Tuneage

Clare and the Reasons - “That’s All” This...

Sat, 07 Nov 2009 14:46:46 -0600

This is the best Genesis cover I’ve ever heard (in my humble opinion, at least). Brooklyn based chamber-pop extraordinaire Clare and the Reasons mix light, airy girlie vocals with fun instrumentation which include brass, strings, and other things to hit. This track, off the recently released “Arrow”, is the follow up to the acclaimed debut EP, “The Movie”.

Additionally, they have an amazing cover of “Everybody Wants to Rule the World” on their Myspace. Certainly worth checking out along with “Rodi” and “Pluto.”

Friendly Fires - “Paris” (Aeroplane...

Sat, 07 Nov 2009 10:46:00 -0600

Friendly Fires - “Paris” (Aeroplane Remix)

I’m big on travel. Traveling is pretty much the only thing I think about anymore. I’ve got an upcoming 8 hour flight to Japan and I’m trying to come up with a traveling playlist for the ride.

My first thought is this amazing remix of Friendly Fires “Paris” which replaces the original vocals with the always beautiful Au Revoir Simone. The original song is a sweet but unremarkable promise to move to France but it becomes an instant party with the heavy Aeroplane synth and the updated vocals.

What suggestions for good traveling songs do you have?

Metric - “Help I’m Alive” (80Kidz...

Thu, 05 Nov 2009 08:02:08 -0600

Metric - “Help I’m Alive” (80Kidz remix)

Just when I thought I was going to have to retire Metric’s wonderful “Help I’m Alive” from my personal playlist due to over-listening, 80Kidz has gone and reworked it into a dancier, equally wonderful version of itself. Brilliance!

Shaboi - “Curse Walk” When someone mentions...

Sat, 31 Oct 2009 16:08:59 -0500

Shaboi - “Curse Walk”

When someone mentions Halloween music, one song comes to mind: “Monster Mash”. To be fair, that song’s a classic in its own bad, kitschy kind of way, but Halloween music is hardly a booming genre. Perhaps Halloween just isn’t a holiday worth celebrating in song (the way Christmas seems to be), but there’s a certain mood to Halloween that I think makes it a prime candidate for good tuneage.

Thankfully, a few local Nashville-ians felt the same way and put out a short album (start-to-finish, the entire thing is under 20 minutes) with a decidedly Halloween feel. The subject matter stays squarely within the ghoulish and the undead while the music ranges from 8-bit to rap to even a bit of country. If you’re headed to a Halloween party and need some mood-fitting music or you just want to get in the spirit without having to dress like a damn fool, then download your free copy and take it with you. You won’t be disappointed.

Julian Casablancas - ”11th...

Tue, 27 Oct 2009 14:19:00 -0500

Julian Casablancas - ”11th Dimension”

“Everybody sees me but it’s not that easy/ standing in the light field waiting for some action.” This line, accompanied by what sounds like a 14 year old Iron Maiden freak attempting the Batman theme song on the bass guitar, begins “Juicebox,” the first single released from The Strokes’ First Impressions of Earth. And what was my first impression of First Impressions?

I am never going to listen to this band again.

It’s a claim on which I’ve made good. Knowing that First Impressions exists has been enough for me to turn my back on the truly great Is This It? and it’s very listenable (from what I remember) sister, Room on Fire. Like walking in on your girlfriend and a tearful, naked Glenn Beck in your bedroom, First Impressions was enough to not only dump the band, but burn the photo album filled with memories from that great vacation you took to Honolulu. I have guiltily viewed their recent demise with gleeful spite. My initial reaction to the news that frontman Julian Casablancas was releasing a solo record: scoff. My initial reaction to its title (Phrazes for the Young): a Monty Burns laugh. My initial reaction to its first single, “11th Dimension:” unadulterated awe.

The drums keep the song poppy and light while the synths bounce around in the foreground. The tasteful Strokesy guitars know their place behind Julian, who returns to full-yearning precocious punk mode. The lyrics are still stupid, but I’m dancing too much to care. C’mon girl, I forgive you for the whole Glenn Beck thing. Come back to me. I’ll take you with open arms.

WWTB? Another week of WWTB to empty your...

Tue, 27 Oct 2009 09:17:00 -0500

Devendra Banhart - What Will We Be

Diamond District - In The Ruff

Hudson Mohawke - Butter

Kam Moye - Splitting Image

Matias Aguayo - Ay Ay Ay

Pylon - Chomp More

Tegan & Sara - Sainthood

WWTB?

Another week of WWTB to empty your wallet….

Devendra Banhart - What Will We Be (buy the CD)
Diamond District - In the Ruff (buy the CD/buy the MP3s)
Hudson Mohawke - Butter (buy the CD/buy the MP3s)
Kam Moye - Splitting Image (buy the MP3s)
Matias Aguayo - Ay Ay Ay (buy the CD)
Pylon - Chomp More (buy the CD/buy the MP3s]
Tegan and Sara - Sainthood (buy the CD/buy the MP3s)

Hudson Mohawke - “No One Could Ever” Hudson...

Thu, 22 Oct 2009 09:33:52 -0500

Hudson Mohawke - “No One Could Ever”

Hudson Mohawke’s (aka 22-year-old Ross Birchard’s) music glides over notes and rhythms endlessly (Is it any wonder that his debut LP is titled Butter?). It’s difficult to detect where one note begins or where the beat will transition from second to second. He never gives the listener a break and this is a good thing.

On the surface, songs like the rapturous singles “Rising 5” or the short but sweet “No One Could Ever” sound likedensely layered electronic hip-hop tracks. Upon further listening however, it easy to discern that Mohawke is challenging you. One can’t help but think: What exactly is going on here? How did he produce this? Where will it all lead? Listening to one of his songs is different each time as each listen provides something quirkier or stranger or more fascinating to the ear. Mohawke obviously wants this, wants the listener to be engaged with the music beyond a passing interest in an intangible mp3.

Charles Wright & the Watts 103rd Street Rhythm Band -...

Wed, 21 Oct 2009 10:26:00 -0500

Charles Wright & the Watts 103rd Street Rhythm Band - “Express Yourself”

This Charles Wright original is so good that N.W.A. sampled it without using profanity.

The best part is for singing: It’s not what you look like, when you’re doin’ what you’re doin’, it’s what you’re doin’, when you’re doin’ what you look like you’re doin’.

The Whigs - “In The Dark” This is a brand new...

Tue, 20 Oct 2009 10:16:00 -0500

The Whigs - “In The Dark”

This is a brand new track off of The Whigs’ forthcoming album of the same name, which comes out early January. This song is definitely a departure from the band’s signature blend of southern and indie rock. I’m really digging this ‘new’ sound and look forward to hearing more off In The Dark. Enjoy!

WWTB Right on schedule, here’s what’s worth buying...

Tue, 20 Oct 2009 09:02:00 -0500

Atlas Sound - Logos

Fuck Buttons - Tarot Sport

KoC - Declaration of Dependence

Royce a 5'9" - Street Hop

Spiral Stairs - The Real Feel

WWTB

Right on schedule, here’s what’s worth buying this week.

Atlas Sound - Logos (buy the CD/buy the MP3s)
Fuck Buttons - Tarot Sport (buy the CD)
Kings of Convenience - Declaration of Dependence (buy the CD/buy the MP3s)
Royce da 5’9” - Street Hop (buy the CD/buy the MP3s)
Spiral Stairs - The Real Feel (buy the CD/buy the MP3s)

Big Boi (ft. Gucci Mane) - “Shine...

Mon, 19 Oct 2009 17:00:37 -0500

Big Boi (ft. Gucci Mane) - “Shine Blockas”

It’s a simple formula, really. Step 1: take an old soul track, find a segment of the song where the singer enthusiastically pronounces a vowel. “Aaaaaaa”s and “Oooooo”s are safe choices - here, Big Boi and Co. went with an “Ohhhh”/ “Ahhhhh” combo. Step 2: Make sure that the sample has piano or melodic percussion - a vibraphone, used here, works fine. Step 3: Add trumpets/ synth pads to fill up the track. Step 4: 808 Kick + Stutter Snare. This step is non-negotiable. Step 5: If the spirit so moves you, rap a little bit.

The formula is far from fail-proof. Turn on your local radio station ending in -Z for a near-continuous stream of exemplary failures. But Big Boi, however, is Big Boi. Unlike his purple-wigged “Hey Ya”-ing ex(?) team-mate, his output is consistently solid, full-sounding, developed, and excellent. When he strips the sample for his second verse and leans back on the organ, Big Boi sounds like a man on top of his game. It lacks the abstract ambition of Stankonia, and the hackneyed piece of misogyny in the beginning is a turn-off, sure, but once the glorious, just-won-the-Peace-Prize groove sets in, it’s all “Shine” and no “Blocka.”

Sneaker Pimps - “Velvet Divorce” I wasn’t...

Mon, 19 Oct 2009 09:00:00 -0500

Sneaker Pimps - “Velvet Divorce”

I wasn’t really of an age to appreciate trip-hop when it was really coming around so I’ve had to find things little by little and mostly by accident. Most people will remember “6 Underground” by the Sneaker Pimps, but it was only in 2006 that someone mentioned a lazy, ballad like song hidden on the 9 year old A Life Less Ordinary soundtrack.

Kelli Dayton’s vocals flows slowly over a drum beat accentuated by strings and a slow plucked guitar. It’s now become my favorite song from the mid-90’s trip-hop era and makes me incredibly sad that they kicked Dayton out thereafter.

Greg Jong - “Got a Nerve” It sucks having...

Sat, 17 Oct 2009 13:23:58 -0500

Greg Jong - “Got a Nerve”

It sucks having un-talented friends. I cringe at the thought of sitting through a buddy’s open mic performance at some depressing dive bar and thinking up genuine-sounding compliments to give him about his overly-earnest singing voice and tinny little acoustic guitar while I sip Miller Lite from a bottle because they’re on special. That’s exactly why I put off listening to Greg Jong’s music when I first met him: I genuinely liked him as a friend, but I didn’t want to have to pretend to like his music.

Eventually I pointed my browser to his MySpace page and cued up “Got A Nerve.” What poured out of my computer’s speakers was a dirty stomper of a rock song, something that sounded like a throwback, but also brand new, like ELO and Led Zepplin formed an unlikely tag team in order to jump Franz Ferdinand into their gang. The heavy drums, the wailing guitar, it made me want drink whiskey and dance. I loved it.

This guest post was written by Mike. Thanks, Mike! If you want to submit your own guest post, head on over to our submission page and get writing!

They Might Be Giants - “We Want A Rock” Earlier...

Fri, 16 Oct 2009 14:00:00 -0500

They Might Be Giants - “We Want A Rock”

Earlier this year, They Might Be Giant’s commercial breakthrough Flood was certified platinum, just shy of the album’s 20 year anniversary this coming January. To mark the occasion, the band has recently began doing performances of the album, and I accordingly decided it was time to revisit the album. The big hits—“Birdhouse In Your Soul”, “Istanbul (Not Constantinople)”, “Particle Man”—remain charming and satisfying, as do “Whistling In The Dark”, “Twisting” (dB’s namedrop!), and “Someone Keeps Moving My Chair”. The album provides a great snapshot of the offbeat pop that would eventually evolve into something called “alternative” music.

That is all good, but it’s “We Want A Rock” that really floors me. The wonderful melody and accordion performance transform the inscrutable lyrics—“everybody wants prosthetic foreheads on their real heads”—into something with a resonating sentiment. It only took a couple plays for me to identify with the song’s people who “want a rock to wind a piece of string around”. Although the lyrics seem silly and nonsensical, the meaning of the song, according to John Linnell, is quite simple:

This sounds really abstract, but in order to begin wrapping a piece of string around itself, you need something to start with. Like a rock. I guess you can make a ball of string starting from nothing if you just make a tiny loop at the end of the string. But it seems theoretically impossible. It’s a metaphor for getting started.

Okay, I don’t think I would have thought of that metaphor after 20 years, but that’s not going to stop me from joining a rock-and-string sing-along.

The Fleetwoods - “Mr. Blue” I don’t know...

Fri, 16 Oct 2009 10:00:53 -0500

The Fleetwoods - “Mr. Blue”

I don’t know about you, but sometimes when I am in the shower songs just pop into my head. Sometimes I know where they come from but most of the time I don’t.

The Fleetwoods formed in the late 1950’s after Gary Troxel and Gretchen Christopher started singing together while waiting for mom to pick them up from school. They soon added Barbara Ellis to help fill out their sound. Originally called Two Girls and a Guy, they changed their name to reflect their local telephone exchange. They had a string of hits throughout the late 50’s and early 60’s but ultimately disbanded when Troxel was drafted into the army and the british invasion made their brand of melodic, harmony driven, pop less desirable

WWTB Maybe not as jam-packed (get it?!) as last week, but...

Tue, 13 Oct 2009 12:40:17 -0500

Flaming Lips - Embryonic

J Dilla - Dillanthology 3

Neon Indian - Physic Chasms

Thao - Know Better Learn Faster

WWTB

Maybe not as jam-packed (get it?!) as last week, but there’s some good stuff this week.

The Flaming Lips - Embryonic (buy the CD/buy the MP3s)
J Dilla - Dillanthology 3 (buy the CD/buy the MP3s)
Neon Indian - Psychic Chasms (buy the CD/buy the MP3s)
Thao with the Get Down Stay Down - Know Better Learn Faster (buy the CD/buy the MP3s)

Thom Yorke - “Hearing Damage” Full disclosure: I...

Mon, 12 Oct 2009 17:57:46 -0500

Thom Yorke - “Hearing Damage”

Full disclosure: I don’t like Radiohead very much. When some other web-publication named Kid A the number 1 record of the past decade, my emotional reaction was best described as “resigned outrage.” Perhaps I developed this attitude because most of my musical maturation occurred after their Lightyears-Ahead-Of-Their-Time electronic experimentation had been well absorbed into the indie-rock landscape, or perhaps it came about because I’m sick of people telling me how brilliant they are. Regardless, I have a tough time sitting through an entire Radiohead LP.

Also, vampire familiarity has bred vampire contempt.

Together, these factors must ensure that “Hearing Damage,” the Thom Yorke mood-piece for the forthcoming New Moon soundtrack, is a sonic splinter to my heart. Right? Not this time. This track expertly exploits the minimalism/ maximalism contrast that defines his solo work. There are exactly two chords in the entire song. The synths are so dirty, you can hear their individual bits. The lyrics, written down, wouldn’t fill the front page of a Twilight notepad. But Yorke takes these simple ingredients and layers one on top of another, building them into something more. Drums artfully glitch and skitter. Synth pads sweep and multiply. Reverb freezes and reverses. In these manipulations, Yorke constructs a towering monument to isolation, a perfect soundtrack for Bella’s months in Jobian exile. Not that I’m in to that.

Shafiq Husayn ft. Fatima - “Lil’ Girl” One...

Thu, 08 Oct 2009 13:25:07 -0500

Shafiq Husayn ft. Fatima - “Lil’ Girl”

One could spend quite a few paragraphs detailing the artists that Shafiq Husayn has produced and written for during his career, but I’ll just do a quick run-down for ya: Ice-T (on O.G. Original Gangster… yeah), Jurassic 5, John Legend, Erykah Badu etc. His main role in the past decade has been as a songwriter and member of Sa-Ra Creative Partners (G.O.O.D. Music), creating boundary-pushing hip-hop and soul.

Shocking, then, as the Tuneage-endorsed En’ A-Free-Ka is his official debut album. With so much influence and reach - whether writing for Erykah Badu’s excellent 2007 return New Amerykah: Part One or behind the boards for so many others; he clearly could have a number of solo albums under his belt right now. But you have to assume that’s just the way he likes it.

En’ A-Free-Ka exemplifies the burgeoning and magnetic Los Angeles music scene right now: forward-thinking, style-melding, unabashedly original. “Lil’ Girl” finds Husayn linked with up-and-coming U.K. songstress Fatima. It’s perhaps the most straightforward song on the album but give it a deep listen, and you’ll hear skittish samples in the same vein as Flying Lotus and dynamic, slightly off-beat percussion. After a bit of vocal interplay between him and Fatima, she comes on top of the subtle brass crescendos with “Eventually you shall embrace the last day/Time is running, better choose the fast way.”

Codaphonic - “Knock, Knock” Lately I’ve been...

Wed, 07 Oct 2009 08:48:00 -0500

Codaphonic - “Knock, Knock”

Lately I’ve been doing something I hadn’t expected to do ever again: I’ve been buying CDs. Most of what I’ve been buying, though, has been from small, local labels who are putting out focused, solid releases. Codaphonic, a Nashville band, recently released their Edison’s Rival EP with Nashville mini-label, ykrecords. The EP is 5 songs of excellent power-pop that at times feels like Superdrag but with more horns, and is well worth the $5 (heck, the packaging alone is worth that). Of course, if you can’t spare the $5, the EP is also available as a free download, something ykrecords does with all their releases.

Japandroids - “Wet Hair” Upon the release of his...

Tue, 06 Oct 2009 15:04:00 -0500

Japandroids - “Wet Hair”

Upon the release of his seminal I Get Wet, hard-partying enthusiast Andrew W.K. told the once-reputable Rolling Stone Magazine that an artist achieves true volume power when the music sounds loud, even when the volume dial is low. In response, the Japandroids present us with “Wet Hair.” When I think about this song, the image of guitar amplifiers and drum heads on a conveyor belt springs to mind. I can see it now: The new gear arrives, the Japandroids get started, and less than three and a half minutes later, the amp has been reduced to a smoldering, foul-smelling metal-and-formerly-hard-plastic smudge on the floor. The drum heads are scattered around the room, smoking and unrecognizable. The Vancouver two-piece, clad in black and covered in sweat are still there, however. And victorious.

And why shouldn’t they be? In the time that it takes post-rock bands to get to the point, the Japandroids have already destroyed it. And with it, they’ve destroyed the cooler-than-thou pretense of most modern rock. They’ve taken the cold distance of Interpol and the audience-to-rock-god distance of the White Stripes, and reduced it to zero. With it, they say: “Come into our living room. You can jump on the furniture. Don’t mind the conveyor belts. It’s going to get loud.” Then, they proceed to shout you down about girls with wet hair, “Bikini Island” (!?), and French kisses. It sounds ludicrous until you realize that you’re right there, shouting it with them.

So give “Wet Hair” the W.K. test. Turn your speakers as low as they go and see if the band doesn’t sound like they’re trying to rip your eardrums out. I dare you.