> 4.1/5

If you haven't seen this video about the making of the album and some interviews with the band, check it out. Its fun and gives a bit more insight into where it came from.

The Mother Hips - 'Shootout'

What can I say? I'm excited to finally have the last piece to the puzzle of the Hips' discography finally in my grasp. I've been able to get all of their other albums either in the store, or via download, but this one has eluded me for years. I did have all of their collection once when the Ruckus music program was still online and let me tell you, when the site went under, my Mother Hips collection was sorely missed. This was four years ago, but I finally ordered it used from a vendor on Amazon.

This is the sound. As said perfectly on 'Honeydew', where they can really just let their trade off jam solo's and smooth vocals really take hold. I'm probably a bit jaded knowing that the live version is much more satisfying due to the four times I've seen them live.

For the most part the album feels new to me, since I did not really get a chance to absorb it all when it was available to me before. Aside from a few like 'Honeydew' that I recognize as being more common live, the album is filled with plenty of new Hips songs for me to digest and enjoy.

This is the album that led to their release from American records due to it not being the commercial success they had expected (as far as I understand), and while I understand that in 1994 this may have not been the sound to sell the numbers needed for economic success. However, for me I believe artistically and melodically, the record is quite satisfying and successful in these regards.

'Mother Hips' is an amazingly melodic and well put together piece that should only be able to mellow you out with clever lyrics and smooth guitar and some fun soloing near the end. Usually its a bit difficult, I think, to perform a song named after the band in question, but they succeed in making it not sounding trite in trying to define them. Similar to the way that Wilco started their most recent self-titled album, with their self-titled song. They both work in a way I wouldn't have expected.

Coming at this from more of the perspective of someone that is already very sold on the Hips and all that they do, this review is probably more of just my comparing it to other albums of theirs and enjoying it rightly so.

Soundwise, it seems to fit pretty rightly between 'Part-timer Goes Full's higher production value and the alt-country melodious 'Later Days'. 'Single Spoon' is a perfect example of more of their sound to come in their next album, while the follow up, 'So Much', would have sounded more in line with the material from 'Part-timer Goes Full'.

Basically the album is meeting and surpassing all of my expectations for it, in it being the last Hips album to round out my collection. I'm going to enjoy it being nestled in between 'Part-timer' and 'Later Days' when I do my chronological listen through on their albums every few weeks or so. Their sound is just something between the Beach Boys, Neil Young, and the Eagles to name a few, yet none of those comparisons feel satisfying or give these guys enough credit. They are their own, doing what they've been doing, better and better for 20 years and I look forward to the successor of 'Pacific Dust' and seeing them up here when they're in Portland.

Mother Hips - 'Shootout' -> 4.3/5

New Music Tuesday: KT Tunstall's 'Tiger Suit'

Now in looking at the releases this week, I saw a whole lot of 'meh'. Not to say that there aren't some great albums that came out this week, I just didn't find any to be excited about and when looking at the others that I did not recognize and testing out some songs, nothing really screamed "review me!!!". Anyways, I remembered kind of liking Tunstall's 2004 single, and breakout hit, 'Black Horse and the Cherry Tree' mostly due to the creativity and realization that acoustic looping and one-(wo)man-band could be well received by the greater public. I loved this mostly due to my obsession with a certain Keller Williams (who comes out with a new album 'Kids' in a couple weeks that will most definitely be on this blog). But I digress.

Anyways, Ms. Tunstall is not the most familiar artist to me other than that first single and I think I've heard clips of 'Suddenly I See' all over various TV shows and movie trailers. It has that kind of generic stock-photo quality of song that saturates media lately. Its not bad, but it also doesn't really stick out. Well now that you know about my prejudice to her work based on the little I've heard before, I'd like to say that when I did actually get the chance to listen to her album, I was pleasantly surprised. For the most part.

She definitely has the tendency to fall back on that stock-photo singer songwriter pop-ness between much better, solidly executed cousins to those filler songs. She really hits her stride when she embraces the beat a bit more. It seems that her voice gets more motivated as well to let a little bit of the gritty tones through that give the music a bit of a more unique feel than when she stays subdued, as heard on 'Push that Knot Away'. This track is one of the strongest with the same kind of foot stomping beat and acoustic guitar strumming that gave 'Black Horse' that sound I liked before. Also the thumping bass that drops in the bridge could make anyone at least be tempted to attempt their best air bass while bobbing their head. If I were her I'd keep exploring and working with this overall tone and sound than the bleached out electro-guitar pop of 'Glamour Puss'.

This is a difficult listen for me only in the sense that I know that I just want to keep hearing songs more along the lines of 'Push', 'Golden Frames', 'Come on, Get In', and 'Madame Trudeaux' where Tunstall seems more comfortable than maybe the more radio and MTV friendly sounds of '(Still a) Weirdo', her first single from the album.

Overall, I know theres a lot I like here with the more alt-country rock dancy songs beating out the more pure dance-guitar -pop-electronic ventures she seems to be split between. She just doesn't seem as comfortable with the latter as when she gets to have some fun with her guitar. She thrives when she gets to be herself as that floor stomping, guitar riffing, and soulful voiced songstress; unfortunately she only gets to do that for a handful of songs on the album.

KT Tunstall - 'Tiger Suit'-> 2.8/5

Watch her performing 'Madame Trudeaux' live to see what the album could have been if it hadn't been so distracted with less stand-out filler songs.

New Music Tuesday: Ben Folds & Nick Hornby's 'Lonely Avenue'

I'm just some guy on the net, but I don't think Ben Folds sucks, even though I have my own blog. 'A Working Day' starts out this project combining the whimsical and honest musicality of Ben Folds with Nick Hornby's... whimsical and honest writing? The song immediately starts the album off strong with the wit that those familiar with either are familiar with.

These two complement each other greatly due to both of their innate 'vibes'. Just hearing about the album's concept of Hornby writing everything while Folds 'adds music and melody' to these words. Its hard for me to tell sometimes if its just Folds' ability to take any song and deliver it in a way to make it sound like his own (ie. 'Bitches ain't Shit' from 'Songs for Silverman', and 'Video Killed the Radio Star' off of 'Whatever and Ever Amen'), or if in fact the both of them have a very compatible writing style. I'm going to go ahead and assume its some combination of the such, which saves me from making any decisions.

Anyways, this album sounds and reads like a Ben Folds album. Aside from lyrics relating to London and such, its not a confusing listening process trying to discern the difference of the Hornby's words and Folds' composition. The music itself is full of plenty of Folds' piano mastery, and some of the fuzzier distortion more present on 'Way to Normal'. These have a much more full presentation to them though. Perhaps with Folds' focusing on just the music, it helps him to really create full musical landscapes, with each song feeling fully realized. 'Picture Window' reminds me of how he should leave the string arrangements not just for extra tracks like he did with the strings version of 'Landed'.

Playing well to both Hornby and Folds' humorous, yet oddly emotionally honest abilities, 'Levi Johnston Blues' has some fun with the Levi/Bristol Palin drama. Since, Hornby is a novelist by trade, and Folds' a composer, these songs are the most story feeling/sounding songs of Folds' career. They just feel very whole for the most part and border on having an almost rock opera feeling. I find myself imagining ways to connect the songs together somehow in an odd meandering plotline.

Both Hornby romanticisms shine through the various textures that Folds' assigns fairly appropriately to the songs subject matters.

Favorites of the album are the opener, 'A Working Day', 'Levi Johnston Blues', and 'Saskia Hamilton' with its driving beat that just makes you imagine Folds' being only able to play the song while standing and pounding the ivory.

As someone who is already a fan of Ben Folds and Nick Hornby, its hard not to be a little jaded, but if you are someone that can imagine what this partnership would sound like, you will not be disappointed.

Ben Folds & Nick Hornby - 'Lonely Avenue' -> 3.8/5

New Music Tuesday: Frankie Rose and the Outs' Self-Titled Debut

Frankie Rose's latest band actually gets her out from behind the drums and in front of the mic, which turns out pretty well for listeners. I first heard of them a few months ago after a friend shared some demo's with me, so when I saw that their album was coming out today, I was pretty excited to see exactly what was in store.

The album starts appropriately with 'Hollow Life's sweet organs setting the tone for the upcoming wall of sound that follows in the rest of the album. Being a fan of albums that are composed and assembled as something that is supposed to exist as pieces that all work together, I love that this is not a collection of singles. To me it feels much more like an album experience, that needs the whole picture in order to feel whole. I know I won't be coming to these songs just looking to listen to one song and move on to another artist. Not that the sound and style is anything similar, but its status as a whole album to listen to reminds me of when I listen to 'Lola vs. the Moneygoround' by The Kinks. The songs are varied enough, but carry enough similarity in tone that it all comes together as a tryptych would form an overall piece.

Now to get the pieces. While a fan of some of the more subdued songs on the album, I can't help but be excited by some of the more poppy and energetic tunes. 'Candy' pops out immediately as the second track and sucks you into its mid 60's mood that you can immediately imagine the girls of the band with their beehive updo's. Its danceable, but in that slow shimmy and shake style that just makes you think about the dancing extras on the Ed Sullivan show.

'Memo' is probably my favorite of the bunch just with the warm tremolo tone of the opening guitar bit. Its not complicated, but it portrays a depth of understanding for the feeling of a well timed and accented riff. It almost reminds me of the beginning of Nancy Sinatra's 'Bang Bang' until the song picks up with a more modern distortion and pace, only to return to it. Great song and amazing tone. (It just makes me want to go replicate it with my own setup)

'Don't Tred' is a great example of why they could be likened a bit to The Cramps. Just listen. The song has a fun build up and I imagine would be one of their best songs live. Just the thrumming of the guitar and bass on a repetitive but ominous "dunnah dunnah". Also those drawn out chords and distortion make me think Frankie must be at least a little bit of a fan of Link Wray. Its the kind of track that makes it sound like a good candidate for being in the next Quentin Tarantino or Guy Ritchie film.

Frankie Rose & the Outs - 'Frankie Rose & the Outs' -> 4.1/5

Have a listen to 'Don't Tred'

New Music Tuesday: Chromeo's 'Business Casual'

I'm hoping that this is the first in a long line of Tuesday new music reviews for me. While I don't want for this blog to be strictly music oriented, I think my extensive past obsessing on the subject and want for discussing the specifics of new albums.

Chromeo's 'Business Casual' is actually pretty exciting to have first as it is an album that I've been excited for a few months, since hearing that a follow up to 2007's 'Fancy Footwork'(a funky and energetic sophomore release) was planned for today's release.

Where 'Fancy Footwork' improved and focused the duo, 'Business Casual' seems to have brought them into maturity. Its all distinctly Chromeo, but the beats, synthesizers, and grooves have grown up in their application. These are succinct and artfully crafted funky pop songs that do everything to remind me of what Motown was pumping out in the 80's. This is a good thing.

I'm not going to lie, but the first track's title 'Hot Mess', and its opening few seconds made me afraid that they were going to give in to the more current pop pitfalls lyric-wise (ala ke$ha). I can't stand that term personally, but luckily the song quickly shuts me up as I realize I will not be hearing about the petty exploits of an alcoholic glittery mess of a person. Instead, Dave One's neo-retro romanticism's are still prevalent with the wit still intact. Not to neglect that Pee Thug's well punctuated talk box makes the experience whole. This is dance synth funk at its best (not that I can think of many peers to them). These guys are great what they do.

There are definitely some songs that shine brighter than the others. Specifically, 'Hot Mess', 'Night by Night', 'Don't Turn the Lights On', ‘J’ai Claque La Porte’ and 'Grow Up'.

'Night by Night's crisp intro riff pulls you into a song that really just reminds me if 'Eye of the Tiger' had an illegitimate love child with the vibe of Flashdance.

'Don't Turn the Lights On' has that walking beat that can only keep reminding me of Michael Jackson's 'Thriller'. This song just makes me feel like these two must have some serious admiration for Quincy Jones. Also, the video is by far one of my favorites of the last year. Its fun, doesn’t take itself too seriously and has a pretty fun gimmick. Take a look:

'J'ai Claque La Porte' is a pleasant romantic change of pace with string accompaniment and, of course, some smoothly delivered vocals. While I do not speak French, I'm assuming Dave One is keeping up his usual wry charm and wit in these lyrics.

Finally, the last song 'Grow Up' sounds like it could be a cover of a MJ and Stevie Wonder collaboration from the mid 80's that somehow didn't make it out of the studio until now. Overall, very light hearted, sweet in tone and a great tone to end the album with.

The only reason this doesn't get my full marks is that the album is a bit front heavy, with the later tracks kind of blending together as not exceedingly memorable. If it had been as consistent for all 10 songs as it was with the first 5, it would have received my full marks. Don't let that deter you though. This is still a great album and most songs on it would deserve a place in a dance music or romantic situation playlist.

Chromeo - 'Business Casual' ->

Any start is something right?

So, I technically started this blog about a month and a half ago when Becca and I had just finishing moving up to Portland from Santa Cruz, but... Yah it has been quite hard to start. Unfortunately I tend to put a lot of pressure on expressing myself and such, but I think I'm ready to dive headfirst. Listening to music that is not only bouncing with a happy vibe, but also has pleasant and nostalgic feelings attached to it can have that inspiring effect on me.

Well the whole point of this was to be sort of a personal journal/music/food/beer/travel blog of sorts and you know what? I think its time to get crackin'.

To sum up the events that led to this point and also address the blog's 'title', I have recently moved to Portland, Oregon after deliberating and finally deciding to do something and get out of California, the womb of my childhood/young adulthood. Portland had always been nice to visit, having my Uncle and his family up here and being a fan of GOOD beer, knowing this is Craft Beer City USA is a definite plus. Admittedly also music was a great draw due to my finding out that Blitzen Trapper was indeed from up here, as well as older favorites Sleater Kinney (though yes, I know they're defunct). I could use a musical climate that might help to catalyze my own musical growth. The combination of these reasons, the city's great food, its nice people and being encouraged by my lovely wanderlusting girlfriend, it just made an exciting sense.

Since moving up here, we've been living downtown with our occasionally savage and always adorable Siamese snowshoe point cat, Samwise. He's one of those 'I'll even look cute while I chew on your hand and try to rip you apart', and I still get too tempted to bug him when he's napping all day.

Becca has been working, and I've sent out a few resume's but have mostly been absorbed in my final class that I'm taking online. Medical Physiology online from the University of New England. Just this and then finally the Biology major will be all finished. I am really excited to work though, even if it ends up being some company I completely disagree with. Thats just one of those young 20 something experiences that I'm fine with having. I know I'll find something eventually that will match up better, like when I start teaching, but I know I do NOT have the maturity for that yet. Just in reading up on it and my experience in Education class let me know, I know how to talk about educating and what SHOULD be done, but knowing and practicing are different. While I'd love to be a young relatable teacher, I'd rather be a little bit older and be able to actually focus well enough to be a solid teacher and not just scoot by with strictly adhering to content standards.

Incidentally, the whole point of this first entry is to be that crazy rambling one that virtually no one will have the patience to sit through. Its cathartic for me, especially considering I haven't really made any friends up here yet. I'm like a hose thats just been let loose from being pinched off; that means tons of thoughts spilling all at once.

Summary? Living in Portland with amazing/psycho cat, amazing/sexy/sweet girlfriend, and trying to live up to all of those "what I'd do with my time when school was done" life goals; including recording, making more art, and writing. Well at least I'm working on the last one.