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Two tracks from MGMT’s Second Album Congratulations Surface

Courtney Allessio — Wed, 10 Mar 2010 22:03:52 +0000

Look what the cat dragged in.

I was delighted to see an unfamiliar track by MGMT on the front page of The Hype Machine today only to find out it was one of TWO leaked tracks from MGMT’s newest creation Congratulations.

Congratulations drops April 8th, but these tracks make for a satisfactory preview. Now that everyone in their mothers know the first nine or ten do-do-dos of ‘Kids,’ it’s time to hear a new sound from these boys. And I have to say I like what I hear.

‘Flash Delirium’ has a nice, matured sound that is reminiscent of Of Montreal and Hot Chip. It seems they’ve taken more driving elements from Oracular Spectacular (i.e. ‘4th Dimension Transition’ and ‘Of Moons, Birds & Monsters’) and refined them a bit with this breezy, mystical feel.

‘Congratulations’ is a little slower, a ballad if you will, but there’s something simultaneously soothing and psychedelic about it.

I dig, how about you?

[Audio clip: view full post to listen]

Mystery Solved – Finding André Obin and Feeding My Techno Binge

Courtney Allessio — Wed, 27 Jan 2010 20:43:40 +0000

André Obin performs at the Middle East Upstairs

A few months ago, I did a concert review of Stars and Track of Field when they played at Middle East Upstairs in Cambridge, MA. I really dug the opening act, who I referred to as “mystery noise man.” Well, good news, we tracked him down to see what he’s all about.

His real name is André Obin, and after a somewhat lengthy conversation, it’s altogether too ironic that a true-to-life enigma was already a mystery from the start.

It’s hard to pin down a person like Obin, an out-and-out music genius hailing from Cambridge, MA whose year abroad at Oxford birthed a passion for electronic music. Obin describes his experiences in London during the lat 90s:

On the weekends I was basically going to London and checking out DJs and live bands, and I just realized electronic music does something different for me because of the way it’s gridded, how sequencing can be attractive. I like robot sounds, is what I’m trying to say.

Twelve years ago, Obin and his best friend Thomas Gallagher started Matters and Dunaway, but in late 2008 they took a break to work independently. His new collaboration Endless Wave just debuted at the start of the new year, and it has already merited a spot on Boston Herald’s list of 10 Boston bands to look out for in 2010.

Colorwheel, Obin's two-track release

But despite his involvement in multiple projects, a big focus for Obin is his solo music. His agenda seems clear:

I love techno. The predominate amount of music I listen to is electronic music. I love shoegaze bands and indie rock, but around the turn of the decade when I was living in England, I was really into drum ‘n’ bass. At the time, it was the first straight, electronic form of music that I was crazy about. But over the past few years, it’s become more and more floor-to-the-floor techno affinity.

I also love pop music, and that’s what I’m trying to bring to my solo stuff. I feel like the voice makes an extremely strong instrument.

The more I picked at Obin’s brain, the more I realized that he was a musician with unique perspectives. It was a well-blended combo of fearless sincerity and downright dedication.

I asked about Obin about his experiences on stage and what he strives for while performing. While some musicians necessitate an energy feed from their audiences, Obin implements his own methods. He claims that in Boston, the people seem to be more intelligent. So if the crowd isn’t dancing, the listeners still perceive the performance as a “cerebral experience.” Admitting that it may be a bit egocentric, in the grand scheme of things, Obin doesn’t need even need an audience at all.

I perform the best if I can give it my all when I’m up there. On stage, there’s a fine line between operating my gear and losing myself.

He’s into music, undoubtedly, but you won’t find Obin behind any remixes. With popular puzzle-masters like Girl Talk surfacing on the mainstream airwaves, it seems like an area of interest for those well-versed in mixing. For Obin, he comments:

I’ve done just a couple of remixes, and I’ve found that I much rather create something; I much rather be the genesis of music, not part of editing. Mixing and DJ-ing are two things I try to keep separate only because I don’t want to spread myself too thin. I’d rather play an instrument or sing or produce something of my own than spend time on other people’s music. It’s very self-centered that way.

Obin has just released a video for his track “Cinnamon,” a noire visual of sensuality that mixes stop-and-go with fluidity just as well as the song does.

This over-the-phone interview with Obin quickly coursed into a conversation about music rather than a rigid serious of questions and answers. Obin is a walking contradiction in the best sense – pointed and narrow with his personal ambition as both an artist and performer yet also dynamic in his interests and talents.

He’s not all serious, either. At the end of our conversation, Obin talked about where his future is taking him:

Music is my whole life; there’s a fine line between a starving artist and a homeless artist.

Be sure to keep an eye on what André Obin is up to – he will be playing at Great Scott on February 9th. And if you have the chance, also make the effort to see Endless Wave play at TT the Bear’s Place on February 17th.

Photo credit: grahamrb8

The 24 Best Songs of 2009…According to Courtney

Courtney Allessio — Wed, 30 Dec 2009 05:38:21 +0000

I’m no expert here. I’m simply and honestly telling you the songs that I loved this past year – polls, charts, blogs, magazines aside. I avoided adding/removing songs just to reach some practical number, so there are only 24.

Here we go with the very subjective and biased Top 24 Songs of 2009!

24. ‘This God Damn House’ – The Low Anthem
Ok, so yes this is a 2007 song, but this version is from the August HearYa Live Sessions. I watched Ben Knox Miller perform this live at Bonnaroo, and it involved whistling and two cell phones for some funky reverb and overall amazement. Slow, endearing, and heartbreaking.
[Audio clip: view full post to listen]

23. ‘Devout’ – Islands
To some, Islands’ third album Vapours was disappointing, but this song is a sure highlight. Yes there’s a bit more pop than usual, but that’s not such a bad thing after all.
[Audio clip: view full post to listen]

22. ‘Boys Boys Boys’ – Lady Gaga

Lady Gaga

I had a love hate relationship with this chick for a while, but we’ve finally come around, she and I.

After incessant demands to play this song from my roommate and best friend Kristen, it dawned on me that this song, in all its clichés and questionable claims about boys and girls, is absolutely fantastic. She’s turned out as many hits as Talyor Swift, if not more. But I can’t really stand Swift’s music, so I say, Lady Gaga for the win.

The Lady’s got talent, there is no denying it – drink a little, dance a lot, listen to this song.
[Audio clip: view full post to listen]

21. ‘Wet Hair’ – Japandroids
Newly discovered by a playlist given to me by a good friend. It’s been a while since I’ve come across a good punk band since… I don’t know, Brand New’s Your Favorite Weapon (yeah, I went there). So, so simple but full enough for me. Plus you got those cutesy lyrics that work so well with gang vocals and angular guitars. “Let’s get to France so we can french kiss some French girls!”

[Audio clip: view full post to listen]

20. ‘Daylight’ – Matt & Kim
I met this couple two years ago at ‘Cuse, and I saw why they have so much fun. Couldn’t have be more enthusiastic to play a show with a 20-person crowd. Doesn’t it sound like Matt is smiling when he sings? It’s because he is. Their sound has certainly matured since then their self-titled, and I love this track off of Grand.

[Audio clip: view full post to listen]

Bonus: Be sure to check out the Troublemaker remix of ‘Daylight’ featuring De La Soul
[Audio clip: view full post to listen]

19. ‘Lust for Life’ – Girls

Christopher Owens and JR White of Girls

Need a little light in your life? Give this song a play, and you feel like you’re in a soft glow photo with a Free People model in the summertime… in the 1920s. Did I mention Jay Gatsby’s there, too? Bottom line: this song is euphoric.

[Audio clip: view full post to listen]

18. ‘My Girls’ – Animal Collective
They’ve finally broken into the realm of mainstream. Did all the acid-dropping hipsters die? No! It pleases the masses: AC’s trademark repetition, a handful of appeal, and free flowing transitions that make me want to do drugs. Just kidding. Fun fact: I once compared this song to Marxism in a philosophy paper and got an A.

[Audio clip: view full post to listen]

17. ‘Stuntin’ Like My Daddy’ – Lil Wayne & Birdman ft. Okkervil River by Team Teamwork
Whew! That’s a mouthful. Team Teamwork’s Good-ass Remixes took the best of hip hop and combined them with the best of indie rock. The result? A whole lotta wonderful.

[Audio clip: view full post to listen]

16. ‘Heartbreaker’ – John Legend feat. MSTRKRFT
Poppy, a little jazzy and a good beat. In other words, it’s catchy as all hell. John Legend’s voice is like butter.

[Audio clip: view full post to listen]

15. ’Goji Berries’ – Rubik
These Swedish rockers took my heart when I discovered this song. Talk about great transitions. From beginning to end, I think this song is masterful – demanding and noisy to cotton candy sweet then a little rag time followed by some intense horn work.

[Audio clip: view full post to listen]

14. ‘Temazcal’ – Monsters of Folk
The beast breathes sweetly and sadly with this ballad. My favorite track of the highly anticipated debut album, and it’s nothing short of beautiful in a heavy sort of way.

[Audio clip: view full post to listen]

13. ‘Gifted’ – N.A.S.A. feat. Kanye West, Santigold, and Lykke Li
The favorite track of beat bumpers in outer space. Fast paced and sparkling with the fluidity of boom-pow songbird Lykke Li.

[Audio clip: view full post to listen]

12. ‘Hoochie Coo’ – Black Keys feat. Mos Def and Jim Jones

Blakroc's Mos Def

Can you say, power trio? I’ve been a long time fan of Black Keys, and this collaboration (along with the many collaborations on Blakroc) makes for a great song. Bluesy pulsing with the oh-so-cool vocals of Dan Auerbach and Jim Jones coupled with none other than Mos Def.

[Audio clip: view full post to listen]

11. ‘Make Her Say’ – KiD CuDi feat. Kanye West, Common, and Lady Gaga
A little raciness is best justified with cleverness. This song is quiet and slow but gives us all a big boom. It’s a little amazing in that nature. The sample of Lady Gaga is taken from her acoustic version of ‘Poker Face,’ which is one fierce display of her musicianship.

[Audio clip: view full post to listen]

10. ‘Knotty Pine’ – Dirty Projectors feat. David Bryne
Short, sweet, and upbeat. Angel Deradoorian’s voice is phenomenal. Not the best example of their usual amazing harmonizing skills, but still lovable.

[Audio clip: view full post to listen]

9. ‘Best I Ever Had’ – Drake

Jimmy? Last time I knew you were in a wheelchair! It’s hard to drop your child star rep, but Drake has earned himself respect in the realm of music. Sometimes I get Degrassi flashbacks when I listen to him, but that’s going away. Fan favorite, also my favorite.

[Audio clip: view full post to listen]

8. ‘So Insane’ – Discovery

Rostam Batmanglij (from Vampire Weekend) and Wes Miles (from Ra Ra Riot) make up Discovery

Who knew that the synthesis of Ra Ra Riot and Vampire Weekend would actually involve synths? Well, it’s love for me, and this song particularly is a sort of anthem for the spirited youth with big hearts. Uplifting and fun, not too fast but quick enough… like a college hookup.

[Audio clip: view full post to listen]

7. ‘So Far Around the Bend’ – The National
Yes, another one from Dark Was The Night. Nostalgic meets a folky march to make for one hell of a song. I like how he seems to really have the girl pegged in this song. It’s personal, but thankfully not too delicate.

[Audio clip: view full post to listen]

6. ‘Foreground’ – Grizzly Bear
Veckatimest took flight this year, and undoubtedly there were some gems on this baby like ‘Two Weeks’ and ‘While You Wait for the Others.’ But, this song is quite possibly one of the most beautiful songs I’ve heard in some time. It’s a subdued side of the Griz, but still has a low growl that separates it from the saps.

[Audio clip: view full post to listen]

5. ‘Soft Shock (Them Jeans Acoustic Remix)’ – Yeah Yeah Yeahs
I do really love the original, but there’s something about this remix that has me 100 percent hooked. The timpani, the bongos, the strings. They soften the song, which sort of make the shock bigger. It tugs at my heart a bit, but keeps me smiling.

[Audio clip: view full post to listen]

4. ‘Little Secrets’ – Passion Pit
This was my ringtone for the whole summer and then some… even my mom was dancing when I got a call. Falsettos and synth riffs reminiscent of an old Sega game, who knew it would sound so good? Passion Pit did. Good job, fellas, Boston’s proud!

[Audio clip: view full post to listen]

3. ‘1901′ – Phoenix

Phoenix

From one of my favorite albums of the year! Yeah it’s in a car ad now, but what can you do? Kings of Leon’s ‘Molly’s Chambers’ was featured in a car commercial about 4 years ago, and they didn’t die and go to mainstream hell… just purgatory (we’re praying for you, Aha Shake Heartbreak was phenomenal!). It’s well composed, brilliantly repetitive, and with just enough pop to keep it up. Fun fact: when Phoenix performed on SNL this year, they were the only band to play three sets besides U2.

[Audio clip: view full post to listen]

2. ‘What Would I Want? Sky’ – Animal Collective
This was a late comer in the running, so I apologize for the double Animal Collective, but they are my favorite. I was somewhat disappointed with Merriweather in its entirety, so this song was a great surprise off of their Fall Be Kind EP. I’m no Dead head, but it’s noteworthy to mention that this track is the first ever to have a licensed sample from the Grateful Dead (‘Unbroken Chain’). It’s dreamy, swirly and floaty, what else would you expect from these crazies?

[Audio clip: view full post to listen]

… Drum roll (thanks for sticking with me)…

1. ‘Dominoes’ – The Big Pink
A bit of an underdog, but I couldn’t stop playing it since I first heard it. I would sing it around my apartment without knowing more words than, “These girls fall like dooominoooooess.” What is it about this song? I can’t really point it out, even though I feel like I should have more justification, being my favorite song of the entire year and all. It’s sort of like my girl crush on Zooey Deschannel. She’s above average but not drop dead anything, yet I love her more than a straight girl should ever love a girl celebrity. There’s my analogy, because I don’t have real words for this song.

[Audio clip: view full post to listen]

OK, So there you have it. I’m sure you will disagree (and hopefully agree a little, too). Happy New Year!

Animal Collective’s Fall Be Kind EP Leaks, and I’m a Happy Person

Courtney Allessio — Tue, 24 Nov 2009 21:54:59 +0000

I’ve been hearing a wide range of opinions about Animal Collective’s Fall Be Kind EP, which leaked last week before its December 15th debut.

For me, I give it an instant thumbs up.

It’s like a little treat, getting a five-song bundle from a these three crazies less than a year before their release of Merriweather Post Pavilion.

The opening track ‘Graze’ really does it for me – it contains one of the most beautifully strange transitions I’ve ever heard. It’s a body high of a dream sequence lullaby that turns into a somewhat ridiculous use of pan flutes reminiscent of an African safari.

My favorite by far is ‘What Would I want? Sky,’ which is characterized by their usual repetitive nature and witty uses of hallow, echoing voices both elevated and grounded by crashing and banging. I feel like whirling around or falling asleep… I can’t decide which, but both are good options.

My fellow forever fans of Animal Collective are not as impressed, but I don’t really see why. I think it’s creative, fun, and pretty.

To me, and I know this will be disputed and most likely criticized, Fall Be Kind EP is like Sung Tongs (my favorite AC album) hit puberty, partied hard, settled down with an artistic girlfriend and landed a respectable profession.

Take a listen!

[Audio clip: view full post to listen]

Cheeming Boey Makes Art on Styrofoam Cups

Courtney Allessio — Wed, 04 Nov 2009 20:49:24 +0000

Compliments of The Ridiculant

All Cheeming Boey needs is a Sharpie and your standard styrofoam cup to make absolutely spectacular pieces of art. Talk about using your resources.

According to the Metro’s blog The Ridiculant, Boey started drawing on cups in 2006, and they’ve gained increasing popularity ever since. It seems like a simple concept, but the designs are nothing short of complex and complicated. Some even take months to complete and sell for hundreds of dollars.

I think these are amazing, take a peek:

You can view his entire collection here.

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A Sit Down with Grizzly Bear’s Chris Taylor & His New Label Terrible Records

Courtney Allessio — Tue, 13 Oct 2009 20:56:39 +0000

You do a lot of questionable things with a few beers in you walking down Boston’s Commonwealth Ave. at 3 a.m. Sometimes you think it’s good idea to down a giant 5-dollar sausage from Che-Chi’s or piss in a public alleyway… I don’t know, sometimes it just makes sense.

It was one of those nights, and my friends and I were butchering an impromptu version of ‘Knife.’ We decided that it wasn’t even a song, but a movement. Then I saw them live for the first time at Bonnaroo, covered in sweaty filth (which made sand floors a really poor choice), but when the waltzing strings of ‘Lullaby’ started, it didn’t matter. It wasn’t even normal; the performance was inhuman.

Grizzly Bear is a funny name for such a calm and refined band. When my friend told her mom she was going to a Grizzly Bear show, the response was utter disgust – to think we’d find entertainment in watching ferocious animals claw each other.

Not to say they lack ferocity. I saw Grizzly Bear the second time around at the Orpheum Theatre in Boston, and I’ve never been so undividedly engaged, even with the audience seated the entire time (except when we started dancing to the closer ‘On a Neck, On a Spit’). Grizzly Bear has a mesmerizing sort of style — beautiful in sound, stealthy with instrumentals and haunting in harmony.

After the show I was able to (obnoxiously) flag down Chris Taylor, the square-jawed blondie responsible for the oh-oo-oh-oo-ohwah in ‘Knife’ as well as other wonderful harmonizations, bass and wind instruments. Chris is a person of impressive skill and kind demeanor. I shook his hand and before I knew it, he’d politely agreed to a phone interview. I didn’t jump up and down until I left the theatre.

To me, it’s safe to say the world (at least the blogging world) has fallen in love with Grizzly Bear, but in talking with Chris we focused less on the group and more on him. He has teamed up with Lust Boys’ Ethan Silverman to create Terrible Records in which they will release a series of 20 split 7 inches. The first of these comes out today, October 13th. It’s entitled CANT and features Arthur Russell and Chris Taylor himself.

Be sure to check it out! But first read this interview with Chris Taylor to learn more about Terrible Records, his musical background, his childhood dreams, and his love for cooking. (Endearing, right?!)

Courtney Allessio: Was there a turning point in your lifetime where you knew that music was going to be a life long thing, like that was going to be your career?

Chris Taylor: There was a point at 16 where I decided that’s what I really, really wanted to do; the only thing I wanted to do. I went to [NYU], and started studying in the jazz performance department. I transferred to the audio engineering department. I didn’t want to study music; it was a really bad thing to do for music, really unmusical to study it. Once I wasn’t playing jazz, which was what I had been doing really seriously up until that point, I didn’t really know what else I was equip to give musically… so I had a little bit of a period in the middle of college up until a year after college where I was just like, I don’t know how I’m going to be able to play music. So I was like, I guess I’ll just record people? I had this band with Chris Bear the drummer that had this noisy, punkier sound where I played bass. And I was in this noise trio thing where I played horns and petals and made a lot of crazy sounds. I started developing both of those things until eventually both of those things became what I do in [Grizzly Bear], which I didn’t expect.

So I had a period where I wasn’t sure how I was going to do it, I thought I was just going to do it for fun, which was kind of bummer a for me because I had spent so many years planning on being a musician, and I thought, now what? I was confused, I just kind of kept going until I found something to do. I’m very happy I was able to continue on playing music.

CA: When did you team up with Grizzly Bear?

CT: A year after I graduated so 2004. Ed [Droste] was recording a record in his bedroom, and Chris came to help finish the record and we were like, we need to make a band out of this. So we became the live band. It was the three of us for a couple of months for a handful of shows, and then Daniel Rossen joined, and we went on tour.

CA: One of my favorite songs is the alternative version of ‘Shift.’ And there’s all the other songs you’ve re-recorded off of Horn of Plenty, do you plan on re-approaching any more songs? I know there’ s also ‘Fix It’ and ‘Alligator.’

CT: ‘Alligator’ we did for the Friend EP… and then ‘Fix It,’ I don’t think we’ll re-record it, but we do a different version of it live. We came up with pretty different arrangements for the songs from the album… because the arrangements off of Yellow House have a lot of stuff. We’d record things and then when it came to playing it, we’d be like, “uuuuhhh… wait, we can’t play that.” And the Friend EP, these [live] versions came out so different that we preferred them to the album versions, so we thought it would be cool to record them to make a document, a casual EP thing.

CA: So Terrible Records is this independent label that you’ve started, how do you go about signing on new bands? Do you look for them yourself or do they seek you out knowing you’ve started your own company?

CT: I have enough people that I’ve wanted to record… It’s part of the idea as to why we started the label – I had so many people I wanted to work with. I don’t have time do full albums with everyone, so I thought the 7 inch idea was kind of a cool way for me to record a bunch of people and sort of make a little art-book collection of split 7 inches with my favorite bands right now. It’s just going to be 20 split 7 inches, so forty bands altogether. I sort of pair bands that are more well known with those many people don’t know about but should. They’re musically appropriate for each other, it’s not like randomness.

CA: It’s a great idea. If you have the connections to do what you want with music, then you might as well do it.

CT: It’s pretty easy. I was talking to Zach Condon from Beirut who has his own label…we were talking about how it’s a good thing to remove the middleman, and I was like, “You’re right, it totally is, I should just do that.” … Knowing a lot of bands I really want to work with was the impetus to start [the label], so it was a pretty natural thing. When people are contacting us it’s awesome, but at least for now we’re not looking to become Merge Records or Domino, we are just looking to put things out for fun. When the label has to support the band, and the band gets let down, it’s such a horrible thing. I never want to be that for anybody; that’s the last thing I want to be. I want bands to walk away from the experience and be like, “I’m really glad I did that, I’m proud of that, that was cool.” And that’s it, no crap where [the label’s] not taking care of you, or you’re not getting paid enough. I just want all that stuff out of the equation – it’s so unmusical and it really sucks the joy out of it sometimes. That’s the idea, to put the joy back into the whole process and make it into a hand-made dinner party, like everyone’s there to eat some good food.

CA: So that name. Terrible Records, is it irony?

CT: Terrible is my nickname I’ve had for years. A lot of my friends call me Terrible. And…

CA: Wait, why is that your nickname?

CT: I don’t know! I think it’s supposed to be kind of, tongue-and-cheek. I’m a pretty pleasant guy, it’s meant to be a joke. It’s kind of like some weird, superhero alter ego. I was actually calling my solo stuff ‘Terrible,’ and I thought it was cool, but the name was too good for a label. Terrible Records was just too funny, even my dad liked it.

CA: For your own solo release, did you have a certain aim in mind when you made this music since you are already so well associated with Grizzly Bear?

CT: Yeah, there’s definitely a thing like, I don’t think anyone in the band would want to play my songs. It’s my chance to do what I want to do. I had a lot of ideas, and I just don’t feel like doing it with three other people… It’s just fun, kind of liberating.

CA: You produce, you have a record label now and you’re in band, how do you separate your own personal life from your career?

CT: It’s not like I’m a workaholic, but I’m just so excited to do so many things right now that I can’t help but to just do it. It keeps me really busy. An opportunity comes up… and I can’t pass it up. It feels like an addiction or something, but it’s also one of things that you can’t do forever, I don’t think. I’m kind of surprised at myself, of how much I end up working on music. I definitely need a vacation. Like really bad. I had a vacation scheduled, and then Jamie Lidell asked me to produce his record and I was like, “I have to do that.” So I cancelled my vacation. Sometimes I don’t think I balance [life] too well to be honest. There are just so many cool opportunities coming up, it’s hard to turn away from them. I care for my family of course, and I have friends, very good friends I’m fortunate to have. So I think do a fine job myself.

CA: You are in fifth grade, what did you want to be? Or anytime pre-16 years-old, before you knew music was going to be your career.

CT: I remember being in preschool or earlier and thinking, I want to grow up and be a dolphin. I quickly understood that it didn’t sound right. I think I left the slate blank for a while and didn’t worry about it. I’m saying really young, like three years old. I’ve always been a very fascinated person, always fascinated with things that appeal to the senses, I guess I was thinking a little too outside the box.

CA: What are your top five favorite albums either of all time or just you’re recently into?

CT: I’ll name a general top five favorites musicians maybe. In no particular order: Arthur Russell, Neil Young, Prince, Radiohead and the Beatles.

CA: So I’ve been really sick lately… I was wondering, especially for you doing vocals and lots of wind instruments, what do you do when you have a cold and you have to perform?

CT: We’re really militant about killing the cold. Dr. Taylor would recommend lots of zinc… drinking a lot of water, taking multivitamins… sometimes if all else fails, drinking a ton of whiskey and going to bed with a bunch of blankets. Jameson is the preferred brand because you’ll wake up feeling refreshed in the morning. We’re just really serious about killing it. TT & the Bears in Boston is the only place we’ve ever cancelled a show because Ed’s voice was gone; it was gone. We tried to play in Providence, and it was just hilarious. Luckily it hasn’t happened since.

CA: Random, what’s your favorite type of food?

CT: Whoa. I really love food. I’m actually working on a cookbook. I’m really, really into cooking. Dinner parties, I know it was sort of a random analogy, but it’s one of my favorite gatherings. I constantly go back to homemade pasta as being one of my favorite foods; it’s really one of the most delightful things of all shapes. After that I don’t know, pizza I’ve always liked pizza.

CA: What kind of sauce for the pasta?

CT: Truffle oil is delicious, red sauce is also delicious. I’m down with a white sauce, or sort of a cream sauce with red wine and mushrooms and shallots.

We went off on a food tangent for a while. (I may be the least focused interviewer ever.) I asked some other basics, and fun fact: Grizzly Bear once performed on the bottom of a ship in Switzerland.

So clearly Chris Taylor is just an ordinary guy of extraordinary ability. If you haven’t listened to Grizzly Bear yet, shame on you. But here’s your chance to get a fresh start and listen to the very first of the Terrible Records 7 inch series. Check Jetcomx for updates on Terrible Records, and be sure treat your ears to CANT today!

Stars of Track and Field at the Middle East Upstairs

Courtney Allessio — Sat, 10 Oct 2009 20:37:26 +0000

If you’ve never been to the Middle East in Cambridge, MA, it’s an absolute must. I had the privilege of squeezing into the Middle East Upstairs, which was about the size of my apartment’s living room, to see Stars of Track and Field open for Lights.

Who are you mystery man? Your music is wonderful.

There was also an opening one-man act before Stars of Track and Field; I walked in about half way through his set. His friend was kind enough to give me his name, but I can’t remember. I’m sorry, mystery noise man, but I really, really enjoyed your music. Standing on stage, he seemed incredibly serious in his dressy black duds and straight face, but once he got his fingers on the synth and his mouth on that mic, it was wonderful. Think Shiny Toy Guns with more of an M83 vibe. Once I find his name (I will find his name, please help me out), I’ll link you.

Kevin Calaba, vocals and guitar

Then Stars of Track and Field took the stage. I mean that in the most comprehensive way possible. This trio from Portland totally dominated the stage with their humble-yet-inherently-cool-because-we’re-musicians presence with their big rock feel and Kevin Calaba’s crystal clear vocals. Their sound draws traces from U2, Coldplay, My Bloody Valentine, the Silversun Pickups and at one point, I scribbled “Switchfoot matured and made good” on my notepad. It’s rock with a little ambience, just enough to make it full and interesting – nothing overdone, nothing burdened with too much effort.

Jason Bell, guitar and vocals.

Most of their set consisted of songs from their September release A Time For Lions, and after a little research I’ve found that this album is very different from their first, Centuries Before Love and War. As a forever fan of Brand New, I am all about genre-jumping between albums.

The mellow Centuries Before Love and War has a more electronic element reminiscent of the Postal Service, check out this popular track ‘Say Hello:’

[Audio clip: view full post to listen]

So why the switch to a more mainstream sound? In an interview with Billboard, Kevin Calaba explained,

I want to grab them by the head and shake them. I don’t want to be background music.

It seems to be working since the fans, new and old, are responding real well to A Time for Lions. I mean, what better way to shake people than change up your sound? Here’s a comment from Spinner.com:

I’ve been a HUGE fan of Stars of Track and Field since the release of ‘Centuries Before Love and War.’ This new single is fantastic … they maintain their unique sound, but have stretched into a new realm. I’m going to spend the next two months counting down the days til I can make ‘A Time for Lions’ all mine! – erickasunhine33

The tracks are great, but I seriously recommend seeing them live to get the full experience!

Atlas Sound and Animal Collective’s Noah Lennox team up for ‘Walkabout’

Courtney Allessio — Tue, 29 Sep 2009 01:33:25 +0000

Atlas Sound aka Deerhunter's Bradford Cox

Keeping it short and sweet here.

I just really like this track off of Atlas Sound’s Logos released earlier this month. Atlas Sound is the name of Deerhunter frontman Bradford Cox’s solo project.

Spin magazine described ‘Walkabout’ as the following:

Bradford Cox’s blissed-out fantasy of an Animal Collective song playing on a merry-go-round at Panama City Bead in 1966

Pretty accurate, I’d say. It goes really well with rainy Sundays and the-end-of-fall time. Have a go:

[Audio clip: view full post to listen]

In unrelated news, Rolling Stone gave 4 stars to ‘Party in the U.S.A.’ by Miley Cyrus while Grizzly Bear’s ‘While You Wait for the Others’ received 3. I’m a little beyond bothered.

Monsters of Folk Perform on Conan 9/22, the Same Day as Album Release

Courtney Allessio — Fri, 25 Sep 2009 02:27:44 +0000

What to you get when you take Conor Oberst, M. Ward, Jim James and Mike Mogis?

Oh for Christ’s sake, you must be living under a rock if you didn’t know that the answer is Monsters of Folk!

How to describe this collaboration… Monsters of Folk is a glorified sort of hillbilly rock that leaves room for a little class and a lot bite (I mean, they are monsters after all). Since Tuesday, the debut of their self-titled album, I’ve been listening to this collection of 15 tracks on repeat to get a good, firm grasp on my opinions. They don’t seem to mess around with the music, so I won’t mess around with the review. But so far, I’m really liking it. The songs take you to other worlds. On my way back from Coolidge Corner last night, I pumped up ‘The Right Place’ in my earphones, and when I closed my eyes I saw people ho-downing in the grass at sundown.

A more formal review to follow, I promise.

But anyways, if you missed it last night or want to watch it again, check out their performance on Conan O’Brien:

[See post to watch Flash video]

And go chew on some wheat and give ‘em a listen, you’ll be glad you did. Unless you have a gluten allergy, I guess you could throw on a pair of overalls or something… Conor opted for the aviators.

Lykke Li, Grizzly Bear, Thom Yorke, Bon Iver, Editors and more featured on Twilight: New Moon Soundtrack

Courtney Allessio — Wed, 23 Sep 2009 19:53:14 +0000

It beats me how it happened, but America has developed this ridiculous propensity for blood-sucking entertainment.

Without decent explanation, I can’t bring myself to see the Twilight movie nor do I want to read the books. But the soundtrack for New Moon (the next movie of the Twilight trilogy) has just been finalized, and the track list has really got my interest.

It features brand new singles from big names like Lykke Li and one-of-a kind duets from not only Bon Iver and St. Vincent but also a [what I'm predicting to be genius] collaboration between Grizzly Bear and Beach House.

Take a peek, or a good look if you’re so inclined:

01 Death Cab for Cutie: “Meet Me on the Equinox”
02 Band of Skulls: “Friends”
03 Thom Yorke: “Hearing Damage”
04 Lykke Li: “Possibility”
05 The Killers: “A White Demon Love Song”
06 Anya Marina: “Satellite Heart”
07 Muse: “I Belong to You (New Moon Remix)”
08 Bon Iver and St. Vincent: “Rosyln”
09 Black Rebel Motorcycle Club: “Done All Wrong”
10 Hurricane Bells: “Monsters”
11 Sea Wolf: “The Violet Hour”
12 OK Go: “Shooting the Moon”
13 Grizzly Bear: “Slow Life” [ft. Beach House's Victoria Legrand]
14 Editors: “No Sound But the Wind”
15 Alexandre Desplat: “New Moon (The Meadow)”

Look for its release on October 20th.

New Moon hits the theaters November 20th.