A.Q. Reviews: Top 10 of '10 List 1: 10 Musical People and Things That Had an Awesome 2010

Hey all! Here is the first part of our 11 part list--o-mania to close out 2010:

10 Musical People and Things that Had an Awesome 2010!

In no Particular Order:

Those Rappers You Almost Forgot About

Sure, everyone knows Eminem, Kanye, Drake, Lil' Wayne, and Akon had good years - but do you remember that guy from OutKast who wasn't Andre 3000?

         Hey, who's that guy with Andre 3000??

In 2010, members of former hip hop super groups took a huge step into the limelight, led by Will. I. Am. of the Black Eyed Peas and Cee Lo Green of Gnarls Barkley fame.

Will. I. Am seemed to be featured in everyone's music videos and singles from Rhianna to Usher, and he played an integral part in the culmination of artists for the Haiti Relief version of "We Are the World". He has stepped into the role of producer and talent scout while continuing to produce chart topping albums with the Black Eyed Peas, performing for President Obama, collaborating with Sheryl Crow and Herbie Hancock, and composing for movies (see "Thriller").

Cee Lo Green meanwhile, managed to exceed his post-Gnarls Barkley career with one of the catchiest hooks of 2010 and a mean, soul-infused hip hop album, "Fuck You" from Lady Killer.

And let's not forget to mention Big Boi, who  with 2010's release Sir Luscious Leftfoot: The Son of Chico Dusty, has reminded us that it wasn't just Andre 3000 that made OutKast so awesome.  Big Boi has certainly been a busy boi, not only releasing one of the best hip hop albums of the year, but also collaborating with one of the years best concept albums - Janelle Monae's ArchAndroid.

Add in the veteran Mos Def's venture back from the silver screen to rapping with 2010's The Ecstatic, and you have a pretty good year for all those rapper you almost forgot about.

A Capella Pop

Whether you see it as a musical novelty act or serious music, pop-capella has made a huge comeback in 2010.

                                                    It's really not all painful like these ladies think it is, we promise.

With the popularization of the genre through Glee, a cappella groups have spawned at an impressive rate in 2010. NBC's mini-series the Sing-Off has cashed in on the sudden surge,  and it has pushed several "unknowns" into the American limelight, like last year's winner Nota, who released their debut CD this year, as well as brought back forgotten legends Jerry Lawson and The Talk of the Town.  

 

These men will make you forget what an instrument even looks like.

Trent Reznor of Nine Inch Nails fame chose the all girls a capella group Scala and the Kolacny Brothers to score parts of The Social Network film, and Ben Folds released an album of several of his hits covered by various collegiate a cappella groups this year.


Sufjan Stevens

After scaring the minimalist crap out of his fans by mentioning his thoughts on retiring from the music scene, Sufjan came back in a BIG way in 2010, releasing a full length EP, All Delighted People, and a chart topping concept album, The Age of Adz, within months of each other.

Both recordings were well acclaimed, and Adz is widely being considered as one of the best concept albums of the year. Stevens has been touring up a storm this year, and he seems to have finally found a balance between the soft spoken introspection of his popular songs ("Casimir Pulaski Day", "Chicago", "Alone With You") and the intellectually experimental samples from his less popular albums (A Sun Came!, BQRE, etc.).

His latest successes almost make you forget about that jaded angst that he hasn't made an album for your state yet.


The Music Video

The renaissance of music videos as a medium in and of themselves - rather than compliments to the music - began in 2009, but really picked up speed this year.

Lady Gaga, with some help from Beyonce, continued to re-popularize the extended music video founded by Michael Jackson's "Thriller" in 2010 - but she wasn't alone.

Musicians began to employ real actors for their music videos more regularly in 2010: Eminem and Rhianna employed Lost and Lord of the Rings star Dominic Monaghan and Megan Fox, while Vampire Weekend's video for "Giving Up the Gun" starred everyone from Jason Gyllenhaal and Jenny Murray  to Lil' John and Joe Jonas.

The story telling didn't stop there - Cee Lo Green depicted the lifelong storyline of "Fuck You", while Jason Ritter chose claymation to act out "The Curse".  

Music video veterans OK Go! continued their domination of the field, releasing two of the best music videos from 2010 - whether they were playing with dogs ("White Knuckles"), marching bands and swamp monsters ("This Too Shall Pass"), or experimenting with a wildly awesome Rube Goldberg machine ("This Too Shall Pass", second video). Following in suit in perhaps the only music video of 2010 to hold a candle to OK Go's creativity, Holderdao's  stop-motion human 8-bit video for "Americanarama" upheld the true youtube tradition and was shot in only one take.


The Roots


Somehow still better known as "Jimmy Fallon's House Band", The Roots took 2010 to cement themselves as the most versatile band of the past decade with an original - their best studio album to date, How I Got Over, as well as another collaboration album - this time with John Legend. 

 The Roots changed their tone for How I Got Over, a self-described "positive album," focusing on learning from the Bush administration and the hope to come under Barack Obama. The album, although covering some songs and with various guests including Twalib Kweli and Beanie Sigel, is mainly composed of original tracks by the group. Wake Up!, their collaboration with John Legend, consists of all cover songs of 1960's and 70's protest songs, with a few scattered Legend originals thrown into the mix. 




Auto Tune
They did it to Akon. They did it to T-Pain. They did it to GaGa. They did it to the news. They even did it to the Bedroom Intruder and the Double Rainbow guys. 

Every decade or so, some new technological advance runs rampant for no to little good reason in pop music - from the whammy bar of the late 50's to the synth-happy 80's. In the 2000's, that technology was as catchy and annoying as ever - Auto Tune.

We've all heard it at some point this year in either two forms - that odd, robotic Peter Frampton sounding wobble or a noticably ultra-human straight tone (think any Glee solo). Is it a cool affect? Definitely. Has it gotten a bit out of control in 2010? Absolutely. Do we still love it? Shamefully, yes.




Mumford and Sons

There wasn't a single import in 2010 who came crashing into America quite as instantaneously than these Brits in 2010.  

Their debut record, Sigh No More, has continued to maintain its place in the top 10 album downloads of the major digital music sites, and is getting some serious recognition - going double platinum in Australia and platinum in the groups home country. The single from the record, "Little Lion Man", is nominated for Britain's Mercury Prize this year as well. 

The group has been touring throughout the British Isles, as well as taking their stylistic smorgasbord of big band, Brit-folk, and gospel across the pond during Bonaroo.   Contemporaries Old Crow Medicine Show love the group, saying, "The Mumford Boys...songs worth remembering, driving long distances under the influence of, loving someone under the spell of; good songs that last long after the turntable stops".

 When the living legends of your genre are publicly gushing over you, you've had a pretty decent year.




DJ's 

Earlier in the decade, P2P file sharing and sampling put earnest DJ's in the musical and political spotlight, climaxing with Dangermouse's Grey Album. After the courts finally subdued the issue a bit midway through the 2000's, the public eye shifted back to the pop main stage. Which provided plenty of cover for a group of experts to bring back sampling, mixing and collaborating with vengence.

2010 saw the emergence of Canadian DJ extraordinaire Deadmau5. Within the past year, the giant mouse-headed jockey released his third studio album, 4X4=12, performed at the Olympics and Video Music Awards, won the Juno Award for Dance Recording of the Year for For a Lack of a Better Name, and was named best electro house artist and best progressive house artist by Beatport.  Just don't tell him he's a DJ. 

Dangermouse continued his collaboration path off of the success of his Broken Bells collab with The Shins' James Mercer by working with indie darlings Sparklehorse on the double disc doozie Dark Night of the Soul. 

RJD2 not only cemented his place in the scene thanks to the popularization of AMC's Mad Men, but also put out two albums, Deadringer and Inversions of the Colussus. 

Girl Talk also dropped a new album this year, the 73 minute long groovable sampler All Day.

And let's not forget to mention the newest Harmonix gaming spawn, DJ Hero, or the various youtube DJ's (the A.Q.'s favorite being DJ Calmucho). Add in the gentle return of sampling into the permisable realm (We're looking at you, Pomplamoose!), and this was a sneakily good year for the DJ scene.


David Foster

Sure, there really isn't a year for David Foster that isn't good - over the past four decades, the songwriting powerhouse has scored 15 Grammies, 7 Juno Awards, an Emmy, and 3 Oscar nods, not to mention the fact that he is the man behind some of the centuries greatest chart toppers. 

But 2010 was an especially good year for Foster. His record label is doing quite well, and is currently promoting Josh Groban's newest release. Foster has found, fostered, promoted, and produced young talent like no other in 2010 - working with (and becoming the Godfather of) both Filippino starlet Charice and 10 year-old opera phenom Jackie Evancho. 

Oh yeah, and he also was inducted into the Song Writer's Hall of Fame. 


Janelle Monae

Dance moves like the spawn of Michael Jackson and Gumby. Creativity of David Bowie. And a sweet iconic haircut that would make Flock of Seagulls weep in damn pride.

                                                              You wish you could pull this off.



Welcome world, to Janelle Monae. 


Although she's been around before 2010, the music industry just wasn't ready for Monae until this year, when she broke through with perhaps the greatest album of the year, ArchAndroid, which is already earned a Grammy nod for best contemporary R&B album. 

A concept album with a Flight of the Conchords-David Bowie concept (alien robots trying to escape a totalitarian government in order to freely feel and reproduce), ArchAndroid  is an eclectic and awe-inspiring cross-genre album that shows Monae's mastery of her art as well as her funky, soulful vocals. The album features the single "Tightrope", featuring Big Boi and some of the most fluid, cool choreography in recent years. But it also features tracks that include a made up language, full orchestras, big band swing, 50's du-wop, and guests ranging from Saul Williams to Of Montreal.

Her live shows are metaphysical experiences in and of themselves - and somehow, it all works seamlessly. 

Impressive.

 

The A.Q. is Back!

Hi folks!

After a brief hiatus, the A.Q. is back! We have made some structural changes to the site, so be prepared to take notes.

We here at the A.Q.  have made it our New Year's resolution to provide more gateways to music this year; that means WAY more album and concert reviews. In order to reach this goal, MattintheBelfry has re-structured how we do updates here at the 'Q. Album reviews are now split into two categories: Albums of the Week, and A.Q. Reviews.

Albums of the Week can include recent albums to forgotten favorites, and will be selected based on cultural significance, author preference, and current social impact.

A.Q. Reviews will be update multiple times a week, and will include "Top 10" lists,  shorter reviews of recent albums and artists, and A.Q. suggested lists.

The Aural Attic will be receiving a complimentary facelift as well - with more music buzz, random thoughts, song reflections, and mini-blogs. As our fanbase grows, we hope to include playlist challenges and other contest here as well!

The "Unplugged" section will continue to be regularly updated. Unfortunately, due to these increased updates, the "Local Yokel" section of the A.Q. has been temporarily suspended.

We hope you enjoy the new format and more frequent updates - and as Bill and Ted once said,

"Be excellent to each other!"

- MattintheBelfry

Concert Review Part 3: July 29, 2010 at Essex Junction: Primus

Primus

"PRIMUS SUCKS! PRIMUS SUCKS! PRIMUS SUCKS!"

The traditional oxymoronic slogan of old school, Suck on This era Primus fans started pouring down when the first Primus roadie started switching guitars for basses after Gogol Bordello finished there raucous set. Much to the confusion of several Gogol fans I was standing on/with, the jeers continued for the next 25 minutes or so, through the inflation of two mammoth astronauts, several light towers, and a drastic change in lighting, until Les Claypool and his gigantic top hat finally walked on stage.

Immediately Claypool, "Ler" LeLonde, and drummer Jay Lane (back from the 1989 era Primus) launched into one of their fan favorites, "Pudding Time", and went uninterrupted into the next several songs on their set list.

Now, for those unfamiliar with Primus, it must be explained that for most, they are an "aquired taste", meaning of course, that they are a little odd. Claypool's vocals border on annoyingly nasal, spread, and monotone, the lyrics can often seem silly, pointless, or completely removed from the music, and I have had several people tell me they were "too prog-rock for me, man".

However, hearing Primus through a set of headphones or from watching South Park every night is UTTERLY different from seeing them live. The difference would be equivalent to watching Bobby Flay and actually eating his food, playing with Michael Jordan on an old school Nintendo and getting dunked on by him a la Patrick Ewing, between reading the Bible and actually living it literally a la A.J. Jacobs.

Besides the obvious visual spectacle of the show (two 10 ft + astronauts that had the music videos and various effects projected on their helmets, light stacks, the smoke/dirt form the mosh pit) and the insanely devoted fan base (including a group parading through the crowd with the "Mr. Krinkle" pighead on a huge stick), the technical side of Primus' music is absolutely awe inspiring. LeLonde's guitar work, too often overshadowed by Claypool's virtuoso, showed his roots under Joe Satriani (if Satriani was put into a blender with some LSD), and Jay Lane managed to play the several different styles of drums Primus has had over the years due to their musical-drumming-throne issues was respectable. Of course, Claypool's bass playing is the highlight of any Primus performance, but was it absolutely mind blowing witnessing first hand what this gentleman can do. From the impossibly fast double rhythms of the second encore, "My Name is Mudd", to Claypool's ability to work hand-stretching bass lines while singing and make it look completely effortless (specifically on "Jerry was a Racecar Driver"), I was in complete awe of his mastery of his field.


Primus - American Life (live at Essex Junction July 29, 2010)


Primus' lyrics would always bother me when I first began listening to them in the 90's. The music was some of the coolest I had heard, yet the lyrics were either completely moronic or didn't seem to do anything for the genius prog-rock supporting it. Now, for a 13 year old boy, this was a perfect match, but I quickly got tired of it and left for "better" things. I've come to realize however, that the lyrics truly don't matter too much (with the possible exception of the more "serious" Pork Soda, and that may be the whole point. Between lyrics, Claypool went on a comedic diatribe of the Fairground's famous fried dough. At another point in the set, in mid-song, Claypool nonchalantly stated "Uh, I forgot the words", to which pockets of the crowd yelled back "Make 'em up! Fuck it!"


Primus - Those Damned Blue Collar Tweakers (Live at Essex Junction, July 29, 2010)


The highlight of Primus's performance for me was twofold - first, there cover of The Police's "Behind My Camel", and of course, "Drum and Whamola Jam", the latter of which Claypool ditched his top hat for a monkey mask and his bass for a "whamola" - a crude, scythe-looking, bowed one-string bass - and jammed with Lane for roughly 5 minutes before starting "Eleven".


Primus - My Name is Mudd (Live at Essex Junction, July 29, 2010)

SETLIST:

Pudding Time

Duchess and the Proverbial Spread Mind

American Life

Golden Boy

Behind my Camel (cover of The Police)

Groundhog's Day

Over the Falls

Jerry was a Racecar Driver

Over the Electric Grapevine

Drum and Whamola Jam

Eleven

Tommy the Cat

Encore:

Those Damned Blue Collar Tweakers

My Name is Mudd 

Concert Review Part 2: July 28, 2010 Essex Junction: Gogol Bordello

GOGOL BORDELLO

In the few moments between Heloise and the Savoir Faire's last song and the appearance of Eugene Hütz and the rest of the smorgasbord of cultures that make up Gogol Bordello, there seemed to be one question on the crowds' collective subconscious - How were the 9+ members of the band going to fit on the a stage that seemed filled by the few members of the Savoir Faire?

The answer of course, was that it wouldn't matter much; Gogol Bordello wasn't going to be spending too much time in one spot. In fact, with the obvious exception of drummer Oliver Charles, it was quite possible that none of the band members touched the stage for more than 3 or 4 seconds at a time, and they definitely spent more collective time airborne then not. From the start of their opener, "Ultimate" from 2007's Super Taranta! to the closer, "Darling", Gogol Bordello made one thing extremely clear - this was going to be an adrenaline fueled performance.

All this may sound typical for a punk show - you may easily replace "Gogol Bordello" with "The Ramones", "Iggy and the Stooges", or "The Pogues" and the previous paragraph would still make sense. What differentiates Gogol Bordello from this irony-driven punk prototype however, is the band's main mission and its consequential impact on their performances and art.

Composed of a smattering of cultural origins (Ukraine, Ethiopia, Russia, Israel, Ecuador, China, America, etc.), the band strives for what it dubs a "neo-optimistic communal movement" that is probably best described by one of their slogans - "Think locally, fuck globally". The group celebrates global tribalism and wishes to break out of the ambiguously moderate era of postmodernism, specifically that cliche that originality is a con. As the band states in their official manifesto - "the beloved statement of postmodernism 'everything is been done' sound as an intellectual error".

As part of this attempted break from postmodernism, the group attempts to incorporate aspects from all of the members' seemingly infinite cultures in order to develop from a sense of authenticity rather than one of pretense or irony. Through a mixture of cabaret, punk, and and traditionally gypsy music, the band manages to incorporate the Reggae rhythm of bassist Timmy T's Ethiopian roots, the vicious lyrical attacks of Ecaudorian MC Pedro Erazo, and the masterful melodic swinging of Sergey Ryabstev's charming violin playing without overbearing the listener or impeaching the bounds of the music as a single entity. This characteristic of Gogol's work is what separates it from the other "foreign-fueled" punk bands like Flogging Molly or the Dropkick Murphys - Gogol's music is a culmination and interweaving of multiple entities into something new and inclusive, while these bands' products are an authentic celebration of one, seclusively particular entity.

The global message was certainly apparent in this show, via both the set list as well as a small talk to the audience of the importance of family by Hütz, who was donned in an "I love my Dad" t-shirt for the first half of the performance.

"Immigraniada (We Come in Rougher)" from Essex Junction 2010


Musically, the band was spot on (although the majority of Erazo's raps were unintelligible for those who didn't already know the lyrics due to the nature of the outdoor event), and the group definately earned some new followers. One Primus fan in particular behind me in the mosh pit immediately left after the last song in order to purchase the latest cd, Trans-Continental Hustle, rather than rush the stage in preparation for Primus.

To focus on the musical aspect of Gogol's show, however, would be silly. The music obviously is the key ingredient in the Molotov cocktail of an experience the show was. However, the groups' non-stop energy and authentic enthusiasm, masterful sequencing of a set list, and audience engagement/interaction created a timeless effect that had many of the crowd wondering why they hadn't noticed that the sun had gone down or dismissing the red wine stains (from Hütz's spastic wine spraying during mainstay "Start Wearing Purple") on their white shirts as honorable badges of authenticity. Overall, the performance was by far the highlight of the entire night, and was one of the more memorable shows I have ever seen.

SETLIST:

Intro/Ultimate

Not A Crime

Wanderlust King

My Companjera

Tribal Connection

Trans-Continental Hustle

Immigranadia (We Comin' Rougher)

60 Revolutions

Break the Spell

Universes Collide

Pala Tute

Start Wearing Purple

Punk Rock Paranda

Sun is on My Side

Darling

  

For more videos of Gogol Bordello at Essex Junction on July 29, 2010, check out these youtube links:

"Start Wearing Purple"
Further from stage, but much better camera work
Closer to stage, but with bad camera work

"My Companjera"
Good audio/visual





Next on the list: Co-Headliner, Primus!

P.S. - The videos posted are borrowed from various youtubers who had better quality videos than my own. The back of my head and my friend Greg (blond with the green bandanna) is visible in "My Companjera" at the 1:57 mark on the far right! Thanks!


 - MattintheBelfry





   

Concert Review Part 1: July 29, 2010 at Essex Junction: Heloise and the Savoir Faire

Hola Companjeras, and welcome back to the A.Q. After a brief hiatus, MattintheBelfry is back with the A.Q.'s first ever concert review!  The rewview will be split into a new posting for each band. So let's start at the beginning shall we?

When my friends called me up and we started planning a mini road trip for this summer, we knew a show would need to be the axis of our journey. Besides my obvious connections with music, one of my friends is a DJ, the other is the only non-musical person I know with a more extensive music collection than me, and the third had (gasp!) never been to a live show before. Always on point, Greg suggested the upcoming Gogol Bordello / Primus double bill in Essex Junction. An outdoor general admission concert? Count us in.

The Champlain Valley Fairgrounds of Essex Junction, VT plays host to a plethora of shows each year, with an emphasis on alternative rock and local bands. The venue was expansive and offered concessions (which Les Claypool of Primus would later comment on), above average facilities, free parking, and, perhaps its best feature; the ability to stay in the pit or close to the stage for one song, and then walk around without a crowd for another.

Scanning the crowd, it was odd and reassuring seeing the percentage of fans in the audience. Typically in double billed shows one band still prevails over the other in support. However, this night there was a notable 50% split between the Gogol Bordello and Primus fans, and they both seemed to respect and enjoy each others taste. Kumbiyah.

Without further adu - the opening band!

Heloise and the Savoir Faire

Vermont natives Heloise and the Savoir Faire (that's a French idiom for "the ability to do the right thing") kicked off the show in full regalia and synth-pop fashion. Lead vocalist Heloise and her two dancing friends, Joe Shephard and Sara Sweet Rabidoux, looked like Ocean State Job Lot versions of Lady Gaga creations. The group's make-up and costumes, not to mentioned Shephard and Rabidoux's interpretive dancing, caused me to fear for the worse - that like other bejeweled groups (I'm looking at you KISS, Korn, and Cher), the Savoir Faire were about to hide so-so music with enough weird "fierce" pageantry in order to "razzle dazzle" the audience. With a sigh of relief from my friends and I, Heloise and her band mates began pumping up the fairgrounds with an infectious mix of synth-pop, punk, and a surprisingly refreshing dose of disco that did not use the group's visual gags as an excuse but melding perfectly with it.

After the initial two songs, I realized the ingenuity of the group's performance -  their get-up was a mockery which was both note-worthy and delightfully unnoticeable. It wouldn't take a MENSA member to realize how the group was poking fun at everyone in the music business, from record companies to virgin artists, pop stars, and even the audience. However, the theatrics were performed in a way that implied a self-conscious honesty on the part of the group - they were poking fun at themselves too, and everyone was free to laugh with and at them. It was clear what the group's mission was; The Savoir Faire were here to have fun and maybe gain some fans along the way.

As far as the music goes, I actually enjoyed the group's art, despite my typical aversion to anything dance-pop. Heloise's voice is quite wonderful and healthy, and her dynamic range is expansive and effortless (which made for some really big "kick-ass" moments, even for an audience that seemed completely alien to the group's work). Heloise's decision some years ago to experiment with a live band playing along with the pre-recorded loops and effects was greatly appreciated as well, and made for a much more organic and authentic performance. Thankfully, the charmingly off-beat and sometimes spastic dancing of Shephard and Robidoux succeeded in its attempt of manifesting the music and performance theme, inviting the crowd to participate in the joke of life they portrayed.

Hopefully, Heloise will continue to add effective methods from her own experiences in the music world (i.e. bus driving for Peaches, working with Phish, Deborah Harry, and paying rent to Danny Moynihan) to her repertoire. The Savoir Faire, without a doubt, have a good product, and with the recent success of groups like the Ting-Tings and Lady Gaga, may have a market for it. Add in the freedom of working for music lover Elijah Wood of LOTR fame, and don't be surprised if you hear from the Vermont locals soon.

P.S. - I was not allowed to bring in my Flip video, so I apologize profusely for the sound quality on the videos. For a much better listen to the bands, PLEASE youtube their music videos or check out the Amazon media sampler on the right-hand tool bar of the blog.

Next Up - Gogol Bordello!!!


        

Album Review 2: Learning to Bend

The Album: Learning to Bend

The Artist: Ben Sollee

The A.Q. Rating: 7 out of 10

"An oak and a reed were arguing about their strength. When a strong wind came up, the reed avoided being uprooted by bending and leaning with the gusts of wind. But the oak stood firm and was torn up by the roots."  

- from Aesop's Fables

It would be pretty hard for the listener to miss the thematic elements of Ben Sollee's first solo record, 2008's Learning to Bend. 

From the title of the album and the title track's blatant chorus ("Are you strong enough to bend?") to the prominent genre-spanning instrument (Sollee's cello), Learning to Bend is all about the perseverance of the human spirit, the strength of flexibility, and the hope for a better tomorrow. 

It is the method of embodiment of this human spirit that separates Sollee's efforts from the mass of folk singer-songwriters out there. Sollee's sparse yet beautifully resonant arrangements blur and "bend" the lines between the bluegrass, jazz, and rock genres without leaving a distinct aftertaste. His cello (an instrument that in and of itself is comfortable in jazz, classical, or bluegrass settings) is the common factor throughout the album, although there are a few tracks where he puts down his bow in favor of some old fashioned acoustic guitar. The cello plays an integral role in the masterful instrumentation Sollee demonstrates throughout the album, stringing together lovely harmony lines or acting as a rhythmic catalyst in Sollee's upbeat cover of Sam Cooke's "A Change is Gunna Come". The well discerned use of the cello lines are so powerful that their few absences are even more breath taking, specifically when they are replaced by a harp on the title track, "Bend", before returning in an organic swell to the chorus.

It is not only the cello lines that demonstrate Sollee's wonderful gift for instrumentation. The quirky "Bury Me in My Car" features fiddle and the use of jaw harps, and Sollee is accompanied by the virtuosic banjo picking of former Sparrow Quartet band mate Bela Fleck on "It's Not Impossible". The back up vocals of "Bend", supplied by another former band mate, Abigail Washburn, compliment the subject of the song, the harp, and Sollee's own voice strikingly. The use of vibraphones, saxophone, set, and various hand drums add an irresistible spice of jazz and pop into various tracks on the album, especially the soul-infused porch-rocker "How to See the Sun Rise".

A quick note on Sollee's voice; simply put, it's a solid and honest folk voice. Soulful and endearing, Sollee's vocals freshen up the tired image of the road-weary folk singer. His voice isn't as rough and "of the people" as Bob Dylan or Springsteen, but is still a relatable voice from the crowd, if not a more polished one.

Unfortunately, as expertly as Sollee's crafting of the actual music of this album, his lyrical discretion is nowhere near as well versed. For every elegant line, such as the opening verse of the entire album, "When the storm comes / will you reject the rain? / If it falls not soft / if it falls not tame?", there are three or four clumsy clunkers. For instance, in that exact same track, "A Few Honest Words", Sollee sings the over-explained cliche "Our love of freedom / puts a veil over our eyes / and rights that are given / can be taken away". Occasionally, Sollee's lyrics can hide behind the guise of  quirkiness, like in "Bury Me in My Car" and "Prettiest Tree on the Mountain", however, the awkwardness of some lines simple cannot be ignored. Ironically, the majority of the lyrical issues on the album seem to stem from Sollee's inability to bend his political and personal agenda to meet his own music. This symptom is most noticeable on the cover of "A Change is Gunna Come", where Sollee regrettably adds the rather direct and prose-free verse to Sam Cooke's more universal words, "I tried to find it / some better place / where having the biggest gun / ain't some kind of race".

It is not to say that Sollee's lyrical mishaps overpower the album though. In fact, there are several moments where the lyrics actually relate to the music seamlessly, rather than being rescued by the music. This is especially true on the more subtle and soft tracks on the album, specifically the tender and doubtful "I Can't", in which Sollee's allusions and metaphors are refreshing and charmingly sad. "This ain't the sword pulled from the lake / Yours ain't the heart I want to break" whispers Sollee against the descending nostalgia of an electric guitar. The same holds true for the other ballads on the album ("Panning for Gold" and "Bend"), although the sheer length of the album ending lullaby "Copper and Malachite" leaves them once more vulnerable to criticism.

Overall, Learning to Bend should excite listener's to a growing talent in Sollee, and offers a beautifully orchestrated cross-pollination of genres that truly is strong enough to bend.

Strengths:

- Superb orchestration

- Creative and innovative use of cello to cross genres

- Vocals are stylistically appropriate and technically sound

- Wonderful use of harmony and back up vocals

- Sparse arrangements are extremely well managed and not anemic

- Very few noticeable examples of production interferences

- Thematic elements are relatable to modern culture and easily recognized

Weaknesses:

- Prose can become clumsy and awkward

- Lyrics can at times become too direct and over simplified

- Concluding track is slightly too long

- Track sequencing towards the front of the album could be re-thought

- Additional verse in "A Change is Gunna Come"

Recommended Tracks:

Track 2, "How to See the Sun Rise"

Track 4, "Bend"

Track 5, "It's Not Impossible"

Track 6, "I Can't"

Track 9, "A Change is Gunna Come"

Track 11, "Copper and Malachite"

For Fans of: Abigail Washburn and the Sparrow Quartet, Amos Lee, Crooked Still, Ben Harper, Damien Rice, "Dear Companion", Bela Fleck, Sufjan Stevens

 

Concert Reminder/Update

Hi all, don't forget to check out the FREE local show tonight at the Franco-American Club in Waterbury, CT.  Doors open at 5:30, and once the building is at capacity, the doors will close. This is an awesome chance to see some of the state's top local bands, including friends of the A.Q. To Write a Riot, for no cost!



Also, the A.Q. is ecstatic to announce that in two weeks, we will be posting our first concert review. The A.Q. will be attending the Primus / Gogol Bordello show in VT on July 29. The review, hopefully complete with some video footage of the show, will be posted shortly after.

Unplugged 2 - Faking It for Making It - Authenticity in Today's Pop and Rock

About 6 months ago I happened on this article from The Faster Times while doing research and exploring for an 8th grade general music unit plan I was constructing based on composing with music software as a means of learning. The lesson I was constructing within the unit plan dealt with the blues genre - defining it, being able to identify and differentiate it from other genres, using its defining characteristics to create new, stylistically correct compositions, and noting its impact on western music and today's music.

As one of the homework assignments, the students used music-map , a free online program that organizes various artists in an organizer based on their similarity to a set "hub" artist, to find if artist they recognized were related to a set list of blues artist. The next day, one of my more passionate students, Bobby, came into class and said "We need to talk about this assignment thing." Bobby was absolutely appalled at his findinngs from his homework - or as he said, "How the hell can you even compare Ray Charles to Amy Winehouse??"





Luckily, I was hoping one of the kids would find this, and I had the music video for "Rehab" playing on the wall of the music lab in a matter of seconds. We went through the motions of our daily game, "What makes me blue?", for the song. The class begrudgingly agreed that there were blues aspects in the song - the backing brass band, some blue notes, etc. We listened again to the chorus of "Rehab" a couple more times, and then finally one of them got it -

"Wait..... is that a 12 bar blues progression? Dude."

Throughout the lesson was had listened to songs and debated their "bluesiness" with each other - starting off easier with some Big Maceo Merriweather and eventually going through The Beatles' "Can't Buy Me Love", and Zeppelin's "Rock and Roll".  But it was Winehouse who opened up the wormhole of the socio-political impacts on and of music.

We used the controversy over Winehouse's supposed merit as a blues artist to question not only the artist they listen to daily, but also how we interpreted said music. We discussed the aforementioned article - why do artists and listeners need music to be disguised as something else, like feeding medicine to a dog?  Is this morally right?

The discussion eventually turned to race, based off of Jack White's quote, "[music videos, quirky back story, etc] is just there to distract people from that fact that we were playing the blues. That a white boy was playing this."). We talked about the fact that blues is characterized as "black" music. If there is black music, what are its characteristics? Are they based off of cultural reflection and experiences or stereotypes, or both? If there is black music, and its played by a white musician, does that make it no longer black? Or does it make the white musician a black musician? And if there's black music, isn't there also white, yellow, brown, dyslexic, A.D.D. and dwarfism music? What are the impacts on the view of the alleged power of music and universality of music if that is true? To what extent is music "powerful" and in what ways is our categorization of it impact this?

The lesson went extremely well, as it not only served up the content, but led to a critical change in how the kids listen to their own music, and about how music actually affects them outside of the emotional realm.

I posted the article because, especially in the current climate we are in, it's a good idea to question ourselves as a society through our art in the same way my students are now questioning theirs.

Name. Reflect. Act.

MattintheBelfry

Album Review 1: Broken Bells

 The Album: Broken Bells

The Artist: Broken Bells

The A.Q. Rating: 8 out of 10

When I first caught wind that former Shins frontman James Mercer was in the studio working on a collaboration project, I admit I was more then a little worried.

In today's pop music world, collaborations typically bring to mind the countless hip hop and r&b tracks that have enough "feat. artist y, feat. artist x, feat artist z and the artist c band" to force my Ipod screen to scroll through artist information longer than the actual song takes to play. These guest artists typically do very little to constitute a collaboration - perhaps a vocalize here, an exclamation there, or maybe even taking two solo verses - but nothing that shows a collaborative effort to make something new out of two aspects.

Even alleged collaborations in other genres are guilty of this - take perhaps one of them most infamous cross-genre collaborations of all time, Run-DMC and Aerosmith's "Walk This Way". Granted, the song cross-pollinated audiences that wanted nothing to do with each other, and provided not only a great tune but also some needed critical change, but was it really that groundbreaking for the artists involved? No offence to Run-DMC, but rapping the lyrics to an already known rock hit with the addition of some scratching doesn't exactly constitute their best work. Nor does having a black hip hop group rap your lyrics to your own accompaniment speak well for the strengths or understanding of the collaborative genre on Aerosmith's part.

I feared that Mercer was simply selling himself short, dooming to become a "featured" artist.

Then I heard about the collaborating artist: Brian Burton. A.k.a., DJ Danger Mouse, of Grey Album fame.

I purchased a copy of Broken Bells the next morning.

On the surface, Broken Bells is much like watching World Cup football for the first time. Sure, you can see why people like it - and it's entertaining, but it isn't until you see the slow-mo replays of Ronaldo's quick, graceful, and purposeful foot changes and dribbling or the detailed physicality for possession that one can truly understand the fanaticism that surrounds the sport. At first listen, Broken Bells sounds wonderful - a short, 30 minute album of groovable pop with some cool effects. Good enough to play once in awhile, just as a break from the usual suspects on your playlists, but nothing groundbreaking.

But then you'll listen to it a second time. Then you'll realizing your grooving to a melancholy song about a stripper. Then you'll listen a little closer a third time. Perhaps a fourth. And then the identity of the album begins to leak out.

The biggest strength of the album is that it utilizes the strengths of both parties, Mercer and Burton, to an extent that not only highlights their strengths but combines them in a way that covers their defects. There are no superfluous effects used by Burton, with every added harmony, beat, and synth executing a specific purpose. The lyrics, although introspective (and certainly with a touch of advice to Mercer's former band mates), play upon enough universal themes (life choices, postmodern guilt, letting go, etc.) to empower the empathy of the listener.

Obviously, the album has some experimental qualities to it; do not expect to hear The Shins, nor expect to hear the Gorillaz. Burton and Mercer's experimentation with Broken Bells is out-of-box, but not out-of -mind. Perhaps the most blatant and radical experiment is the sudden discovery of Mercer's quite wonderful falsetto (think Jamiroquai, or more fittingly, Damon Albarn of the Gorillaz) in the fourth track of the album, "The Ghost Inside", and the hellish composition of the waltz in the album's fifth and weaker track, "Sailing to Nowhere".

Besides the positive consequences of the successful collaboration between the two indie stars, the album has a few glaring strengths from Burton's production. The album uses no samples, and combined with the lyrical themes presented as well as the unfortunate fact that there are several times when the lyrics are unintelligable, implies the old romantic ideal of "music for music's sake", or music itself over the ideals it can represent. Even upon the intial listening, Burton's sequencing of the tracks is also perfect, and truly cements the confidence of the album.

As far as familiarity, there are elements, but only elements, of both artist's former projects, most notably that of Burton's work with Gnarls Barkley on the grammy winning St. Elsewhere, and Mercer's work with the Shins on tracks like "Vaporize". There are hints to other artists, but nothing that would rationalize a specific allusion. Some of these elements include the Beach Boy's Pet Sounds can clearly be heard (especially with the opening track and single, "The High Road"), and there are elements of everything from Prince ("The Ghost Inside"), Beatles ("Vaporize"), and B-52s ("Mongrel's Heart").

Suffice it to say, the album shows what a true collaboration is, and characterizes both artists in a fashion that is both just and productive, while providing a new element for the listener. While I do not think this album is the best effort to define each artist, it certaintly was a daring, fun, and successful side project. So give it more than a listen, and in the words of Broken Bells themselves, "Don't run, don't rush/ just float" ("October").

Strengths:

- Great sequencing

- Nearly all tracks are independently strong

- Lyrics are well written and balanced

- No superfluous production

-Production is purposeful and impactful

- Experimentation is daring without becoming insulting or evasive

-Shows a true balance of the artists' strengths to produce something unique

Weaknesses:

- Replacement of original pre-release track with ballad "Citizen" questionable

- Album is short - roughly 30 minutes

- Lyrics are sometimes too difficult to hear in a way that interrupts the affect of the song

Recommended Tracks:

Track 1, "The High Road"

Track 3, "The Ghost Inside"

Track 6, "Trap Doors"

Track 9, "October"

For Fans of: The Gorillaz, Gnarls Barkley, Beck, The Shins, Danger Mouse, Jamiroquai, The Beach Boys' Pet Sounds 


    

UPCOMING FREE SHOW!

A week from tonight, July 8, 2010, the Franco-American Club of Waterbury, CT, will play host to an unprecedented FREE show with a huge bill of local bands.

The "Save the Scene Show", presented by Adam Lopez, will feature 10 of CT's local bests, including friends of the A.Q. To Write a Riot!

Also billed to perform on the main stage are Jacobi Wichita, Surrender the Dancefloor, Wess Meets West, Forget Tomorrow, We Attack at Dawn, and Forget Paris.

The show is also planning an acoustic stage for 3 of the 10 acts, Consonance, The Premiere, and former Shut Up and Deal members Pat & Tom.

Doors open at 5:30 and the show starts at 6, hope to see you there!

MattintheBelfry

Unplugged 1: LOST and Chopin

The following is an original essay I am currently editing and adding to for future publication. I began writing this piece as a research project for a composition class I was taking under Dr. Christian Carey at Westminster. 

WARNING: This article contains integral plot points, explanation, and spoilers for LOST seasons 1-6. Please do not read if you do not wish to be spoiled. 

“The Rest is Just Progress”:

An exploration into the thematic ideals of Lost through Chopin’s Fantasie Impromptu in c-sharp minor, Op. 66

            Originally a mini-series  under the working title of “The Circle”, ABC’s Lost has developed into one of the most complex and popular dramas in the past decade. The show is infamous for its innumerable plots and subplots, extensive cast of characters, mythological and scientific subtexts, relevant social themes, and innovative narrating devices.

            From the very first episode, viewers were introduced to the theme of antagonism through the recurring  symbol of black and white. As main character John Locke explains, “There are two players, two sides; one white, and one black” (Abrams). From the pieces of Locke’s backgammon games, to the black and white doomsday clock in the hatch and the stones balanced and passed between Lost mythological figures Jacob and his adversary, the unnamed “man in black”, white and black play a prominent role in reminding the viewers of both the show’s plot-driven antagonisms (Jacob vs. Man in Black, for example) and the thematic antagonism (including fate vs. free will and faith vs. science).

It is no surprise then, to see the piano, with its alternating black and white keys,  as a recurringsymbol. Throughout the six seasons of Lost, the viewer sees several characters play the piano during scenes of introspection. Before the thrilling season four finale, masterful manipulator Benjamin Linus is shown playing Rachmaninoff Prelude in C# minor. Hero Jack Shephard and musician Charlie Pace are seen playing the piano multiple times in all of the shows various timelines. However, out of the various piano pieces used throughout the show, there are none that are more appropriate nor used as often as Chopin’s Fantasie Impromptu in C-sharp Minor. Chopin’s piece goes beyond the simple metaphor of the black and white keys of the piano. Throughout the first and last sections of the piece, Chopin juxtaposes the rhythmic contrast of triplets and sixteenth notes in each hand. This rhythmic antagonism is a direct reflection of the previously mentioned antagonisms in the show.

The piece made its first appearance in season five’s “The Variable”, as the young Daniel Faraday is seen practicing it in a flashback.  In this scene, the young Faraday cannot play the piece well at all, as he can not master the antagonistic rhythms or keep consistent with the metronome, which he attempts to follow despite the improvisational flexibility the piece implies. As we see throughout this season, Faraday has the same technical issues with the island.  Faraday acts as the source of scientific explanation on Lost, including the explanations of the shows notorious narrative techniques, which include sudden shifts in time and even continuous narration of simultaneous alternate timelines. In the fifth season, Faraday, who to this point has had indirect experience with time travel on the island, only has a partial explanation for the issue of time travel, claiming that, “Time--it's like a street, all right? We can move forward on that street, we can move in reverse, but we cannot ever create a new street. If we try to do anything different, we will fail every time. Whatever happened, happened” (Cuse). Faraday uses this theory to hypothesize that if the characters unleash the electromagnetic properties of the island, the entire timeline of the show will cease to exist in space-time, and therefore be reset to the beginning. However, much like his initial interpretation of the Chopin, Faraday has the right themes and notes, but the wrong technical application, and when the characters do attempt to blow up the island, they actual create two parallel timelines.

The parallel “alternate” timeline is once again introduced to us with the Fantasie Impromptu Op. 66, as we see Jack Shephard’s son David (who only exists in this reality) perform the piece. It is essential to note that in this episode, the directors ensure to have the audience listen and watch as David plays the middle section of the piece. The Chopin is divided into three main ideas. The first section is in c-sharp minor, while the second section, is in the enharmonic parallel major key, D-flat major. The sudden shift in tonality through parallel keys correlates with the sudden shift of narrative and reality in the sixth and final season of Lost.  The tonal organization of the Chopin also has other similarities with the qualities of the alternate timeline.

The D-flat major section, besides its more optimistic sounding key, also has a much more easily recognized melody line from the previous c-sharp minor section. Although there is still the presence of the rhythmic antagonism from the previous section, it is much more subtle than before and is completely overruled by the melody. In the alternate reality of the show, all of our characters have everything they seemed to strive for in their flashbacks presented to the viewer throughout the previous seasons. Jack is still a skilled surgeon and caring father, John Locke comes to grips with his wheelchair-bound state and is ready to be happily married, and Hurley is a successful and influential owner of a fast food restaurant chain. However, when the characters begin to have flashes of their memory from the events of the other timeline, their seemingly perfect existence in this reality is questioned and begins to grow trite. The melody in the Chopin exemplifies this decomposition, as the melody is gradually overtaken by the rhythmic  antagonism of the initial section (and in some edited scores returns to the initial c-sharp minor section). The melody has also, fittingly enough, been adapted by Henry Carroll in his pop song “I’m Always Chasing Rainbows”. The lyrics, written by Joseph McCarthy, read, “I'm always chasing rainbows / Watching clouds drifting by / My dreams are just like all my schemes / Ending in the sky” (McCarthy).  Even through the indirect means of Carroll’s adaptation of Chopin’s melody, we can see the common notion of the superficial existence that appears in the parallel timeline in Lost.

It is once again, Daniel Faraday who awakens the characters to the existence of the original timeline. Like several of the other characters at this point in the show’s history, Faraday is dead in the original timeline, but alive in this alternate reality. In this reality, Faraday is fulfilled – his mother does not force him to become a physicist, and he is instead, a musician. We watch as Faraday plays a flawless performance of the Fantasie Impromptu Op. 66, much improved from the original event. Faraday is one of the first characters to remember events from the original timeline, and his knowledge is represented in his performance. Now, Faraday understands the parallels and structure of the two timelines as well as the good vs. evil antagonism within himself, and therefore, is able to perform the corresponding sections of the Chopin without the technical problems exhibited before. This mastery allows Faraday to truly play the piece as an impromptu, as he flexes the tempo (or bends time, to fit more within the Lost context) within the contextual guidelines. To play along with one of the major antagonistic themes of Lost, Faraday exhibits the ability to use free will within a destined context.

The Chopin concludes with the return of the antagonistic rhythms. However, the rhythms gradually dissipate until the last chord of the piece, a C-sharp major chord. This concluding gesture to the tonic chord of the D-flat major section in the surrounding context of “A” section material may suggest the creation and execution of a distinct ending which is culminated from both sections. In relation to Lost, this foreshadows the end of the series, the end to which Lost mythological figure Jacob will happen when he stated simply, “It only ends once – the rest is just progress” (Cuse).

In the series finale, we once again see Faraday perform in the alternate reality. However, Faraday has now ditched the Chopin for his newfound experiment, a “classical-rock fusion” with fellow deceased character Charlie Pace’s band, Driveshaft. The sudden alteration in the only piece we have ever witnessed Faraday play, from his youth in the original timeline to his virtuosic rendition in the initial unveiling of the alternate reality, and even indirectly through the scribbled instructions in Faraday’s handwriting on David Shephard’s sheet music, is striking and purposeful. It is only in the last scenes of the series finale when the audience is finally told the nature of the alternate reality; that this reality is one fashioned by the characters themselves after each of them have died, until each of them has remembered their previous lives and deaths and can move on together. This fabricated reality not only explains the characters mirrored fortunes form their previous lives (including Faraday’s musicianship), but also connects back to the middle section of the Chopin and the implied levels of understanding, conscientization, and fabricated idealism presented in the narration of this alternate timeline.  The series concludes in a similar fashion to the Chopin, on its own C-sharp major chord, the creation of something new (whatever the characters may “move on to) through the culmination of its two parts.

Works Cited

Abrams, J.J. (Writer/Director), & Lindelof, D. (2004). Pilot: Part 2 [Television series episode]. In J.J. Abrams (Executive Producer), Lost.  ABC Broadcasting.

Cuse, C. (Writer), Lindelof, D. (Writer) & Bender, J. (Director). (2009). The Incident [Television series episode]. In J.J. Abrams (Executive Producer), Lost.  ABC Broadcasting.

Cuse, C. (Writer), Lindelof, D. (Writer) & Bender, J. (Director). (2010). Lighthouse. [Television series episode]. In J.J. Abrams (Executive Producer), Lost.  ABC Broadcasting.

Cuse, C. (Writer), Lindelof, D. (Writer) & Bender, J. (Director). (2010). Happily Ever After [Television series episode]. In J.J. Abrams (Executive Producer), Lost.  ABC Broadcasting.

Horowitz, A. (Writer), Kitsis, E. (Writer) & Lieber, J. (Director). (2004). The Variable [Television series episode]. In J.J. Abrams (Executive Producer), Lost.  ABC Broadcasting.

Jonson, G.C.A. (1905). A handbook of Chopin’s work. New York, New York: Doubleday, Page & Co.

McCarthy, J. I’m Always Chasing Rainbows.

thepolonaise (user name). Yundi Li – Chopin “Fantasie” Impromptu, Op. 66. Available from http://www.youtube.com/watch?v=tvm2ZsRv3C8

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Local Yokels 1 : April Smith and the Great Picture Show

The "Local Yokels" updates highlight artists and groups originating from the New Jersey and Connecticut areas. The posts alternate between these two settings.

The Artist: April Smith and the Great Picture Show

Originally Hails From: Tom's River, NJ

Ah, if only Fiona Apple lived as a traveling act in the vaudeville circuit of the early 20th century.

Upon my initial listening of April Smith and the Great Picture Show's second CD, Songs for a Sinking Ship, the above was the only thought I had. Perhaps if Apple peaked a couple decades before her birth, we could have some of the wonderfully catchy, yet substantial music provided by the Tom's River native and her backing band.

The group's menagerie of instruments, from accordion and ukulele to a suitcase, used on tracks like the relentlessly catchy "Colors" as a bass drum, supports Smith's beautiful and satisfying vocals with the eclectic, jazz-induced ragtime of a 1930's carnival. The Brooklyn based instrumentalists that compose the Great Picture Show compliment not only the tongue in cheek lyrical wit of each track, but also Smith's wildly fluid vocal range, in a fashion that suggests a natural synchronicity between the efforts and intent of both parties. The product, or rather, performance produced is mighty memorable. Think the lovechild of the Decemberists and Zooey Deschanel's She and Him, if that lovechild happened to have Tom Waits as her nanny, singing her his bittersweet narratives of low-lives and the blues.

However, the defining characteristic of the group that sets it apart from the flood of popularized, similar female contemporaries (Regina Spektor, Jaymay, Lenka, Birdie Busch, etc.) is clearly Smith herself. Smith's vocals cover a decent range almost seamlessly, and what's more, is Smith has the ability to control and adapt her voice in any register to sudden dramatic alterations. One moment, she is light and innocent, legato and sotto voce, and without warning, she is full voice, in a high register, belting out a punishing, yet beautifully managed and healthily produced ornamented refrain. Smith's vocal acrobats, while not quite Handel-esque melismas, sound effortless and are, quite honestly, show stoppers in and of themselves. Her ability to control and contort her voice has massive impacts on he drama of each track. My favorite tracks from Sinking Ship are the many in which Smith shows her true personality through her gift, dramatically switching from coy and flirtatious to sassy and cocky in a manner of one lyrical line. It is these moments, such as in the record's concluding track, "Stop Wondering", in which Smith, backed by waltzing piano and orchestral swells, sings, "Do you ever wonder if I'm dreaming of you?/ Well I'm not/ So you can stop/ wondering", or in "Drop Dead Gorgeous" "You're so pretty when your mouth is closed/ but with a mouth like that baby/ who needs politics and prose?", where it is easy for the listener to impose their own portrait of Smith onto the music - the sweet girl next door who had some bite, and who you would love to be rejected by, or the funky tomboy at the schoolyard, or the quirky drama geek. However, this would be an injustice to the true porthole Smith and her band provides us with - that into who Smith actually is, the authentic artist, who would put on shows for her family dressed as Freddy Mercury or Tom Waits.

Recently, the group has had some major national breakthroughs, "Terrible Things", another cheeky track from the second album, has been used in promotions for both Californication and the upcoming sixth season of Weeds. The group has received great reviews from Rolling Stones and several other major periodicals, and will be performing at Lollapalooza.

Go ahead and give a listen to this group. Both of their albums (2005's loveletterbomb and 2010's Songs for a Sinking Ship) are excellent. For the first time listener, I would recommend the following tracks as a first taste:

"Movie Loves a Screen" (Track 1 on Sinking Ships)

"Drop Dead Gorgeous" (Track 3 on Sinking Ships)

"Wow and a Flutter" (Track 10 on Sinking Ships)

"Stop Wondering" (Track 11 on Sinking Ships)

"Colors" (Track 4 on Live from the Penthouse, or Track 6 on Sinking Ships)

"The One That Got Away" (Track 5 on loveletterbombs)


For Fans of: Pink Martini, She and Him, Fiona Apple, Regina Spektor, Lenka, Birdie Busch, Duke Special 


Go ahead. I dare you to not dance to "Colors", or at least crack one smile duuring one of these tracks.

Keep supporting your local artists!

MattintheBelfry
Live from the Penthouse