Gorillaz' third album, Plastic Beach, is the latest saga from Damon Albarn, who can also be found as the lead vocal in Blur and The Good, The Bad, and The Queen. Plastic Beach is the follow up to the critically acclaimed Demon Days and Albarn kept the same recipe, a concept album with a ton of guest spots (maybe too many). But those seem to be the only qualities these two records share; Plastic Beach isn't nearly as poppy as it's predecessors and the commercial singles of "Feel Good Inc." and "19-2000" seem to be long gone.
¡Mayday! takes the stage at a fully packed room in Vagabond, and without warning, launches off into a complete jam session on stage. Each of the six band members begin to completely let loose, hyping up the entire crowd around them. The percussion section, composed of Nonymous and LT Hopkins lay the beats down, while the guitarist/keyboardist Plex Luthor and keyboardist/bassist Gianni Cash chime in, completely syncopated. Front men Wrekonize & Bernbiz bring the swagger and begin to hype the crowd up even more before launching into the first song.
Acrassicauda Only The Dead See The End Of The War
Alberta Cross Broken Side Of Time
Before Their Eyes Untouchable
Black Rebel Motorcycle Club Beat The Devil's Tattoo
Broken Bells Broken Bells
Frightened Rabbit The Winter Of Mixed Drinks
Gorillaz Plastic Beach
jj jj n3
Monica Still Standing
The Morning Benders Big Echo
New Young Pony Club The Optimist
Numero Group Good God! Born Again Funk
Pavement Quarantine The Past: The Best Of Pavement
Josh Rouse El Turista
Standard Fare The Novelle Beat
The Steel Wheels Red Wing
Ted Leo and the Pharmacists The Brutalist Bricks
Titus Andronicus The Monitor
James Murphy's electro gang LCD Soundsystem is finally going to give the fans what they want, a new record. Set for a May 18th release for the as-of-yet-untitled third album, Murphy stated on the bands blog, "Looks like we added another Paris gig. Oh, and something else. The fucking record is done." Murphy sent it off to be mastered by Bob Weston and by the looks of his comments; it seems to be a relief. Murphy spoke to Rolling Stone about the struggles of recording and coming up with song titles, "You ever listen to a song 40 times?" he asks. "That's why I don't write the lyrics until as close to the day I sing it as I can, so I don't get sick of them." And when it comes to the titles Murphy thinks it should be, "the most repeated, obvious phrase... because that's what people are going to say anyway!"
When given the challenge (and yes, I mean challenge) to do an album review on Joanna Newsom's latest release, Have One on Me, I thought to myself, "What else is there to say? This album has already written its own review." However, as a loyal Joanna Newsom fan, I knew the most responsible thing to do would be to get YOU to listen to Joanna's new work, and YOU know what? You should. What will you find? The comfort in knowing that somebody in this world has felt the same feelings you have, only she has brilliantly composed them into a 2 hour musical memoir. It is all doublespeak for Newsom - everything for her has two meanings. She has taken our thoughts, desires and fears and, with a harp and pluck, confessed them better than we ever could.
Folk music, which has developed since its birth in the 19th century as traditional folklore, has been used to describe the traditions, customs and culture of the average citizen with raw, unkempt vocals and minimal instruments, usually a simple guitar or piano. Recently, folk music has gained popularity and fusion genres such as electric-folk and pop-folk have emerged, at times causing our definition of the genre to become cloudy and bereft with computerized instruments and auto-tune. Joanna Newsom is a fresh breath of air amongst a class of musicians that no longer write their own material or play their own instruments. The California-bred songstress has been classically trained in harp, guitar and piano since she was a toddler and released her first EP at the tender age of 20.
This is the fourth edition of the Experience Hendrix tour which has gone cross-country, playing homage to one of the greatest guitar players ever, Jimi Hendrix. This year's ensemble includes Joe Satriani, Jonny Lang, Eric Johnson, Kenny Wayne Shepherd, Brad Whitford, Doyle Bramhall II, Living Colour, Double Trouble's Chris Layton, and David Hidalgo and Cesar Rosas of Los Lobos. Bassist Billy Cox, who met Jimi in the Army and played with him in the Jimi Hendrix Experience and Band of Gypsies is also along for the ride.
Deep in Downtown Miami lays White Room, where a particular special event took place last Friday. Band after band took the stage, among them was funk trio Hoosha. Delivering their own unique blend of funk and rock, their sound heavily contrasts with the other bands, which focus on experimental electro sounds and heavy beats. Hoosha brings straight funk and their unique energy while their overall performance attracts a sizable crowd.
I guess it's safe to say that Jay-Z has a lot of friends in the hip-hop community. Cameos are no longer a shock when Jay-Z plays a sold out show at Madison Square Garden, but last night no one could have guessed who would stop by:
The world's most infamous criminal (well, not yet, because Lil Wayne's sentencing was postponed on the 2nd due to a serious fire in Manhattan's Criminal Court where three people were injured). This is the second postponement of Wayne's sentencing, the first was due to an "emergency dental surgery" where he had eight root canals performed.
Although I'd been a
fan of Wild Beasts since I received a press copy (my first one!) of their
second album Two Dancers back in
September, I had never really thought of the guys in the band as sexy.
Soaring falsetto and sexually ambiguous lyrics don't really do it for me when
it comes to determining whether or not a band is crushworthy. But the UK
boys had me hooked and swooning at their show at Music Hall of Williamsburg Sunday night.
I had been told that Wild Beasts was an act not to be missed and that there was virtually no distinction between their live performance and the sound they are able to capture in the studio. This is a false statement. While I was impressed by how similar they sounded to the record, Wild Beasts, like any band worth their salt, is much better live. They kept the stage banter down to a minimum (usually a blessing, but I wouldn't have minded listening to those British accents a bit more) and ran through songs from Two Dancers and favorites from their debut Limbo Panto. The bass is a louder and more haunting presence on stage. It gives weight and power to already lush songs I only half-liked before. It was fun watching Tom Flemning pull a drumstick out of his back pocket to bang the strings on the bass and who knew it was Flemning hitting those high notes on "All The King's Men" when the operatic vocals are usually provided by Hayden Thorpe? Thorpe and Flemning not only traded vocals but also shared bass, guitar, and keys duties. Highlights (for me) included the driving crowd pleaser "Hooting and Howling" and the closer "Cheerio Chaps, Cheerio Goodbye," which was made even more appropriate as this stop on their tour marked the band's last night in America.