Saturday, October 17, 2009
Thursday, October 8, 2009
Embryonic came about in a way that is unusual, even for The Flaming Lips. Once inspiration struck, the band of mavericks decided it was time to record some new material, only without the studio setting or the standard track-by-track construction of songs. Instead, The Flaming Lips crowded into guitarist and drummer, Steven Drozd’s house and began a seemingly infinite succession of improvised jam sessions. The time spent noodling on guitar, improvising melodies, and playing by ear led to the creation of the demo recordings for the tripped-out double album Embryonic. The majority of these tracks, neither edited nor changed, became final songs that can be heard on the album.
This musical approach is normally unappealing, but listeners will be pleasantly surprised when they hear the euphonic sound of Embryonic. Heavy bass punctuates Coyne’s dreamlike voice as it almost drowns in the music, while trembling high hats and electronic beats provide the melody for tracks like “The Sparrow Looks Up At The Machine,” a track fairly reminiscent of Pink Floyd. Guitarist Drozd supplies each strange song with a dynamic range of sounds, his guitar reverberating from echoing chords to blunt twangs to guitar solos sometimes akin to those of Led Zeppelin. And with Karen O of the Yeah Yeah Yeahs and MGMT contributing to the songs “I Can Be A Frog” and “Worm Mountain” respectively, the album is truly a collection of some of the most distinctive and daring musicians and sounds in rock music today.
The Flaming Lips have successfully encapsulated the sound and style of various musicians, genres, and improvisations, and transformed them into Embryonic, an album that can only be described as a wild ride.
Sunday, September 27, 2009
The moment Mars and his band mates began to walk offstage at the end of their set, the massive crowd began screaming for an encore. Phoenix, of course, obliged, whipping the multitude into a frenzy one last time and ending with “1901” which generated the loudest and most ecstatic shouts that the night. Mars had the largest smile on his face during that song, and he emphasized his enthusiasm when he clambered on top of a massive speaker overlooking the audience and dove into the crowd.
Monday, September 21, 2009
Monday, July 6, 2009
Saturday, July 4, 2009
Saturday, June 27, 2009
Thursday, June 25, 2009
Sunday, June 14, 2009
My friend, Jenny, made my day when she showed me this video. It not only combines two of my favorite things, the addictive Phoenix single, "Lisztomania" and 80's movie dance moves, but I know that I will be dancing like that and having just as much fun when I'm at the Phoenix and Passion Pit show in Central Park this September. There are a few months until then, but I'm already ridiculously excited.
Saturday, June 13, 2009
Monday, June 1, 2009
The released date has finally been announced. The still untitled third Arctic Monkeys' album will be available on August 25th. Produced by Simian Mobile Disco's James Ford and Queens of the Stone Age's Josh Homme, this latest album seems to be heading in a new direction, especially since Diddy is "the newest member of the Arctic Monkeys". See the tracklist for the album below:
Tuesday, May 26, 2009
As a girl who only listens to The Eminem Show and Encore, it is obvious I was never an enthusiastic Eminem fan. I have not avidly followed the prominent white rapper throughout his music career but I have listened to enough of his music to confidently say that his latest album, Relapse, is the musical relapse and downfall of Marshall Mathers. I can't say I'm surprised and I can't say I'm disappointed, but the Eminem I enjoy can do much better than this.
Thursday, May 21, 2009
Before The Shins took the stage, Delta Spirit entertained the crowd. The soulful indie rock quartet combined their alt-country style with the banging of a trashcan lid and lead singer Matthew Vasquez’s screams to create a distinctive sound. Usually, the opening band barely satisfies the audience, but Delta Spirit succeeded in capturing the crowd's attention. Twenty minutes later, after Delta Spirit ended their set with the wild beating of multiple drums and a bluesy, piano-laced song, The Shins walked onstage. Barely waiting for the crowd to cease their thunderous yells, lead singer James Mercer signaled the band to begin.
Nearly everyone was able to sing along to each song The Shins performed. The second song of the night, “Phantom Limb” was known as the single off of Wincing the Night Away and “Saint Simon” from the band’s mainly acoustic album Chutes Too Narrow was greeted by another explosion from the audience. After every couple of songs, Mercer and the band took the time to talk to the crowd, declaring, “It’s movie night!” after he warned them not to see the movie Anvil unless they wanted to sob uncontrollably. Later, he asked if anyone had seen any good movies recently, while he sipped what looked like champagne from a wine glass. The Shins made sure to chat and interact with their adoring fans, bringing smiles and laughs, and of course fantastic music.
Later, the mood of the venue mellowed, partially because of the flashing, color-changing lights behind the band that changed to calming blues and greens. It was then that Mercer flashed a grin and chuckled, “Let’s get melancholy,” before beginning the relaxing tune, “Those to Come,” which prompted the crowd to sway and sing along softly. The Shins then faded into “Sleeping Lessons,” a song that slowly builds to a crescendo that led to Mercer shouting and the crowd beginning to dance. The mass of people also cheered on The Shins’ guitarist, Dave Hernandez, during his solos and danced even more during “Australia.”
After The Shins left the stage that night, they returned to perform an encore for screaming fans. The Shins played their hit song, “New Slang” and a few new catchy and upbeat songs that the crowd thoroughly enjoyed. During their last song, the guitarist beckoned two girls onstage and gave his guitar to one of the girls, who simply strummed along with Mercer’s voice. Afterward, The Shins thanked the crowd and walked off stage, signaling the end to an incredible night.
This summer, Arctic Monkeys are returning from their two year hiatus. While lead singer Alex Turner was promoting his side project, The Last Shadow Puppets this past year, he and the rest of the Monkeys were also writing songs and constructing Black Sabbath-influenced riffs for their third album. Supposedly there is going to also be some R&B influence and more psychedelic sounds present on the record, so the Monkeys' should sound interesting this time around. Check back for more updates on the album.
Wednesday, May 20, 2009
Friday, April 24, 2009
Thursday, April 23, 2009
Wednesday, April 22, 2009
Monday, April 20, 2009
Saturday, April 4, 2009
On April 3rd, California quartet Cold War Kids took over Terminal 5. Entertaining the throng of young adults with songs from both Robbers & Cowards, the band’s debut album preferred by the audience, and their sophomore album, Loyalty to Loyalty, Cold War Kids’s bluesy rock music kept the crowd in high spirits. After a performance from the energetic opening band, Amazing Baby, Cold War Kids took the stage and remained silhouettes in front of multiple stage lights, while they changed the atmosphere from restlessness to excitement. The combination of Willett’s unique crooning voice, drummer Matt Aveiro's solid percussion and the occasional tinkling, or battering, of piano keys had every person in the crowd singing along to every song, even if they did not know the words. People swayed and nodded their heads to the throbbing beat of songs such as “I’ve Seen Enough” and “Hospital Beds” and danced and sang even louder to the upbeat tracks, with somber lyrics, “Hang Me Up To Dry” and “Something Is Not Right With Me.”
Catchy choruses were not the only things that made Cold War Kids at Terminal 5 a great show to attend. The union of what seemed to be all of the voices in the crowd made the experience even more enjoyable. The crowd slowly became louder and louder as the night went on, with everyone’s voices forming a musical harmony that overpowered Cold War Kids themselves at least once.
The night ended quietly. There was an encore but it was not extravagant and the last song did not inspire more dancing. The band simply thanked the crowd and exited the stage, leaving their fans content with Cold War Kids’s music stuck in their heads.