2009 Albums

Well it's New Years Eve today, that means we can look forward to upcoming albums in 2009. Are you guys looking out for any specific albums?

Some highlights for me are the following...

Animal Collective
Andrew Bird
Chris Cornell
Built To Spill
Doves
M. Ward
Wilco
Stone Temple Pilots
The Postal Service

I'm particularly excited for Built to Spill and Doves latest. I think they are both going to gain a much larger audience this year. I won't hold my breath on The Postal Service album, but it will interesting how they follow up with 2003's Give Up. 

CLAPTRAPPED TRACKS OF 2008

Bryan O'Donnell
The Walkmen -Four Provinces
TV on the Radio -Golden Age
Ra Ra Ra Riot -Ghost Under Rocks

Danny Haas
Fleet Foxes -Ragged Wood
Okkervil River -Singer Songwriter
Kids Don't Know Shit -Islands

Kurt Marquis
Vampire Weekend -Walcott
Walter Meego -Forever
Bodies of Water -Water Here

John O’Connell
Anathallo -The River
Bon Iver -Skinny Love
Hot Chip -Out At The Pictures

Jeff Totsch
Hot Chip -One Pure Thought
Kings of Leon -Sex on Fire
David Byrne & Brian Eno -Strange Overtones

Adam Kosecki
Vampire Weekend -M79
Hot Chip -We're Looking For A Lot of Love
Crystal Castles -Crimewave

Mickey Waszkowski
Cage The Elephant -In One Ear
Late of The Pier -The Bears are Coming
Foals -The French Open

The Wire: Best theme song?

If I've had a conversation with you in the past 6 months, there's a pretty good chance, at some point, I suggested that you watch HBO's "The Wire." I think the show's writing, characters, and themes are absolutely brilliant.

But on top of it being an excellent TV show, it has a really awesome opening credits theme. A unique aspect of the opening credits is that it features the same song -- "Way Down in the Hole," written by Tom Waits -- performed by a different artist each season.

Season 1 is performed by The Blind Boys of Alabama; Season 2 is Tom Waits; Season 3 is performed by the Neville Brothers; Season 4 is DoMaJe; and Season 5 is Steve Earle.

DoMaJe is a group made up of five teenagers from Baltimore (the setting of the show), and Steve Earle plays the character Walon (a recovering drug addict) in the show.

I enjoy all of the versions, with my favorite probably being Season 3. I just found the different versions of the same song to be really unique, on a show that could really do no wrong.

Season 1




Season 2




Season 3




Season 4




Season 5

Top 5 Albums of 2008 - Claptrapped's Picks

Bryan O'Donnell

1. Fleet Foxes - Fleet Foxes
2. Wolf Parade - At Mount Zoomer
3. TV on the Radio - Dear Science
4. The Walkmen - You and Me
5. M83 - Saturdays = Youth

Danny Haas

1. Fleet Foxes - Fleet Foxes
2. Islands - Arm’s Way
3. She & Him - Volume 1
4. Vampire Weekend - Vampire Weekend
5. Okkervil River - The Stand Ins

Adam Kosecki

1. Portishead - Third
2. Vampire Weekend - Vampire Weekend
3. Gnarls Barkley - The Odd Couple
4. Murs - Murs for President
5. The Kills - Midnight Boom

Kurt Marquis

1. Bonnie Prince Billy - Lie Down in the Light
2. Q-Tip - The Renaissance
3. Stereolab - Chemical Chords
4. Stephen Malkmus - Real Emotional Trash
5. Sigur Rós - Með suð í eyrum við spilum endalaust

John O’Connell

1. Elbow - Seldom seen Kid
2. Anathallo - Canopy Glow
3. Bon Iver - For Emma, Forever Ago
4. The Black Keys - Attack and Release
5. Fleet Foxes - Fleet Foxes

Jeff Totsch

1. Hot Chip - Made in the Dark
2. Vampire Weekend - Vampire Weekend
3. British Sea Power - Do you Like Rock Music

Mickey Waszkowski

1. Elbow - Seldom Seen Kid
2. Atmosphere - When Life Gives You Lemons, Paint that Shit Gold
3. The Heavenly States - Delayer
4. Johnny Foreigner - Waited Up Til It Was Light
5. Hot Chip - Made in the Dark

Drunktrapped

Posting a good drunk playlist would probaly (spelled like that on purpose to emphasise drunkeness) be a good idea to keep people involved. I don't know about you folks but I always listen to atleast 1 or 5 songs before I fall asleep on a Friday or Saturday.

Here is my song selection tonight.

Band of Horses - The Funeral
Andrew Bird - Fake Palindromes
Cold War Kids - Hospital Bed
Golden Age -TV On The Radio ( Won't lie, def thought it was Prince)

ok actually itunes shuffle actually played that in a row...miracle? you tell me.

Most Anticipated 2009 Releases

Next year has the possibilty of being one of my favorite years of music. Most of my staple bands are releasing new albums with Andrew Bird being the first to release his newest LP Noble Beast on January 20th. Some other bands with upcoming releases include:

Wilco

Flaming Lips

Band of Horses

Anyone else pumped about a release coming next year?

Thanksgiving listening

I listened to a lot of music this past long weekend. Many times, I tried to actively listen, rather than listen while doing something else. (See my post from Nov. 11.)

Here's what I was digging:

• TV on the Radio, "Dear Science"
• Ra Ra Riot, "The Rhumb Line"
• Kaiser Chiefs, "Off with their Heads"
• The Walkmen, "You and Me"
• M. Ward, "Transistor Radio" (really great for when you're stressed)
  

We say we like them, but really ... we don't

Is it the Stones? Neil Young? The Smiths? David Byrne? Let it be known, it’s okay to admit it: you don’t get it. ClapTrapped shares its list of bands we say we like, but deep down don’t. (Not highly respected bands we hate; that’s a little different.)

Mickey says: I like Bob Dylan, everybody does. But really, to be honest, I only like “Blonde on Blonde” – the rest I can do without. I’m living a lie, most of the time. Anytime he comes up in conversation, I’ll say that I love Dylan, how he’s timeless, a true genius, can do no wrong. Dirty, dirty lies – all of them. Now before you start drafting your response, and all the reasons I don’t know what I’m talking about, think a minute. You know you think he sucks too and you’re just too afraid to admit it, so you pretend to like him.

Apehands says: There are artists from the ‘60s and ‘70s that people talk about like gods. One can easily say a band is good because they either aren’t from that era or they just don’t have the energy to dismiss an artist that society as a whole has come to revere. Well, I have the energy and time to tear Eric Clapton a new one. I don’t know who this guy thinks he is. Sure he plays a badass blues guitar and used to rock with Cream back in the day, but what has he done since? Layla? Lame. Tears in Heaven? Lame. What happened to songs like Cocaine? It seems to me as if the guy was crowned the king of blues rock before he even released 3 good albums. What has he done besides give us sappy contemporary singles in the last 30 years? Sure the guy used to look cool mastering the Strat with his jeans and thick mustache, but now every time I see him he’s got glasses and a suit on. I get it: He got old, had some kids, and settled down. My opinion is he settled down a long time ago and has sucked ever since the days with Cream when he could actually write a gritty song. The only station I listen to in Chicago is WXRT and they love themselves some Clapton. I will be driving in a car, and what do you know some crappy “unplugged” Eric Clapton will come on. My suggestion is that he unplugs completely and just retires.

JMOC says: I would say the band that I say I like but hate would be Jimmy Buffet. I have seen him about 7 times in concert – pretty much just for the party. Although I like a few of his songs, I think mostly he's overrated.

OD says: I’m going to have to go with the White Stripes. For a band that doesn’t particularly strike my fancy, I own three of their albums. I feel like I should like this band. But for whatever reason, they just don’t do it for me. Other acts I like less than I let on: David Bowie, the Velvet Underground, and Pearl Jam.

Anathallo - Canopy Glow

Anathallo came out with a new album today as a follow up from the first album Floating World.

I first saw Anathallo at Lollapalooza 2006 on a side stage, to my surprise I loved them. They have a heavy focus on percussions, piano, horns, and vocals with two members almost always singing together. They hail from Mt. Pleasant Michigan and now reside in Chicago. The band consist of 7 members that can play every instrument under the sun. One of my favorite things listening to this band is the random holes and sometimes off beat songs. Their music never seems to have one direction throughout the song but they still make it work. I think this style rings true in this new album. The highlights on the album for me are "The River", "Bells", "Italo", and "Noni's Field." Now if anyone reading this post listened to Canopy Glow and Floating World and thought I was crazy, I would not be surprised. Some of the songs can be a bit of an acquired taste, but I think it's worth a few more listens. Most of the music I constantly listen to took some time before I called them my top bands.

--JMOC

Girl Talk @ the Congress: A Split Review

Take 1: What the...? Huh?

Not being very familiar with Girl Talk's work, a ticket was extended by a friend. The format of the show is unlike most that I attend, but it could make for an interesting show if the DJ can pull it off. What I got was 30 second clips of popular music and an amateur dance review. First, Girl Talk is nothing more than a dude with a laptop or two. So to have a rocking stage show would require a lot of effort & inspiration, it appeared he gave 50%. What the audience got was 100 lucky fans on stage dancing around Girl Talk's creation station. Mostly, these people took turns fighting to the front of the stage & then proceeding to dance like "Step Up 2 Tha Streets"- hipster edition rejects. There were more tight jeans, neon accessories, and flippant attitudes in that theatre than in all Urban Outfitters combined. There was a video screen that flashed images and graphics around, but they were confusing & irrelevant. At the start of his set, he had 2 or 3 people walking around the stage with air-propelled toilet paper dispensers. They didn't get very far into the audience & were neat as a science project, but failed as a concert tool. Later in the show, (presumably) these same TP-ers took to filling up giant balloons at the rear of the stage and sending them into the audience. Of the 4, I think one made it farther than halfway into the audience. The rest were popped quickly by selfish fans that wouldn't release their hands when the balloon wanted to move. Seems like an act more suited to smaller venues & house parties than the expanse of the Congress.

How the heck am I supposed to dance to this music? There are like, 33 different songs cut up & combined and played over one another and edited within each track and once I find a rhythm to dance to, something completely different would be playing, but not quite and my sonic sensibilities were mashed like potatoes. I found my brain fighting with my legs. Brain won. Legs are only useful when given directions by brain. Legs moving on their own accord ends with blushing, nervous drinking, and occasional tension-breaking remarks with the only other "whathefuckisgoingon" looking guy near you.

I did not dance. I drank beers & left early.



Take 2: Hell YEA!

Without a doubt Girl Talk is a visionary DJ in certain respects. You know how sometimes you hear the first few chords of a song on the radio & you begin singing, only to realize that the song is completely different than the one that you thought it was? Well, Girl Talk has taken that instance & maximized it. From Kanye to the Doors, Smashing Pumpkins to 'NSYNC he blends together beats and bits to form body-shaking dance cadence. As each bit ends and another begins, the change in vibe/ perspective/emotion of the audience is almost tangible. Bodies move as they wish, but under the guidance of the maestro; each contributing piece of music independent of the others, but still participating in the collective product.

While he has traditionally been restricted to clubs and small venues, his big-ticket debut was a blast. He mentioned early on that the crowd at the Congress was the largest that he has played for. What a party it was! Thousands of excited fans saturated the dance floor, eager to embrace the fleshy confines. To see a sea of sweaty smiling faces was a treat unthought-of in another environment. The space inside the Congress magnified the intensity of GT's beats.

If you like Top-40 hits then GT is the dj for you. Spanning decades, genres and rhythms he splices together intricate webs of visceral expression. Nearly every contribution is recognizable of it own accord, but it creates to a whole new product when blended with the other great samples. Like a lover, the tease keeps the audience wanting more. Except that GT's mixes never allow the chance to fawn over a missed opportunity. One after another the hits emerge, constantly building and redirecting, filling in the pop symphony.

I left sweaty, tired, and with a smile from ear-to-ear.

Where and when do you listen to music?

I’ve noticed recently that while I’m listening to music, I’m usually doing something else. It’s a pretty good bet I’ll be driving, working, exercising, or reading something online. Rarely am I just sitting and actually listening to music. It’s something I was able to do during earlier parts of my life, when I had the time. I have to say, I kind of miss it.

It’s probably why I enjoy going to see live music so much. At that moment, all that matters is the music. I can pay attention to how the bass line is playing off the drums. I can notice that little noise the guitar player is making that would usually go unnoticed while listening to an album at work.

The emergence of MP3 players and online music has contributed to this "distracted" listening, as it makes it easier to listen to a chunk of music here or there, rather than sitting down and listening to an album in its entirety.

Coming to this conclusion, I want to try and actually listen to my music more, as opposed to using it as background filler. Where and when do you guys listen to music?

Guilty-pleasure album of 2008: Cut Copy, “In Ghost Colours”

At the beginning of the summer, I picked up Cut Copy’s 2008 release “In Ghost Colours” after reading a number of very positive reviews –- some of which were labeling it one of the best albums of the year. I first heard about the band from a Pitchfork review of Coachella, where the reviewer basically said Cut Copy put on the best performance of the festival. Even though “dance rock” (which is probably how I would label this band) is not my favorite thing out there, I enjoy it enough and thought I’d check this album out.

Right from the start, I was smacked in the face with the cheesiness of “In Ghost Colours.” In-your-face synthesizers and some extremely corny lyrics are all over this album. Certain songs make me want to roll up the windows of my car so other people can’t hear what I’m listening to. Such lyrics (which are repeated over and over in their respective songs) include: “Lights and music…are on my mind. Be my baby…one more time” and “With heart on fire, I reach out to you tonight.”

I couldn’t believe this band that produced such over-the-top dance pop was receiving all of those accolades I read about. Gradually over the past couple months, I started to notice, however, that I wasn’t removing the album from my CD player. It went from me skipping through to the songs that I actually dug, to sticking with a few more of the songs (even though I thought they were totally cheesy!), to letting the album play all the way through. It felt like the scene in “Tommy Boy” where they’re flipping through the radio stations (“Talk about lame…”).

So despite some of the corniness, I’ve decided on three main reasons why I actually like the album. First, there are three songs that I think are just flat-out great songs. Not surprisingly for me, the songs are the least “dancy” and they feature more guitar and drums, as opposed to synths and drum machine. Those songs would be: “Unforgettable Season” (track 5), “So Haunted” (track 7) and “Strangers in the Wind” (track 12). These are actually songs that I don’t mind listening to with the windows down.

Another thing I like about the album is the use of vocal loops throughout most of the songs. Ooos and aahs are looped as backing vocals, giving the songs different layers. The effect gives off a spacey feel and makes the band sound bigger than its three-member arrangement.

The third, and probably my favorite, thing about “In Ghost Colours” is the seamless transitions between songs. I’m a big fan of song transitions in general, but I think this album does a great job of pulling it off. Occasionally they throw in the 30-second filler transition to get to the next song, but they’re always kept short enough so that you don’t feel the need to skip through them. The songs flow together nicely without too much meandering.

This album, for the time being, is still in my car. I’ll be listening to it –- although not when anyone else is in the car, and probably with the windows up.

Animal Collective clip from Pitchfork

This song from Animal Collective's 2008 Pitchfork Music Festival performance in Chicago this past summer was definitely a highlight. The song, titled "My Girls," will be on the band's new album, due out next January. I love the turn this song takes around the third minute.

Andrew Bird as Dr. Stringz

Buddy at work showed me this today. Pretty funny, and actually a good song. I love anything Andrew Bird does...new album coming out in the spring.

You can read about his process of making the new album here here

New Rolling Stone design

I'm really digging the new format of Rolling Stone. For those of you who haven't seen it, RS went from the big tabloid-style format to a smaller 10" by 12" book. It looks brighter and shinier, and at least in the first new issue, it seems like there's more inside. More features, more reviews, etc. The first issue contains 6 features, plus an Obama interview to boot.

Big thumbs up from me. Just wondered if you guys noticed/cared.

Secret Machines @ Metro

The Secret Machines can do a couple things really, really well. To start, drummer Josh Garza pumps his bass drum louder than anyone this side of John Bonham. This lays the foundation for a majority of the Machines’ tunes. To accompany this beast on drums, lead singer Brandon Curtis produces some serious grooves on bass. These two together create a truly unique sound that contains dark, eerie and pulsing elements.

Oh, and they’re really loud.

The three-member band took the stage Oct. 24 at Metro in Chicago with white wires stretched behind them. The wires were arranged to give the impression of a 3-D shape that enclosed the band. The shape reminded me of the cover of Pink Floyd’s Dark Side of the Moon. The stage and crowd was very dark. Curtis was cast in shadow for the entire night, which added to the atmosphere.

The Machines opened with “Dreaming of Dreaming,” the song the band released shortly before their latest album came out. The song doesn’t appear on the album, but it certainly feels like it could have been on there. It features the patented huge drums and bass groove combo, with guitars providing spacey bridges.

Before the show I was wondering what the setlist would be like. Secret Machines released their self-titled album Oct. 12 –- their first in 2 ½ years. The band went through a lineup change after the release of “Ten Silver Drops,” when guitarist Benjamin Curtis (brother of Brandon) left the group. So I was interested in how many of the old songs they would play.

My question was somewhat answered with the second song, when they busted out “Nowhere Again,” the main single from their first album, “Now Here is Nowhere.” The remainder of the set had a few songs from this album sprinkled throughout, but mostly they stuck with songs off the new album.

Not until the encore did they play anything from “Ten Silver Drops,” before closing with a much-anticipated “First Wave Intact.”

The drums and bass, creepy lighting, and plain-old loud rock made for an enjoyable night. However, I have to say I was quite disappointed with the Machines’ new guitar player, Phil Karnats. He messed up a lot of the old songs, and I didn’t think he brought much to the new songs. Karnats was definitely taking a back seat to the other two, and it’s possible that this was by design. And on top of everything, his backing vocals were awful. Half the time you couldn’t hear him, and the times he could be heard, he was singing way out of key. I don’t know if he couldn’t hear his monitor or what. Hopefully the band will eventually be able to iron out these problems in the future.

Overall, a great show from a very entertaining (and loud!!) band.

Yonder Mountain String Band @ The Congress

The Congress Theatre is a spectacular old building with a regal air about it. Its aged atmosphere is noticeable from the first step into the spacious lobby, the theatre screams for big-band music, highballs, and bow-ties. Fred Astaire could put on an evening showcase if the lobby were given a once-over with some wax and a few new light bulbs. Inside the music hall a soft, yet menacing red-lit dome commands the ceiling and covers the dance floor. Bars within reach of most, empty bathrooms and a spacious upstairs balcony make for comfortable music venue. However, the round shape of the venue results in poor acoustics particularly in the upper balcony. Like, really bad. Stage banter, song lyrics, and intricate solos were lost in the crossfire of commotion.

YMSB consists of four guys playing stringed instruments. No drums, no brass. That said, their sonic options are limited; but they’re playing bluegrass. Each song was a grasp at foot-stomping, knee-slapping joy. A pair of spoons would be a dynamite accessory at a YMSB concert. Quick tempos and lightning-fast picking were the special of the night. The bass held the songs together and gave the band a platform. During each song the audience was treated to at least one solo performance typically on the banjo or mandolin. The guitar and upright bass were given chances to try and carry tunes, but it seemed tough to slow down the notes from the banjo/ mando background. Regardless, the band took little time for themselves onstage and jumped from one jam to another, the energy level was high throughout the first half of the evening. An extended set break left the audience restless (and in some cases, dozing in their seats) and expecting an electric second set. The author left after the 3rd song in.

YMSB plays an entertaining brand of feel-good bluegrass, but it may be best served under the stars and with a side of bourbon. Being confined indoors by October temperatures and $8 drinks is no compliment to such a vibe.

Review: Taj Mahal @ The Morse

Let it be clear first that this review is written from the perspective of a casual blues fan & a known-by-association-with-a-jam-band Taj Mahal supporter. That said, there will not be a set list posted or introspective perception of any songs played. Frankly, the author was looking for something to do on Friday night.

It’d be unfair to review this show without mentioning the spectacular venue within which it occurred. The Morse Theatre in Roger’s Park (located on Morse Avenue, 1 block east of the Morse Red Line stop) (read: paranoid honkys need not fear) was christened this weekend after an extensive reconstruction. From the marquee to the rafters and the bar to the bathrooms, the facilities are fantastic. It’s a small venue with a 299-person capacity, much of it on the dance floor penned behind tiny cocktail tables, with booths along the walls and a horseshoe balcony. The acoustics were adequate from floor in the front, though it may take a few shows for the sound engineer to get it just right. Keep an eye on the schedule up there, the venue is definitely worth a visit.

Taj Mahal is amazing. There it is; if nothing else in you feels stable these days, you’ve just been given a constant on par with the sunrise. After ambling on stage with the backing members of the Taj Mahal Trio, Mr. Mahal picked up his gee-tar, mumbled through a countdown and began the evening. The first several songs were traditional blues choices with foot-stomping tempos. Rough and smoky with a smooth finish, like one that has been revealing the oscillations of life for so many seasons; Taj spoke of his sorrows, his sins, and his dirty desires. Moving from his guitar to a keyboard, the theme switched into a band-heavy tune with an exceptional solo session by bassist Bill Rich. Soon after a couple songs on the keyboard, (glossing over these songs is only a byproduct of the author’s unfamiliarity with the artist & slight inebriation; be assured that each tune played was a choice selection from somewhere in his 40-year recording career) Taj then jumped on a banjo and got the crowd’s feet tapping once again. Closing out the evening, the trio played the most anticipated song of the evening for many in attendance, “Lovin’ In My Baby’s Eyes.” If you have a better half, do your relationship a favor & put this song on. Lock eyes and let the song move your feet. Where you end up at the end will exacerbate any previous notion of affection. Leftover Salmon covered with Taj on vocals on their “Nashville Sessions” album & young, drunk lovers gained an anthem.

As an addendum to the venue and musical review above, Taj Mahal’s stage presence is note-worthy. From start to stop, Taj infused his music with his performance and magnified each song’s mood. He used his face as effectively as his hands, carrying the tunes along and representing what his guitar was emoting. Two-stepping across the stage, smiling at girls, slapping his strung partner as if it were playing hard-to-get; each note moved through him from fingers to feet. Truly an entertainer and bluesman par excellence.

Review: Kings of Leon "Only by the Night"

I consider myself a fan of Kings of Leon ... for now. They're not the best band out there. They can't be taken all that seriously. They're fun and they play some decent rock and roll.

But unfortunately I could see this band becoming cringe-worthy if they stay on the path they're on now. They're upset they don't sell out big stadiums in the United States like they do in the UK. The have a song on their new album called "Sex on Fire." Come on, seriously? This band is so close to selling their rock souls.

"Only by the Night" is similar-sounding to their last effort, "Because of the Times." They incorporate some keyboards and other effects. They have backing oohs and aahs. The lead vocals of Caleb Followill are still as strong as previous KOL records, but this album seems to be missing that "we don't give a shit, we just want to rock out" mentality.

Leading up to the release of "Only by the Night," I read the band wrote the songs for the album during crazy drinking binges. Naturally, I imagined the album to be a full-out rocker. In actuality, it's rather laid back. It starts off with a kick: the first three tracks are enjoyable, especially "Crawl."

But then the album takes a mellow turn on tracks 4-9. Lowlights include "17" and "I Want You." (The song titles really suck on this album.) These slower songs aren't terrible, but they're really not all that exciting or fun. And since KOL's forte isn't to write beautiful, moving songs, they should stick with fun. There's nothing on this album that holds a candle to any of the first four tracks of their second album, "Aha Shake Heartbreak."

I'd rate this album as average at best, with slight potential to grow on me. But it's not an encouraging fourth album. KOL needs to stop worrying about becoming as popular in the U.S. as the UK, and get back to their rock roots.

The Bird and The Bee Video

Pretty good group emerging.

This is directed by Eric Warheim from Tim & Eric. Awesome Show, Great Job. Weird shit.

Major content coming

After a short hiatus, expect some new content on ClapTrapped. Among this new content:

• Review of Fleet Foxes at Metro (Oct. 12)
• Review of Secret Machines at Metro (Oct. 24)
• Review of the new Kings of Leon album (I just bought it today)

In the meantime, here are some albums that a few of us are listening to:

Apehands:

• M83 - Saturdays = Youth
• Islands - Arm's Way
• Connor Oberst - Connor Oberst
• Of Montreal - Skeletal Lamping
• Headlights - Some Racing, Some Stopping

Mickey:

• Of Montreal - Skeletal Lamping
• Metallica - Death Magnetic
• Bon Ivers - For Emma, Forever Ago
• Stars - Sad Robot EP
• The National - Boxer

OD:

• Animal Collective - Strawberry Jam
• Secret Machines - Now Here is Nowhere
• Battles - Mirrored
• Electrelane - No Shouts, No Calls
• Wolf Parade - At Mount Zoomer
  

Poll discussion: Favorite Chicago venue

So it looks like the Vic is the popular choice for favorite Chicago music venue. I'm interested to hear why you guys think it's the best. I'm not saying I don't like it, but I don't think it's my favorite.

I voted for Park West. Despite the fact that I really don't like the location of Park West, this would be my No. 1 choice for seeing any band live. It's big enough that it's not cramped, but it's small enough to have an intimate feel. Plus it has that awesome table arrangement thing going on.

Any thoughts on why you voted for a particular venue? If you voted for other, please share.

Islands - A Matured and Better Band

Last year I downloaded an album I saw on Pitchforks website that had some free samples to listen to. One of these songs was a very poppy upbeat track called 'Rough Gem'. It stuck in my head for months and I could not shake it. It was your pretty cheesy indie typical pop song, but what can I say everytime I listened to it I felt as happy as a teenage girl. I gave the whole album a chance and in the end thought it was pretty decent, but it was lost in the vast mixture of my iTunes library.

Flashfoward to 2008. I frequent a little site many of you know about called Pandora. In the beginning of the summer I became a junkie of finding out about everything I could about every band I heard streaming on thier site. It was then that I stumbled upon the group, Islands, once again. I came to discover that thier sophmore effort, Arm's Way, was a much more mature and well put together album. They have really hoined thier producing and when I think TIGHT album of 08 I think Arm's Way. Still poppy and really indie, but so much fun. I really want to review this baby a little better after listening to it about a million more times, but right now I just want you guys to check it out.

Start with tracks...

Pieces of You

Creeper

Kids Don't Know Shit (My Personal Fav)

New Secret Machines track

The Secret Machines recently released this new song, although it will not be featured on the band's upcoming self-titled album, due out Oct. 14.

This song really reminds me of the opening track from their album "Now Here is Nowhere." I wonder why this song wasn't included on the new album, especially since it's only going to have 8 songs. I hope the album has a similar sound to this song, at least.

2008: Year of the animal

For whatever reason, a lot of music I've been digging this year has had something interesting in common. A bunch of my 2008 highlights revolve around bands with animal-related names. One of my favorite albums released this year would have to be "Fleet Foxes." They backed up the solid album with an impressive appearance at Pitchfork Music Festival in July. (I'm looking forward to seeing these guys at Metro in October -- who's with me?)

Another "animal" moment for me this year also came at Pitchfork. The out-of-this-world performance from Animal Collective is one I'll never forget. And while the band's studio works leave something to be desired with me, Animal Collective has to be one of my most anticipated bands to see live.

This leaves me with my third "animal" highlight of 2008. I've held off writing about this band on claptrapped, waiting to see if their appeal would wear off. If anything, my fascination and appreciation is growing by the day. The band is Wolf Parade. I kept reading about their debut, "Apologies to the Queen Mary," and took a chance and picked it up a couple months ago. I have to say, it's a pretty impressive album. The band features two singer/songwriters that basically alternate every song. But instead of having a disjointed feel, the two songwriters really mesh well together, making for a very enjoyable flow.

After hearing this album , I wanted more, so I picked up their second album, "At Mount Zoomer," which came out in June. This album is darker and probably not as easy to get into. But after some closer listens, the different sound of this album has me very excited about this band.

Dan Boeckner, who plays guitar and is one of the songwriters, had this to say (from Sub Pop's Web site): "After Apologies… we wrote about four or five new songs, but we decided to throw them out because they sounded too much like what we’d already done. We could have easily made another Apologies… but what would have been the point?"

I know my last post involved me totally ripping into a band for changing their sound, but "At Mount Zoomer" is an example of how a change can be a good thing. The band kept a lot of the great elements from "Apologies." The guitars and keys mix seamlessly and simply work very well together. It features the same wide range of vocals. Both singers have distinctive voices, but they never seem to sound the same in any two songs, which makes it feel like there are more than two singers. They took these elements that work and added a twist. A dark twist.

So while it's inevitable that I'll stumble across another animal-related band, I'd have to say Wolf Parade is my favorite discovery of 2008 so far.

Most-recent MMJ album 'urges' me to scratch my eyes out and cover my ears

I'm all in favor of bands changing up their sound. In fact, I enjoy witnessing the evolution of a band -- as long as it's for the better. The evolution of My Morning Jacket between their album "It Still Moves" and "Z" was definitely a pleasure. The first track from "Z" started with a slow, smooth keyboard, and it sounded like nothing from the previous album. But it also sounded good. The rest of the album followed suit in the quality department.

On MMJ's newest release, "Evil Urges," it appears the band tried for another transformation. What exactly they were trying to do, however, is a puzzle to me. This album carried a lot of buzz with it. In Chicago, tickets for their October two-night stop went on sale at least 6 months early, in anticipation of the band exploding after the release of "Evil Urges." Rolling Stone proclaimed the band as its Best Breakout band for 2008 (before the new album came out).

I'm starting to think MMJ might have carried a little too much ego into this record. After starting off decently -- three out of the first four songs are different, yet enjoyable (the exception being the third track, "Highly Suspicious," which is absolutely unlistenable) -- the album quickly takes a nosedive. "Thank You Too," "Sec Walkin," and "Two Halves" are just plain boring songs. You have to roll your eyes to this opening line from "Two Halves":

"Remember when you was seventeen?/You's going crazy!/You know what I mean?"

A couple tracks near the end of the record try to revive things, but it has a "too little, too late" feel to it.

MMJ decided to stray from what worked for them before: Some magical sounding vocals with a lot of reverb, and then throw in a kick-ass guitar riff here and there. As I said before, I can respect a band that wants to change up their sound. But this just seems like a step backward.

I waited to buy this album to let some of the buzz die down after its release. I read a lot of mixed reviews, so I wanted to take some time and listen to the album for myself. I listened to it a good six or seven times before writing this. Sorry to say, I probably won't listen to it much, if at all, again.

What I like most about music ...

I listen to music for many reasons. I like to discover new, exciting sounds. I like to relive memories and think about where I was at a certain moment while listening to a song. I like to find music that matches my mood -- and music that is completely opposite of my mood.

I enjoy dancing or rocking out at a live show, just about as much as sitting in a chair listening to something on headphones. The versatility of music is a great thing. Music fits into so many aspects of my life, it's hard to pinpoint what I like most about it. But I think I have ... at least for now.

I would have to say my favorite thing about music is that moment when I hear something that, just out of the blue, makes me smile. I've caught myself smiling a lot while listening to music lately. I don't know if it's a recent thing or what. It often occurs when I hear something unexpected in a song. It could be a 5-second bridge; a long, building guitar solo that explodes; a sudden change in tempo. Something that makes me think, "How or where did this person come up with that??"

It's this search for moments like this that makes me love music. I usually try to share these moments with other people, but they rarely feel the same way. And that almost makes it better, more personal. Everyone listens to music in a different way, I guess.

So I know it's hard to narrow it down, but why do you love music?

ClapTrapped Lollapalooza overview

Five out of the six members of this blog attended Lollapalooza this past weekend. Here is an overview of the three days -- the best and worst of Lollapalooza.

JMOC:

Favorite/best performance: I'll go with Rage. I thought it was a great show, plus I've never seen them; my neck is still sore from the headbanging. Also, this kid I saw dancing for the Nine Inch Nails show -- it was hysterical, I wish I had video.

Worst performance: Love and Rockets. I was listening far away for this show, but they did not impress me at all.


Biggest surprise: I would say Yeasayer. Didn't know much about them going in, but they rocked it. Plus they win for weirdest looking bassist, and the most stoned...
http://www.youtube.com/watch?v=0c8W3hcu2XQ


Biggest disappointment: The last two songs for Radiohead. Why did they turn off the sound in the back two sections? This was the headliner! I talked to some co-workers that were in the back of the crowd, they said they could hardly hear a thing for those last two songs.


Honorable mention: The visual effects NIN had on their stage the second half of the show. At first I was disappointed, but they definitely won me over by the end.


Zorm La:

Favorite performance: Gotta go to the National, blew me away how much better they make the songs sound live ... Radiohead was a great show (can they play a bad one?) but the bar is set so Bonnaroo high......


Worst performance: Bloc Party. Just can't do a stadium with a tin sound ... their first-album songs sound so much better than the second-album songs do live ... it's just too weird seeing a band play half a good set....


Biggest surprise: NIN. Had no idea what to expect, but they were GREAT. Great sound, great stage setup, great set. Even the slower instrumentals (which Jim Derogatis described as "meandering") worked because they served as chapter breaks for the whole set -- if you stayed for the majority of the set (which Derogatis did not). GREAT energy. HONORABLE MENTION: Flogging Molly. Awesome set from a band I knew about as well as my ass from my elbow. Will be checking out more.....


Biggest disappointment: Not being able to be at both Rage and Wilco. Had a great time -- really a perfect, chill Chicago night at Wilco. But Rage sounded, from all accounts, like they raged.


New discovered band: Booka Shade. Was on my way to MGMT, and Booka Shade were playing right next to MGMT. Told myself I would stay for a song -- was so blown away that i stayed the entire 20 minutes and missed all of MGMT. And I swear, HALF their crowd was people just like me, passing and then staying......


OD:

Favorite: Radiohead, even though I couldn't hear it as well as I would have liked. I don't think I stopped smiling through the entire show.

Best: Rage. I'm really glad I was talked out of leaving this when they kept stopping their set to keep people safe. The band wasn't rusty at all; they were totally rocking.

Biggest surprise: Yeasayer and Battles. I loved how Yeasayer translated to the outdoor setting and managed to put on a really kick-ass set without the benefit of a light show. Battles was just crazy, and it was really fun to watch each band member contribute something different, yet strangely cohesive. That drummer was intense; I loved the tall cymbal. Another surprise was seeing Slash playing guitar with Perry Ferrel on the Kids Stage. I was kind of far away and kept thinking "That kid that looks like Slash can really play!" Then I found out it really was Slash.

Biggest disappointment: The Sunday lineup, as a whole. I liked the National and NIN, but the rest was pretty weak. I was also once again disappointed by the Black Keys. I'm not the biggest fan of theirs to begin with and this show didn't help my opinion. I guess I can chalk some of it up to the sound issues. I just wish they'd mix things up a bit; all their songs sound the same to me.


Mickey:


Favorite/best performance: Radiohead. Between the light show, the setlist, the fireworks, and the crowd it was quite a production. 2nd Rage. Despite the stoppages I was quite impressed.


Worst performance: Okkervil River. I did only stay for the beginning, first five songs, but I definitely thought they sounded better on the album, and the lead singer really needs some practice with a microphone.


Biggest surprise: Yeasayer. I like the album but had moved on. Their performance was loud and impressive, even on a mainstage. Even their stage banter was better than I would have thought. I'm definitely giving the album another listen. Battles had their moments too.


Biggest disappointment: The sound on the Bud Light stage. Very inconsistent for a few acts that I saw there (Keys and NIN). Thought the PS3 stage had better sound most of the time.


Honorable mention: The crowds, for the amount of people and alcohol, I thought it was fairly orderly, no thanks to Lolla (long lines, no cold water, and so on).


Daniel Haas (Apehands)

Favorite/best performance: Favorite -- NIN (first time show, long overdue) Best -- Radiohead.


Worst performance: Any DJ tent that caused sound bleeding, especially during MGMT.


Biggest surprise: Wilco suits and new song.


Biggest disappointment: The National.


Honorable mention: Okkervil River.

LOLLA DAY 1

This years Lollapalooza sold out all 3 days bringing the total amount of people at Millennium Park for the weekend to 225,000. Holy shit, that is a lot of people. (Not counting the amount of people that swapped the easily removed wristband from a friend.) The first day set the tone for what was going to be a very crowded, and very hot weekend down on Chicago’s lakefront. Walking in I was already a little annoyed. I could see the entrances on Columbus and decided to make a pit stop at Panda Express in order to get some business finished from the night before. Remember you can act like you are gonna buy something and they will let you use their facilities! I trekked back out and entered the madness under the giant inflatable Lollapalooza sign while friendly voices from WXRT guided me along the way. After about a half hour of shuffling my feet I was finally at the security check. My bag was filled with a blanket and two sealed, festival approved water bottles. It was at this point that I realized I could probably have anything in that bag because all I got was a squeeze at the bottom of my sack. Thank God Obama didn’t make his rumored appearance. Once I was in I took a look at Buckingham Fountain, thought of Al Bundy, and was on my mission.

I headed over to see Jeff Tweedy perform on the Kids stage. I promptly left because there was a significant crowd of children and I could barely hear Jeff’s guitar or voice through the bass from one of the main stages. There were also 4 year olds flowin' to the most generic rap beats ever produced right behind me. The sound bleeding always seems to be a problem with me and this wouldn’t be the last time this weekend at Lolla. I have seen Tweedy acoustically perform a bunch of times and decided to move on not crying over spilt milk.

Relatively close by I ventured over to the MySpace stage for a band I was told ‘rocked live’. The Kills are a two person band consisting of a British dude and an American babe. I picked up the latest Kills album “Midnight Boom” about 2 months ago and had a few select tracks I wanted to hear. They wasted no time and opened with U.R.A. Fever followed a song later by Sour Cherry. As the set went on however, it started to drag. Not because I didn’t know the songs, but because I started to realize what I thought of a lot of the bands at this years Lolla. They would be much better at a smaller indoor venue. Their sound just doesn’t work outside and while they tried their damnest to work the crowd I just kept thinking I would be rocking out harder in my apartment just listening to their CD. The babe was pretty hot though, and chick rock stars get me all willy-nilly so I stayed.

Next up was The Black Keys. “We’re from Akron, Ohio,” Dan Auerbach the singer/ guitarist yelled. “We’re basically neighbors.” The Black Keys consist only of a guitarist and drummer while creating sound that appears to include a bass player. Chicago being the blues capital of the world made a perfect fit for this riff driven twosome. Sound issues crept up again however making their set a little lackluster. The shear energy in The Black Keys music sounded muffled as they tore through favorites like Your Touch and Strange Desire.

After grabbing some moderately priced food and a $5 beer I walked around a bit and did some people watching. I have one question. Did we travel back in time to 1985 and no one told me about it? I have never seen so many florescent sunglasses and jean shorts in my life. Another popular item of clothing was the shorty-short track shorts on dudes. That coupled with all the new wave dos really had me contemplating my cargo shorts and crew-cut look. I digress.

The Raconteurs were on the Bud Light stage and I had to fight the wave headed towards Radiohead whom were playing on the opposite side of the park. It was only 6, but they started at 8 and people were getting ready to stake their territory out before it started. Who could blame them, there were 75,000 people in the park and I would say a good 75% were there to see Thom Yorke and the boys. Not being a Radio-head I took this opportunity to get pretty close for Jack White’s ‘other’ band. The Raconteurs are made up of Jack White (of The White Stripes), Brendan Benson (solo), Jack Lawrence (of The Greenhornes and Blanche), and Patrick Keller(also of The Greenhornes). Some might say that this band is not as good as all its parts separately but they sure are tight playing together. The harmonies sounded fantastic and their set will definitely cause me to revisit their latest album, “Consolers of the Lonely”. Jack White’s talking between songs was pure unintended hilarity and I found myself laughing just trying to make out what exactly he was saying. Brendan Benson sported a sheriff’s badge while belting out songs like Old Enough. Their entire set was high energy and they didn’t miss a beat.




Radiohead was on the AT&T stage or the main stage and had the 8-10pm time slot all to themselves. The sun was setting when they started in with 15 Step. Not being the biggest Radiohead fan I was very happy to have them kick it off with that song. “In Rainbows” is such a solid album and the most consistent of all the Radiohead albums in my opinion. I wanted a heavy “In Rainbows” set and boy did I get it. The first half of the show lagged a bit with Thom Yorke admitting that they were all a bit jet lagged. The sun was now all the way down and I was about to see a light show like I have never seen before. What appeared to be paper-like streamers (I was later told they were not paper) were hanging from the top of the stage. Reflected on those streamers were lights that corresponded with the music like an equalizer. The video screens behind the band and to the right and left displayed split screens mainly of front man Yorke and various foot pedals. It made for a very artistic presence. It all came together during Everything in it’s Right Place when the words to the song were displayed on those streamers and fireworks erupted in the background. Radiohead truly does put on one of the best light shows I have ever seen. 2+2=5 and Idioteque closed out the show and it was time to hit the streets. Be back with a Day 2 review.

Daniel Haas (Apehands)

Some Good Songs

My cousin asked me to make a list of 10 great songs for his website, so I'd thought I'd share my list with you all. No criteria:

"Glad Tidings" - Van Morrison 1970

"Isobel" - Bjork 1995

"You Can Make Me Dance" - The Faces 1976

"The Opposite of Hallelujah" - Jens Lekman 2007

"I've Been Riding With the Ghost" - Songs: Ohia 2003

"Luv N' Haight" - Sly and the Family Stone 1971

"Water Here" - Bodies of Water 2008

"I'll Be Glad" - Bonnie "Prince" Billy 2008

"Can't See Your Face No More" - David Vandervelde 2007

"Favorite Thing" - The Replacements 1984

"The Grind Date" - De La Soul 2004

"Snow Falls in November" - Julie Doiron 2004

km

Radiohead albums: Rank 'em

In honor of Radiohead coming to Chicago this Friday, I've decided to share my ranking of their albums. I always find it a fun debate, as everyone seems to have an opinion on which albums are the best. I'm excluding Pablo Honey from my list because I don't have it and I've only heard "Creep."

1) OK Computer
This album will always have a special place in my heart. It was my first Radiohead album; I want to say I was a freshman or sophomore in high school when I got it. It's such a solid album from top to bottom, and it has a great mix of rockers, softer stuff, and crazy, spacey songs. I love how this album shows the band's transition in music styles. It has the rock elements of The Bends, which was released before it, and it has elements of the dark, creepy sounds, similar to what you hear on Kid A (which followed OK Computer). As much as I enjoy this album, I almost always skip over "Fitter, Happier." My favorite tracks (can't pick just one on this album) are "Lucky" and "Exit Music (for a Film)."


2) Kid A
This album really shocked me the first time I heard it. I was expecting something similar to OK Computer. When I pressed play and "Everything in its Right Place" started, I said, "What the hell is this?" But the dark, electronic-infused album that follows is simply genius. For being an album with a lot of weird noises, it has some great rock songs: "National Anthem" and "Optimistic" fit the bill. And "How to Disappear Completely" is a chilling and touching tune. I love the flow of this album. It's probably the one Radiohead disc I allow to play all the way through without skipping a song. The sequence of "Optimistic," "In Limbo," "Idioteque," and "Morning Bell" segues fantastically.


3) In Rainbows
In a time where they could have put out something mediocre, Radiohead instead produces their finest album in years. It created a ton of buzz with its "pay anything" download option, but aside from that, it's actually an enjoyable listen. Its opener, "15 Step" features the classic Radiohead bass-line change-up that takes the song into a completely different direction. I'd have to consider "Reckoner" one of my top 3 songs by the band, with its strong percussion and eerie vocals. It's one of those Radiohead songs that gives me chills with just about every listen.


4) Hail to the Thief
I like this album -- it has some of my favorite Radiohead songs -- but I think the band could have left a couple tracks off (especially toward the end). That said, I think "There There" is one of my favorite rock songs by any band. "Where I End and You Begin" is another example of a song with a classic Radiohead bass line: The part with about 1:30 left in the song where the bass cuts out and the drums take over, and then the bass comes back in -- that's what this band is all about.


5) The Bends
This was a tough choice -- I like this album and Hail just about the same, despite how different they are. And listening to this album and Kid A, it's hard to believe they were made by the same band. The Bends is a really great rock record. It also has some of my favorite heart-felt tunes, in "Fake Plastic Trees" and "Street Spirit (Fade Out)." But over the years, I've found myself not listening to it as much as other Radiohead albums. So I almost feel bad for not ranking this album above Hail, but I just don't listen to it as much.


6) Amnesiac
I basically consider this album Kid A's younger brother. It's the least distinct out of their albums, and I skip over quite a few songs. I still think "You and Whose Army?" and "Like Spinning Plates" are great -- especially live -- but I would definitely vote this album as my least favorite.



Please feel free to share your rankings. I always find it interesting how people like their albums differently.

Old Skool: The Modern Lovers

The Modern Lovers were Jonathan Richman's band. Heard of either the band or the name? Remember the movie Something About Mary, and the acoustic guitar/snare drum duo that sing the songs that serve as scene breaks throughout the film? The guitar player/singer, that's Jonathan Richman. Go ahead, dig the DVD out. Remember that scene where he accidently gets shot at the end by the old guy aiming at Ben Stiller ? :)

Well, back in 1972, Jonathan Richman wrote and recorded the nine songs that make up the debut album of the group, entitled The Modern Lovers. The album wasn't released until 1976, and by that time Richman had gone acoustic with a different lineup, reducing the noise behind him so that his quirky, heartfelt pop songwriting could really take the forefront.

So the album remains as a single gem, unique in its' raw power coupled with its' tender heart. It's a Rock'n'Roll album for driving fast down the highway, a slow burner for backround tunes after a long night, a balm for all those scathing breakups and women who could have been, and, finally, above all, a crank it up, press play and don't touch, isn't-it-wonderful-to-listen-to-music? album, which is the checkmark for any great record.

It's just fun. Check the first song off the record:http://www.youtube.com/watch?v=TDJShMk-r88

With Jerry Harrison(who would later play guitar/keyboards for the Talking Heads) on organs. Six of the original nine tracks were produced by John Cale(organist/bass player for the Velvet Undergound). Richman took his influence very directly from the Velvets, literally following them around New York and pestering them to let him into rehearsals so that he could watch and learn. But this is not a Velvet Underground/New York-cool ripoff, unless you consider the sheer joy of playing songs the ways the Velvets did on Loaded!(1970), ripping off. Richman writes songs completely his own. It's a very New England album, a Boston gem, with songs so real, so fun, so un-cool they're cool.

For more info, and to see where I stole my information/write up, link on:http://en.wikipedia.org/wiki/The_Modern_Lovers

You should be able to find this at most quality record stores in the city, and certainly on Amazon.

Check it out, and enjoy:)

And thanks for letting me join the party.

Conor Oberst Streaming New Solo Album

Produced by Conor Oberst with the help of engineer … [read more]and longtime associate Andy LeMaster, the album was recorded in Tepoztlán, Morales, Mexico. Creating a temporary studio in a mountain villa for a one-month period this winter, Conor and a tight-knit group of fellow musicians, who aptly call themselves The Mystic Valley Band, crafted a lush and beautiful record that evokes the deep sense of harmony in which they lived and worked during that month.

Review coming next week...

Listen to it here.

Pitchfork Music Festival Review: Sunday

Hello everyone.
Here are some acts I saw from Sunday. Good day, but long.

Dirty Projectors:

Weird multi-harmony off tempo math pop with lots of treble. Bizarre I know, but it was interesting to see this work live. Pretentious at times, but that's what you'd expect from a Yale dropout.

Apples in Stereo:


Simple pop, rather langweilig. None of the songs seemed to differ or go anywhere, and they were one of the acts that really did not fit for me. Now I don't know much of the Apples' material, besides this one set, but I still have no idea how Elephant 6 thought/thinks this band fits on their label (Of Montreal, Neutral Milk Hotel). I would maybe recommend this band to some lame singer/songwriter fans from the east coast, like Boston or something.

King Khan and his Shrines:


Hot funky stuff. The band was surprisingly classic in sound for contemporary R&B, which usually sounds over produced and watered down. King Khan worked his MC character and the crowd well, and his backing band, full of horns and a very thick bass line, was quite torrential (in an exaggerated blues sense). Hokey at times, but extremely enjoyable. One of the only boogie times I had on Sunday.

The Dodos:

This stupidly named band was one of the only groups I had not listened to before the festival, and they were delightful. Rich acoustic/electric guitar sound accompanied by interesting and exciting rhythms added a novel explosive aspect to what looks like simple acoustic emo on paper. The guitar playing was exeptional, very clever and fast, which sometimes I felt was due, in part, to the man's ridiculously impressive axe. The vocal sounded like a poor man's Morrissey, which surprisingly worked for an outside show. The recorded music I've heard of theirs since is ok/good, but i really recommend this band live outside in the sunshine.

M. Ward:

All I can say for this one is BORING. Just like Cat Power last year, you need to listen to M. Ward alone in your room or at a club.

Spoon:


Usual Spoon, but with horns. Still haven't seen them inside.

All in all, this was a good day.

km

Pitchfork Music Festival review: Saturday

Saturday, July 19, 2008, Pitchfork Music Festival, Chicago, IL

There were a lot of great moments from Saturday. Caribou put on a surprisingly cool set. I had never heard of them before, but will definitely check them out further. Their spacey, experimental style was something I hadn't expected to hear much of at this festival. It was a nice surprise, especially since it was the first act I caught.

Next came Fleet Foxes. I looked forward to seeing if they could pull off the magic of their recently released self-titled debut. They really exceeded my expectations. The vocals sounded amazing; their harmonies were dead on. Any doubts of FF being able to nail the harmonizations were washed away right from the start. They opened with an all-vocals number, and it just sounded great. This group is only going to get better. A little more experience and a little more variance to the types of songs, and these guys are going to be a can't-miss. "Blue Ridge Mountains" made for a great closing song.

While waiting for !!! to come on I was completely underwhelmed by Vampire Weekend's set. Not really sure what the hype is all about with this band. !!! was pretty good, a lot of energy. Their set really hit full stride with the last few songs. Vocals were kind of hard to hear, but that's not really what !!! is about, so it can be overlooked.

After checking out The Hold Steady (eh...) and Atlas Sound I waited for No Age to take the small stage. I planned on checking them out for a half hour and then heading over to Animal Collective. Unfortunately, they went on 20 minutes late. So after two songs (in which I could hardly hear the vocals, performed by the drummer) I had to leave to catch Animal Collective.

AC was definitely the highlight of the festival for me. I've never seen a performance like the one they put on. They played for the first 25 minutes straight, said a quick hello, and went back at it. They didn't stop again until the end of the night. I can't explain what they sounded like; it was music from another planet. A lot of loops and noise and lights. I couldn't stop smiling because it was something I've never heard before. This was one of the best performances I've ever seen. Period. I will definitely be catching these guys the next time they come to town. The worst part of the show was the very end, when they had to stop playing at 9:56 because of a "curfew."

Current Albums We can't Stop Listening to...

OD
1) Fleet Foxes, "Fleet Foxes"
2) Yeasayer, "All Hour Cymbols"
3) Kings of Leon, "Youth & Young Manhood"
4) M. Ward, "Transistor Radio"

Haas
1)Fleet Foxes, "Fleet Foxes"
2) Black Keys, "Attack and Release"
3) She & Him, "Volume One"
4) Wild Sweet Orange, "The Whale" EP
5) Islands, "Arms Way"
I have been goin heavy on the Talking Heads lately as well.

Jon OC
1) MGMT - Oracular Spectacular
2) Ted Leo + the Pharmacists - Shake the Sheets
3) Okkervil River - The Stage Names
4) Bon Iver - For Emma, Forever Ago
5) The Arcade Fire - Neon Bible

Marquis
1) Simone Dinnerstein - Bach: Goldberg Variations
2) Dirty Projectors - Rise Above
3) Smog - Red Apple Falls
4) Walter Meego - Voyager
5) Jason Molina/Songs: Ohia/Magnolia Electric Company

Review: Bonnie 'Prince' Billy - "Lie Down in the Light"

It has been about 21 years since Will Oldham co-starred in the classic film Matewan, which details a 1920s coal-miners' strike in West Virginia, but nevertheless, on his superb new musical release under his familiar moniker, Bonnie 'Prince' Billy, it seems as though little has changed from this early influence on this work.

Like a black and white photograph, "Lie Down in the Light" (Drag City, Palace Records), Oldham's first studio release of original songs since 2006, again carries us through the dust, the smoke and the peril of a spiritual Appalachia. However, unlike Oldham's earlier classic, "I See a Darkness," "Lie Down in the Light" is more of a mature voice leading through and from the darkness to, well, into the light. Oldham has grown up from the young preacher he depicts in Matewan, to become a wiser spiritual philosopher, depicting a man who has learned from his experiences and has grown from his past musical collaborations as a songwriter.

Like most Bonnie 'Prince' Billy records, Oldham is again accompanied by a list of talented veteran musicians who add a professional clarity and assuredness to Oldham's fantastic, almost implausible tenor. Never fear though, even with an orderly produced sound, "Lie Down in the Light" remains remarkably faithful to Oldham's lo-fi roots.

To come clean, "Lie Down in the Light" is an indie folk album, one full of vocal harmonies, acoustic guitars and warm Nashville twang, with only the smallest bit of percussion to beat. In addition, however, there are also wonderful moments of electric guitar solos and horns in these tunes, cleverly serving as precise evolutionary functions, helping to shift away from the slow inaugural air of some songs. But mainly, "Lie Down in the Light" is simply beautiful, soulful and quiet, with a flicker of unique excitement out of each piece helping to avoid monotony.

Obviously, this album can be rather melancholy and even disturbing at times, because of Oldham's explicit lyrical maturity and humanism, but what moves you through these songs is the potential for a musical crescendo or moment. A moment where the musicians, Oldham and his words figure something out: a type of musical epiphany, which they then realize for one sweet moment, recognize it, smile, and fade away. This is ever so evident on the third track "So Everyone," which build and grows to a fruition of perfectly produced instruments and harmonies, and Oldham, in beautiful juxtaposition, singing, "...Oh lady, show how you want me. And do it so everyone sees me. Sees that you love me."

In other words, "Lie Down in the Light" is a great album to impress chicks (joke).

Disco,

km

Notable tracks for stealing: "Easy Does It," "So Everyone," "You Want that Picture" and "I'll be Glad".

(Drag City - Loose Fur, Stereolab, Silver Jews, smog, Joanna Newsom, Mick Turner)