Black Hat Brigade, a band long championed by Frederick Foxtrott, has just released a live session with AUX TV in part with Audio Recording Academy of Toronto (TARA). It offers a little more of an intimate look at who they are and where they’ll be going.
Wilco
Wilco (The Album)
June 30th 2009
Nonesuch Records
The danger of writing an unabashedly and deliberate self-referential album is immense. It is often the kind of indulgence that eternally condemns and confines many records of its kind to Best Buy bargain bins. Of course there are the great cannon makers who will always be remembered for their eponymous contributions, Led Zeppelin I, II, III, & IV; The Who Sell Out; The Beatles (commonly referred to as The White Album); etc. Wilco goes beyond imprinting their name on a record or a song (in this case both). Blaring their self awareness, they have titled their newest record Wilco (the Album), and the first song on the release Wilco (The Song). But with all this narcissism, the album’s contents are not Xeroxed copies and remakes. The songs are fresh.
The band has moved effortlessly from their post Uncle Tupelo reformations, A.M and Being There, through the nascence of Summerteeth to their seminal Nonesuch release Yankee Hotel Foxtrot and then on to the whammy crazed, Nels Cline addled A Ghost is Born, which won a basket full of awards—partly based on merit and partly based on the cachet accumulated by the release of I Am Trying to Break Your Heart: A Film About Wilco—arguably the greatest music DVD ever released. The film documents the production of Yankee Hotel Foxtrot, cementing their status as industry underdog, giving even more attention to their follow up. From there they released a live CD documenting their 2005 show at The Vic in Chicago and later in 2007, Sky Blue Sky—a masterful retreat into neighborhood nostalgia and hometown reflection. With such a varied spectrum of song typology, where was Wilco to go? Their answer was a satirical celebration of themselves. The answer was Wilco (The Album).
Unquestionably the most polished and produced record of Wilco’s catalogue, this newest venture sees the band marinade amongst themselves. They are like an old married couple, the husband and wife begin to look alike. Cline and Tweedy alternate and converge through scales of distortion and wild free form feedback. Pat Sansone plays it straight with his standard roots rock licks that occasionally serve to anchor an otherwise frenetic guitar section. The album is eclectic in itself at times characterized by experimental loops and other times by subdued pop melodies. Leslie Feist duets with Tweedy on the song You and I. The song is soft and easy. It is a perfect midpoint between the pop orchestration the erupts in the beginning, Wilco (The Song), and the record’s conclusion, Everlasting, a song with subtle experimentation and a beautiful outro of wisping loops of Wilco’s signature guitar medley of Tweedy and Cline.
Wilco’s performance at Keyspan Park in Coney Island was worth the $55. I broke my own ethics in buying the tickets. No show should cost this much. When bands price themselves that high, it is a “fuck you” heard loud and clear. But I bought the tickets anyway and solemnly swallowed my convictions knowing that I’d get to see Yo La Tengo open. The predication of Ira Kaplan’s distorted wall of noise to the Tweedy/Cline symposium was phenomenal. It was like seeing my two favorite two cousins. The show lasted three sets. This confused me because I was pretty sure Tweedy was a little put off by the audience. It was tough to tell whether he was mocking the thousands of fans, many of whom were middle aged khaki wearing stiffs with pink ball caps or fraternity brothers sucking down fifths of Southern Comfort and screaming “wooo hooo” like Homer Simpson. At one point he stood in disbelief, shoulders ashrug when the crowd continued to sing Take Me Out to the Ball Game when he jokingly suggested it was his next tune. This underscores Tweedy’s dickishness but it doesn’t explain why he gave us everything that night. No matter the reason, it was a brilliant and a great show. Wilco is/are absolutely classic in every sense.
UPDATE: A reader points out that Nels Cline did not in fact play on A Ghost is Born. This is a misperception on my part stemming from the fact that I saw the group tour for A Ghost is Born and Nels was aboard. Thank you very much John-Paul for the correction. Somehow it is indeed more satisfying that Tweedy plays those solos himself. Though Nels is incredible.
8/9
http://www.myspace.com/wilco
http://www.wilcoworld.net/
Other Records
A.M.-1995
Being There-1996
Summerteeth-1999
Yankee Hotel Foxtrot-2002
A Ghost Is Born-2004
Kicking Television: Live in Chicago-2005
Sky Blue Sky-2007
SETLIST Courtesy of Stereo Gum
Set 1
01 “Wilco (The Song)”
02 “I Am Trying to Break Your Heart”
03 “Shot in the Arm”
04 “At Least That’s What You Said”
05 “Bull Black Nova”
06 “You Are My Face”
07 “One Wing”
08 “Handshake Drugs”
09 “Deeper Down”
10 “Impossible Germany”
11 “Jesus Etc.”
12 “Sonny Feeling”
13 “I’m Always in Love”
14 “Can’t Stand It”
15 “Hate it Here”
16 “Walken”
17 “I’m the Man Who Loves You”
18 “Hummingbird”
Set 2
19 “Heavy Metal Drummer”
20 “You And I”@
21 “California Stars”*
22 “You Never Know”*
23 “Misunderstood”
24 “Spiders (Kidsmoke)”#
Set 3
25 “The Late Greats”
26 “Hoodoo Voodoo”*
@ w/ Feist on vocals
* w/ Feist and Ed Droste of Grizzly Bear on backup vocals and percussion
# w/ Yo La Tengo
Animal Collective
Merriweather Post Pavilion
January 20th 2009
Domino
Two of my favorite things come from Baltimore, Maryland, the setting for The Wire and Animal Collective. Now living in New York City, Avey Tare (David Portner), Panda Bear (Noah Lennox), Deakin (Josh Dibb), and Geologist (Brian Weitz) make up what is easily one of the most dynamic bands celebrated by popular music’s enlightened underclass. To be sure, 2007’s Strawberry Jam was not perfect, but it was an infectious collection that had everyone’s ears aflutter. Animal Collective’s follow up, Merriweather Post Pavilion has only improved on the band’s innate sense of melody, creativity, and freakishly impressive composition.
With Panda Bear’s solo, Person Pitch, upstaging critically Strawberry Jam, it is no surprise that Merriweather Post Pavilion is a softer, more relaxed, and sober album. Person Pitch, winning a shack full of accolades, is a hyper ethereal and subdued record that never approaches the measured schizophrenia exhibited on Strawberry Jam. Merriweather Post Pavilion draws at least part of its genealogy from this release. The guttural rantings of Peacebone and For Reverend Green are tucked away deferring to harmonious vocal polyrhythms. There is an air Paul Simon’s usage of South African melodies and music that recalls Graceland in the most flattering way possible.
Merriweather Post Pavilion is Animal Collective’s most vocally accessible record. While its sedated character makes for easy listening and demonstrated maturity, the band has reserved their most vibrant songwriting for another day. Every flaw bitched about off of Strawberry Jam was attended to and corrected. But the heart and soul of the two records are far from one another. An apologist would argue that this obviously stems from the fact the they are indeed two different records, but even they would deep down inside feel the cold void caused by the absence of Animal Collective’s most delicious attribute—madness.
-FF
http://www.myspace.com/animalcollectivetheband
http://myanimalhome.net/
Other Music
Spirit They’re Gone, Spirit They’ve Vanished- 2000
Danse Manatee- July 2001
Campfire Songs- 2003
Here Comes the Indian-2003
Sung Tongs- 2004
Feels- 2005
Strawberry Jam- 2007
Read Review of Animal Collective’s Strawberry Jam
Tour
Jul 16 2009 8:00P Cigale, Paris
Jul 17 2009 8:00P Dour Festival, Dour
Jul 18 2009 8:00P Melt Festival, Grafenhainichen
Jul 19 2009 8:00P Jarocin Festival, Jarocin
Jul 20 2009 8:00P Postgarage Graz
Jul 21 2009 8:00P Bands Apart Festival @ Piazza Castello, Ferrara
Jul 22 2009 8:00P Rock in Roma @ Ippodromo, Le Capanelle Rome
Jul 23 2009 8:00P Jazzaldia at Kursaal San Sebastian
Jul 26 2009 8:00P Fuji Rock Festival, Nigata
Aug 8 2009 8:00P Lollapalooza, Chicago, Illinois
Aug 8 2009 8:00P Lollapalooza DJ Set, Chicago, Illinois
Aug 14 2009 8:00P Prospect Park Bandshell, Brooklyn, New York
Aug 15 2009 8:00P Prospect Park Bandshell, Brooklyn, New York
Aug 20 2009 8:00P Brixton Academy w/ Gang Gang Dance, London
Aug 21 2009 8:00P Green Man Festival, Crickhowell
Sep 12 2009 8:00P All Tomorrow’s Parties, Monticello, New York
Animal Collective- Peacebone from Strawberry Jam
Michael Jackson ‘Who is it’ (original mix): ‘Ice Cap Zone 1′ Sonic the Hedgehog 3 OST
So electronic artist Fluorescent Grey out of California believes he has discovered a link between Sonic the Hedgehog 3 and bits and pieces of MJ’s catalog. Here is what he posted this morning:
“for those unaware of this piece of music history trivia, Michael Jackson was hired by Sega to compose the music for sonic the hedgehog 3, for whatever reason he was let go from the project. Sega ended up using the songs anyways with minor changes done to them, and Michel Jackson himself used several of these original versions to later make the hits ‘Black and White’ ‘Remember the Time’ and ‘Jam’. Most of the Sonic music was sped up to double time and keys changed. I made adjustments to each song to match them up with one another.
Since MJ is dead now we will probably never know the actual truth about what happened, but as i listen to more Dangerous and post Dangerous Michael Jackson i keep imagining Michael Jackson busting out some awesome sega genesis fm synthesis music and taking it just as seriously as he would one of his hit singles and i respect him a lot for that.”
Fluorescent Grey has created a blog to distribute is reconstructions that contrast Sonic 3′s music with MJ lyrics etc. They are most definitely worth a listen and you will want them at you’re next party. They are sick! Click the links below.
Is it true? This might not be a hoax, but it certainly could be a cleverly and intentionally perpetuated conspiracy theory with little or no merit. But if something interesting comes of it, then I suppose who cares…
Fluorescent Grey Blog- http://michaeljacksonsonic3.blogspot.com/
Fluorescent Grey on Record Label Records
Read Previous Record Label Records Reviews Below
Fluorescent Grey
Tomoroh Hidari
Brian E
Here is a video Fluorescent Grey found and sent out discussing the matter (watch video in a Youtube window).
Black Hat Brigade
Fathers EP
May 29th 2009
Unsigned
Black Hat Brigade- Zombie City Shake
Far from the cavernous sprawl expressed by earlier recordings, Black Hat Brigade has recorded an EP that will be described as one of the best releases of 2009. Their Fathers EP kicks so much ass, they aren’t permitted to tour in America for fear that their presence will make the heads of residents in Williamsburg, Greenpoint, and Bushwick explode. This really is a national security thing. It is worth noting that the religious right and Billboard magazine have rigorously lobbied INS to approve visas for the band—clearly an attempt to silence northern Brooklyn’s pesky music scene. You know what I say? Fuck it’s worth it! Get your asses to NYC! Sure Robert Haughey’s vocals might remind some of fellow Canadian Dan Boeckner, but who really gives a damn?
Like the morose joy of Eagle Seagull, Black Hat Brigade’s music is entirely different and in many ways better than Wolf Parade. Fathers is defined by a paradox. Dark lyrics that speak of blood, guts, and zombies are cradles inside of some of the brightest and most expansive dance music written for the small club stage. Or maybe it is just that I can dance to anything, but we all know this to be untrue. While there is not a bad track on the 7 song + 1 reprise EP, there are certainly a few standouts. Zombie City Shake, Castlevania, and Vera are all exceptional. These songs not only have the pop sensibilities that provoke inebriated jigs, but they throw back to the epic layers common on their first EP. Here, the voluminous multifaceted interplay is harnessed to produce ridiculous crescendos, the heights of which truly press the limits of grandeur.
-FF
http://www.myspace.com/blackhatbrigade
http://blackhatbrigade.com/
Other Music
Black Hat Brigade EP- 2007
Tour
NOT NEW YORK WHO CARES…
Modernage
Sirhan Sirhan EP
September 2nd 2008
Pirilla Records
The advent of adult pop alternative rock was a difficult time. During the mid 90’s, a fevered rush of talented but uninspired musicians emerged on the national music scene riding on the coattails of late 80’s early 90’s college radio and Seattle rock. They could shred, they could keep a beat, and in the parochial sense of the word, they could sing. Often they could do everything except what made the great bands of the early 90’s so exceptional; they lacked a certain madness, depravity, abandon, and self destructiveness that made the Pixies, Sonic Youth, Nirvana, Pavement, and (yes) Pearl Jam worth while. College radio and Seattle rock became ubiquitous staples of MTV and suburban fashion. After the Violent Femmes distributed their collected opus Add it Up, chronicling their music from 1982-1993, there was no going back. It was a genuine and rare moment when radio pop and subversive rock met at a crossroads. The crossroads allowed future iconic bands like the Flaming Lips, who had been making music since the mid 80’s, to release songs on top 40 radio. On the other hand, it was only a matter of time before Candle Box, Bush, Semi Sonic, and Sponge would be playing all the summer festivals, seamlessly taking the banner of subversive rock away from those who had led the way. It was bait and switch all the way.
In a shocking segue, I turn to Miami Florida’s Modernage. Last year they released their latest EP Sirhan Sirhan and I have to say, the record hints at the very same domestication and pasteurization experienced last decade. It would behoove Modernage, or should I say Middleage, to go the route of Tonic or Train, not because they are untalented, but because the aesthetic they construct was never meant to be anything more than FM ready. In moments throughout Sirhan Sirhan, Mario Giancarlo slyly simulates Matt Berninger of The National (“Really?” you ask, listen to the chorus on Creatures), but without the earnestness. The music is pop; it is catchy and easy on the ears. Make no mistake Modernage knows song writing and all the little elements that go into putting out a really cogent, polished record. They have a market with plenty of potential fans. This 5 song EP thoroughly and unabashedly explores the genre of pop alternative- they makes no bones about their decidedly lacking constitution. This could be the beginning of a new era where pop radio is overtaken by this modified indie rock, but somehow I think that things have changed so much in the industry that the formula simply is not the same.
4/9
-FF
Midwest Dilemma (Unsigned)
Peasant Paper Garden
The Living Room 8:00PM
Wednesday, May 20th 2009
FREE
Darla Farmer Paper Garden
Emanuel & the Fear Paper Garden
Mercury Lounge 7:30PM 21+
Saturday, May 23rd 2009
$10
Midwest Dilemma- Omaha
Emanuel & the Fear- Alright! (We’re All)
New York City’s Paper Garden Records is treating us during the month of May by putting together a couple shows that showcase three of the labels more promising acts. On Monday, May 20th Peasant, one of our favorite song writers attached to Paper Garden will play along side Omaha, Nebraska’s Midwest Dilemma. This will be a doubly sweet night— not only am I eager to see Midwest Dilemma live, but Peasant is definitely always satisfying to watch. He cannot be overstated. It is my understanding that Justin Lamoureux of Midwest Dilemma will be playing solo, which will likely be a nice compliment to Peasant‘s set. Did I mention it is FREE? The show will take place at The Living Room on Ludlow.
The vaudevillian circus sideshow that is Darla Farmer team up with electro-pop orchestrators Emanuel & the Fear for an early gig at Mercury Lounge on May 23rd. The doors open at 7:30PM, with Darla Farmer offering their velveteen texture at 8PM, followed by Emanuel & the Fear at 9PM. For those of you who have not attended an early show at Mercury Lounge, it is a great way to begin a Saturday night. Your ass is out of their by 10:30PM, perfect if you have a party to get to in Bushwick, Greenpoint or Williamsburg. Both bands are attached to Paper Garden and are certainly worth a listen.
Peasant- On the Ground
Midwest Dilemma- Timelines & Tragedies
Darla Farmer- Rewiring the electric Forest
Emanuel & the Fear- Emanuel & the Fear EP
Black Hat Brigade- Zombie City Shake
Perhaps it is mere proximity that has me talking about Canada as if it were the hydroponic greenhouse of good music. Whatever the case, Black Hat Brigade, from somewhere-or-another Ontario, has penetrated into New York, prompting me to tell you how great they are. They are like a nine-headed hydra, with each viperous head representing an enduring tradition of independent spirited stylistic wisdom. What the fuck does that even mean? It has been said that these guys are post-rock, which can be deduced from the lyricless sprawls, cavernous reverberations, and extended buildups, as in the song epically titled Swords. But the outfit has no problem shifting to into an indie dance beat that approaches the realm of Eagle Seagull or Talking Heads; the specter of late seventies Mancunian music appearing throughout.
No matter what their slightly schizophrenic style choice is for any particular moment, Black Hat Brigade makes great music. They are asking for donations to self-release their newest EP Fathers due out May 29th. Of course a donation of $10 or more gets you a copy of their EP. This sounds to me an awful lot like they are selling the thing for $10 (or more if you really like it). With the industry as saturated and volatile as it is, it seems everyone is finding creative ways to fund their projects. But I say if they want to be bums, it is time they travel to New York and pander in the clubs of Brooklyn.
-FF
http://myspace.com/blackhatbrigade
Tour
April 23rd – Lee’s Palace, TORONTO w/ Youth Group and Bellewoods
May 29th – El Mocambo, TORONTO **FATHERS EP Release Party!
PS I know they are from Brampton
Arthur Killroad
The things you should know how to do
July 30th 2008
Unigned
Arthur Killroad- This is Something Witty
Arthur Killroad- Breaking Everything in Sight
I’ve listened to this record over and over again and I can’t help think about my little brother, a two time Iraq War vet who loves to sing and wears his heart on his sleeve. He has steeped himself in the idiosyncrasies of indie music, while still harboring his guiltless pleasure of belting out every note from The Places You Have Come to Fear the Most while driving to get a burrito from Amigos. Similarly, Arthur Killroad’s 2008 release The things you should know how to do (the most?) captures the definitive sense of familiarity, intimacy, and disappointment. The music is steadfastly structured in acoustic pop—forceful open chords decorated with a voice that is gruff and masculine, yet sincere and emotionally wrought with plain spoken pleading. Sounds great eh?
Though the truth is that just like our bipolar moments of mania and displeasure, we are sometimes caught in an unflattering light. Rather than tactically avoiding looking contrived, Killroad seeks to make the telling of mundane moments his anchor. He criticizes the motifs and worn tropes of classic romanticism instead favoring the tactile objects of relationships—gifts, guitars, and shaving blades—trinkets of those quick moments between the archetypical peaks and valleys, unions and break ups. Known as Mike Petruccelli to his mother, Arthur Killroad is extraordinarily adept at addressing these experiences.
Like any Midwest punk cum everyman’s troubadour, Killroad can be confronted with his fair share of criticism. The metaphors can be dumb and the vocabulary can be dry. He runs the risk of forever being attached to the inexperience amassed during college. Some might say that the novelty of the scenester with sad eyes and sad words wore off somewhere around 2001, or that the verbal marshmallows created by Killroad’s songs may be everyman, but they are not important…they are not Bukowski—just a kid bitching about a life short lived. Is it arrogance that he expected real happiness before he even graduated college?
Killroad then confronts this abasement by, what else, writing a song about it. The Starving Artists Convention is a reflexive monologue asking if Mike, Killroad the person, is truely a douche bag. The answer taken away from The things you should know how to do is no. However, along with his noble attempt at emotional exposure, he gets caught in uncomfortable moments. The opening words of Robots and Zombies, speaking to a deep sense of alienation, sets up and unravels a trivial metaphor. Killroad is at his best when he writes about common things in plain terms. Two songs particularly stand out among the rest. This is Something Witty, which ironically tells the critics to take a long walk, is Arthur Killroad‘s manifesto.
“I’m not apologizing; I’m only describing things and saying how I feel about them.”
This track distills what is best about Killroad, both in attitude and style. Breaking Everything in Sight succeeds because of the technical recording choices, from the simple introduction built upon with layers of vocals and an epic grand piano, making a powerful aside to the acoustic power pop tracks.
In all honesty, I have to write about this record from a measured distance because I simply would never have picked it up on my own. The record’s range of artistic value is great. In contrast to the remarkably well arranged songs mentioned above, others like Harvard on the Hocking come so close to Eve 6 that I am convinced Killroad just wanted to make his track list reach 10, no matter the consequences. Who would do that to themselves without a good reason? While I may just have to take a long walk, I know that Arthur Killroad has defined a specific place for himself and is comfortable with his songwriting methodology, and he obviously loves the process of recording his music as documented on his Myspace page. In all Mike Petruccell’s song writing skills are his greatest asset. While the use of an alias cannot insulate him from the criticism he duly receives when he takes the road most traveled, he certainly makes it clear that he is capable of going anywhere he pleases.
-FF
All right we have a contest on our hands people. Right now go to Deadbeat Darling’s Myspace page and email the name of the first track listed to deadbeatdarling@themusebox.net. If you do this you will be eligible for a $50 gift certificate to WeSC. If you don’t know what WeSC is you are in for a real treat! We are the Superlative Conspiracy is a street wear clothing company founded in 2000 by skaters and snowboarders who have good fashion sense. They consider themselves activists within skateboard culture. Let’s review-
1. Go to http://www.myspace.com/deadbeatdarlingmusic
2. Email the name of the first track listed on Deadbeat Darling’s music page to deadbeatdarling@themusebox.net
3. Important: Mention Frederick Foxtrott in the Email
4. Go to http://www.wesc.com and dream about what you will get while listening to Deadbeat Darling
That was easy, right?
Also note that Deadbeat Darling will play a show at Pianos in Manhattan on April 9th. As of now, that’s tomorrow so get your shit together and check them out as they support their upcoming release Weight of Wandering.
If you go and like the show be sure to write Frederick Foxtrott back and let us know what you think.
-FF
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