Wednesday, April 30, 2008
I downloaded this song from a decent music blog, it seems like forever ago and just recently discovered its greatness.
Adam Green co-formed The Moldy Peaches with Kimya Dawson in 1998, both of whom you may know from the semi-fabulous Juno motion-picture soundtrack. According to a certain wiki source, before pursuing his music career, Adam attended Emerson University in Boston for one semester. Emerson is a private liberal arts school with a current student base of about 3,800. Some other former Emerson students include Mrs. Bobbi Brown (make-up artist and CEO of Bobbi Brown Cosmetics), Tim "Johnny Vegas" Burton (Saxophonist of The Mighty, Mighty Bosstones), writer/comedian: Denis Leary, comic and Red Sox fan: Steven Wright, Late Night host: Jay Leno, the Wachowski brothers, and Henry Winkler (a.k.a. The Fonz).
Album, Jacket Full Of Danger was released in 2006. Green insisted that his first few solo albums were released on the 22nd of the month, though its debatable whether or not that is the case with Jacket. Adam Green's latest album, Sixes & Sevens was released on the 18th of this past March.
Anyway, my reason for posting this...
This is really my first experience with what is called anti-folk. I don't quite know what that means, but I can tell you that this song is the bastard of Sinatra-esque pop and modern keyboard driven hip-hop...
If that doesn't intrigue you, I don't know what will.
Green's smooth lyrics, which are almost rapped in a sort of low, sing-song baritone, are well-crafted but I have yet to get any sort of message out of the song aside from a possible frustration with persons of the female persuasion and specific literary figures. As short as the song is, it is lyrically impressive from beginning to satisfying end. With the first stanza(s) being the following, you are inexorably drawn into the full 1 minute, 40 seconds with no chance of escape... you get the point.
"All the women in the factory,
When their faces blow a fuse, it's a miracle.
I have to feed them facts to be alone.
Oh, fellas and umbrellas in the middle of the night,
What you gonna do when the Mennonites bite?
Lock lips in the teddy-boy's Chevrolet?
Dutch tips and you're punked in the alleyway..."
Adam Green- Novotel
Karl Malone-stache (4 out of 5)
Tuesday, April 29, 2008
Here's a first: a post about videogames. With all the media coverage surrounding the recently released Grand Theft Auto IV, I couldn't resist making at least one post about it. I've been following the news on GTA IV closely, since its predecessor GTA: San Andreas is one of my favorite games of all-time. The majority of the articles about GTA IV are standard reviews, the ones I've seen bestowing GTA IV with "best game of this generation" status, or editorials denouncing its content.
However, over at the excellent videogame blog Kotaku, I found this gem of reporting, In the "Real" Liberty City, GTA IV Might be Cathartic. Written by Leigh Alexander, this piece digs deeper than the standard "what will this do to our children" panic writing. Inhabitants of some of the poor places realistically recreated in the game's Liberty City are interviewed about their attitudes toward the game. A recent slaying of three unarmed young black men in Queens by police officers has increased hostile feelings towards the police in the area. These people talk about how GTA IV will let them alleviate some of their fury towards the law in the safety of a virtual world, an interesting viewpoint that I hadn't previously considered. For a game series that many have labeled racist, these people's enthusiastic anticipatory attitudes are telling, suggesting perhaps, only well-off white people are really frightened or offended by Grand Theft Auto. The day when intelligent gaming writing like this finds its way into the mainstream press will be a triumphant one indeed.
Here's some classic Nas while I'm at it.
Nas- NY State of Mind
But… While recently browsing through the Elephant 6 site, I noticed something I hadn’t seen before. Every artist connected with Elephant 6 is listed on the band page with a quick bio and discography. Listed there now is a dead link for Jeff Mangum followed by the words “Coming soon”. Now, what exactly does this mean? In all likelihood, it means the people in charge of the Elephant 6 site are finally just going to put up a bio about Mangum’s brief solo work. There’s always a possibility (one in a googol) that this could mean a return for the musical genius behind Neutral Milk Hotel and Major Organ and His Adding Machine.
Granted, there’s no way it means that, but a guy can dream. It also gives me a chance to dish out some solo Mangum.
Jeff Mangum - Oh Comely (Live at Jittery Joe's)
Monday, April 28, 2008
Tuesday, April 15, 2008
Wolf Parade is back. After a three-year hiatus, the band has a new album coming out on June 17th. The much anticipated and still untitled album will be released by Sub Pop. "Call It A Ritual" is the first track to surface from this album. The song features a driving piano part and heavy drums. It reminded me of a more subdued "Kashmir", with Spencer Krug singing about deserts and Arlen Thompson pounding the drums. Overall, "Call It A Ritual" is a solid track, appealing but not outstanding. June 17th will prove whether Wolf Parade can rekindle the magic of Apologies to the Queen Mary.
Wolf Parade- Call It A Ritual
Monday, April 14, 2008
Favorite Animal: Great blue whale
Cats’ Names: Fasco, Fiasco, Disaster, Clovis, Toonces
Guitarist for Someone Still Loves You Boris Yeltsin
Moustache Salad: What was your main inspiration for Pershing?
Will Knauer: We had one goal in mind; to make a really fun record that you could listen to in the spring with your windows down.
MS: We noticed an additional member of the band on stage tonight. Who is he, and is he a permanent addition?
WK: Yeah, he’s playing with us on this tour right now. He’s the keyboardist in a local band [from Springfield, MO] called Southern Hills. He’s not a new band member, but he’ll be playing with us at all our shows this year.
MS: What’s your favorite venue to play?
WK: We’re really huge in D.C. for some reason, no idea why. Columbia’s pretty fun too since it’s so close to where we‘re from. Our first gig outta Springfield was actually here in Columbia at Mojo’s.
MS: Pershing has a more polished sound than your previous album. What were different in recording your follow up?
WK: This time we had Jonathan James (drummer/bassist) play with us a lot more where as last time he wasn’t around too much. We had nicer things this time too. For “Broom” we were pretty much just working with stuff I had gotten as a kid. Pershing is a lot more technically proficient.
MS: How has your move to Polyvinyl been?
WK: Oh, it’s been great. We were looking around at a few labels and they were definitely the most fitting. They’re just this small, one floor place, you know. It was a lot like we were making a deal with our friends there.
MS: So I see that your guitar choice has changed, any particular reason?
WK; Well, I went into town to buy a new guitar for this tour, and I saw the one I was playing tonight and was like “That is the one.” I got it down and played it and it felt really great, and then I thought, “This looks very familiar.” Then I looked on the back plate and it was engraved with the words “Wayne’s World.” It is the same guitar in Wayne’s World. It is a collector’s item that isn’t worth anything.
MS: Time for the obligatory question, what are you listening to right now?
WK: Uh, nothing really. I mean, I don’t even have a CD player. I guess, if anything, I’m into this band called Puzzle. They’re from Liverpool and they’re really good. If you like us, you’ll like them.
MS: What is the music that influenced you when you were young?
WK: Nirvana, obviously. I bought Nevermind and In Utero on the same day. At first I loved all the hits, “Smells Like Teen Spirit” and “Lithium.” I hated “In Bloom.” I love “Drain You.”
MS: You’ve played in Russia before. How was that, especially with the name “… Boris Yeltsin”?
WK: Oh man, that was like, the most nervous I ever was for a show. We were playing at some festival. I’m pretty sure we only got invited because of our names, but it was good. There were people holding signs and everything, that doesn’t even happen here! It was cool, we went to see the preserved body of Lenin. His moustache was like, the realest thing I’ve ever seen. The guards yelled at me though. I got in trouble though for having my hands in my pockets, some kind of security measure and it’s impolite. Haha, Phil got in trouble too. He was laughing.
MS: Thanks so much for the interview, but just a couple more questions we need to know. Robin Williams. Shaquille O’Neal. Both are geniuses. Both have played genies. Who’s better?
WK: (Thrusting his hand into the air) Kazaam!
MS: Great! And would you consider corncob pipes to be a refined tobacco-smoking product?
WK: I’m going to have to say yes, but only because some guy in Southern Hills, the band that opened for us last night, was smoking a pipe. It was pretty cool.
Thursday, April 10, 2008
Young scene kids discussing and singing Fall Out Boy‘s recent cover of MJ‘s infamous “Beat It“, metal heads conversing about their latest piercings, awkward indie rockers shuffling uncomfortably bobbing their heads as Wolf Parade played over the speakers; Possibly one of the most diverse crowd filled the Pageant on March 29. As soon as the lights dimmed after opening band Lichens had finished their interesting-if-not-repetitive set, the extremely varied groups joined their attention together on the stage. Within minutes, instrumental post-rock band Explosions in the Sky appeared. With Chris Hrasky behind the drums and Mark Smith and Michael James grabbing their guitars, Munaf Rayani approached a mic to introduce himself and his fellow band mates. Seasoned listeners knew it would be the first and last words he’d say as he slinked back and grabbed his guitar… Before the concert, some history is in order.
The Austin, Texas-based band formed almost ten years ago and released their first album in 2000. How Strange, Innocence contains two personal favorites, “Song for Our Fathers” and “Magic Hours”. Both songs illustrate the band’s cinematic feel as both seem like they belong on a soundtrack. Although initially seeing a very limited distribution, EITS quickly gained a respectable fan base, inciting a more commercial re-release. The band would gain more media attention for their second album, Those Who Tell the Truth Shall Die, Those Who Tell the Truth Shall Live Forever. However, reporters focused less on the evolving music and more on a coincidence. The artwork for the album pictured an airplane with a caption that read “This plane will crash tomorrow.” Although the album came out in August and concept art was created months earlier, many thought the album was released on September 10, 2001. Munaf‘s Middle-Eastern descent also added to suspicions and reporters negative view of the band. All suspicions and rumors died down quickly after however.
The Earth is Not a Cold Dead Place was Explosion’s next release. Described by members of the band as their “attempt at love songs”, the album mostly lighter than those preceding and succeeding it. After this release, the band’s cinematic sound was finally fully realized when they were employed to compose a soundtrack for the film Friday Night Lights. Taking place in Texas, the film follows a football team and their pursuit to be state champions. The dramatic feel of the movie is driven by both previously created and original material by Explosions in the Sky. In 2005, the band recorded The Rescue, an EP that never saw a major commercial release. Inspiration for the recording came when, while on tour, the band’s van broke down and would take eight days to fix. With hardly any money, the band was lucky enough to find a man kind enough to let them stay in their attic for no charge. The EP is seen as a “thank you” to that man. Finally, Explosions released their latest album All of a Sudden I Miss Everyone last year. The album follows the same successful formula as previous albums while adding a heavier sound with more distortion.
As Munaf fastened his guitar strap around himself, the band nodded to each other, ready to start. With that, Michael James stepped forward and plucked one instantly recognizable note on his guitar. The crowd was already losing it, cheering as loud as they could as the opening notes of “First Breath After Coma”, one of the top fan favorites, began. Seeing the members of Explosions on stage was almost like watching a choreographed performance. As Chris pummeled on the kit, Mark would lunge his head forward as Michael would throw his back, as if playing off of each other. All the while, Munaf, his guitar so low it seemed he was playing it around his knees would rock side to side, adding intensity to his movements when it suited the music.
Throughout the show, the music never once stopped. Explosions found a way to make a near two hour set seem like one, cohesive piece of music. Although there were no words or lyrics sung, the band managed to command the audience’s attention with their impressive showmanship and talent. During some songs, guitarist and bassist Michael James would strum so rapidly that the entire crowd would look at each other in disbelief. During the end of “Magic Hours”, Munaf took off his guitar, picked up a couple of drum sticks, and stood above his own personal snare drum. Once he caught the rhythm, the guitarist proceeded to blow the crowd away with a staggering beat. During another fan favorite, “Six Days at the Bottom of the Ocean” off of …Cold Dead Place, the band was bathed in a vibrant blue light, adding to the emotional impact of the song and its truly epic ending. During one song, the audience was in enough of a frenzy to cheer through three minutes of it, adding a sound that made the song larger than life. Finally, as their show closed, the three guitarists were aligned on stage, perfectly in sync with each others movements as their final sounds blared over the speakers. With one last strum, the final note run out as Munaf approached the night, gave another simple, “Thank you,” and walked off. Explosions in the Sky put on a unique and rewarding live show, easily worth the ticket price and more. Their live sound was so full, listening to the albums afterwards doesn’t feel complete, like a huge chunk is missing. Fans of progressive, instrumental, or rock in general would do themselves a favor by checking out such refreshing, brilliant music.
Explosion in the Sky's concert recieves a Fu Man Chu (a 4 out of 5).
First Breath After Coma - Explosions in the Sky
Wednesday, April 9, 2008
Here's another greatest opener post after a brief hiatus caused by a half-marathon and mounds of homework. "Debaser" by Pixies is my favorite album opener, kicking off my all-time favorite album Doolittle. The song starts with a simple bouncy baseline, then guitars descend from the wings, drums thunder, and a depraved Black Francis starts shouting about movies, eyeballs, and groovy girlies. Backed by Kim Deal's angelic voice, which provides a nice contrast to Black Francis' demonic growl, the song flips the switch from loud to soft repeatedly, a staple of the Pixies' sound. Lyrically the song was inspired by the surrealist movie Un chien andalou, a 1928 short film created by Luis Buñuel and Salvador Dali. Within the film, a woman's eye is cut up with a razor, providing Black Francis with the lines, "Got me a movie/ I want you to know/ slicin' up eyeballs/ I want you to know/ girlie so groovy/ I want you to know/ don't know about you/ but I am un chien andalusia." As a young college student, Black Francis went through a period of obsession with surrealism, something he often tapped into when writing songs. A largely surreal and mythological album, Doolittle's focus and brilliance is apparent right out of the gate. "Debaser" ends in less than three minutes, brief but incendiary.
I realized today that I have blogged surprisingly little (not at all) about one of my favorite bands: Jonny Numbercruncher & His Moist-Eyed Mothers. A local band to Kirksville, or more accurately to Truman State University, the group consists of some great alt-country musicians. On their 2007 self-titled release, they tackle some covers, and flesh out some of lead singer, Harry Burson's originals. This is one of my favorites off the album, a cover of The Velvet Underground's "I'm Waiting For The Man." Check them out over at their MySpace. They are playing their last show in a little over two weeks, but hey that is what studio albums are for.
Tuesday, April 8, 2008
Monday, April 7, 2008
This actually has everything to do with The Salad. It's funny. Not just some of it, but every conceivable aspect of this website is pants-soilingly hilarious.
My good friend Steven was meandering around teh internets with "Stumble Upon" and he happened to stumble upon this:
Brandon Bird is an artist, in every sense of the word, based in California. He takes everything you've ever loved and makes it humorous in some fashion.
I think that's all I'm going to say about him because I'm pretty sure you're going to check him out solely based on the picture at the top of this post.
Enjoy it or die...
Sunday, April 6, 2008
Saturday, April 5, 2008
Following what many call their "true" debut album Shut Up I Am Dreaming, Sunset Rubdown had a lot to live up to. Hype was building about their follow-up LP. To add to all of this, the band features, perhaps one of the greatest musicians of our time, Spencer Krug, a member of Frog Eyes, Swan Lake, and Wolf Parade. Fans waiting anxiously but cautiously, unsure if Sunset Rubdown would live up to their high expectations. Immediately as the guitar opening begins, all those fears and worries are dispelled. “The Mending of the Gown” gives Random Spirit Lover a rock opening with a Krug twist that’s accessible to first time listeners without alienating the dedicated fan base. By the time Spencer bellows out, “My name and my spirit are both corrupt and if you hold me close, you gotta hold me up,” even the most musically sheltered should be rhythmically nodding along. Personally, this is one of my all-time favorite Spencer Krug songs. With its upbeat riffs and piano, it should easily make your list as well.
The Mending of the Gown - Sunset Rubdown
Friday, April 4, 2008
One of my new favorite songs, My Morning Jacket’s “Mahgeetah” kicks off their 2003 album It Still Moves. Giving nods to a long list of genres (gospel, classic rock, Southern rock, 60s era pop, and country) “Mahgeetah” can find itself a place in almost any music aficionado’s eardrum. Like the terrain of their home state, Kentucky, the song varies in energy and texture. The layers in this song are genius. Going from mostly chord progressions and simple drum beats to epic classic rock solos, “Mahgeetah” takes me back to the days when all I listened to was Cape Girardeau’s “Classic Rock Station 100.7 KGMO.”
(Except a lot better than the bulk of any given KGMO playlist).
Thursday, April 3, 2008
Sam Beam had a very successful formula going. On all of his previous albums, the musical genius behind Iron & Wine kept the recordings mainly limited to just his guitar and vocals. Fans were perfectly content with this tried and true method, anxiously awaiting the next LP. The first taste of the new album was the single “Boy with a Coin”, and fans could already tell Sam was beginning to change things up. Several months later, Iron & Wine released The Shepherd’s Dog. The album opens with a faded guitar, as if off in the distance. Quickly, a full band joins in with Sam, fully showing off Iron & Wine’s new sound. This transition makes the move to their expanded sound accessible to both seasoned fans and new listeners. As soon as Sam’s layered vocal tracks kick in, the song really takes off. With detailed lyrics and beautiful vocals, “Pagan Angel and a Borrowed Car” is one of Beam’s best.
Pagan Angel and a Borrowed Car - Iron & Wine
Wednesday, April 2, 2008
Tuesday, April 1, 2008
Hitting in 1993, Enter the Wu-Tang (36 Chambers) by the Wu-Tang Clan came out of the darkness like a ninja, stunning the hip-hop community with its heavy beats, excellent production, multitude of great rappers, and kung-fu themes. "Bring Da Ruckus" kicks off the madness in style with a sample of kung-fu movie Shaolin and the Wu-Tang. Ghostface follows this with one of the best introductory verses in rap, ending it by claiming "I blow sparks like Waco, Texas." Raekwon, Inspectah Deck, and GZA all contribute stellar verses. RZA supplies the chorus growling, "Bring da motherfuckin' ruckus." In a genre that normally has disposable skits as album openers, Wu-Tang Clan got down to business and brought da ruckus from the beginning.
Wu-Tang Clan- Bring Da Ruckus
Hello, loyal Moustache Salad readers. My name is Kyle and I have been added to the official blog-staff. I have been told that I am here for adding more reviews on the movie/film side of things thanks to my complaining to Ira that, though its right in the sub-title, there is sadly very little movie action on the Salad.
I hope that we can get to know each other quite well through my blogging and your reading of my blogging, if we don't already know each other.
I want to start off our relationship by posting something I think that all of my fellow Moustache-enthusiasts will find interesting...
A brand new sound called "Just Jazzin'" from, who?
You guessed it!
Benjamin Gibbard, of famed Death Cab For Cutie!
Big Ben is quoted on his newest Myspace page saying, "....there’s this side of me and my music that desires a lack of structure and Just Jazzin’ does that for me because I am allowed to just play whatever note comes into my head", says Ben.
Here's a little Linker to get to that:
Let's hope Mr. Gibbard can conjure up some sexy, erection inducing jazz for us to bug-out to very soon.
I give this side project a Little Richard moustache (4 out of 5).
Update: Apr. 6, 2008
By the way guys... April Fools.
The new Pixies LP was announced today. A little shocking seeing as the Breeders are releasing an album in the near future, but hey, whatever. No more information was released, but a title and tracklist should be coming soon. The good news is that they did release the single for download.