12 December 2008

friday five - 12-12-08 - piano highlights: soft and lovely

First off, it may be absolutely no surprise to you to learn that your weekly Friday Five audio consultant is no more than a dorky twenty-something college student with a full-time day job, an unhealthy love for Spencer Krug, an unhealthy disdain for prime numbers, and glasses. You may have also already assumed that most of my updates are conducted in a uniform I like to call "nighttime casual" - or, more commonly, my pyjamas.

There are two problems with the last statement. The first is the fact that I've publicly admitted my complete lack of decency. The second is that, given my state of dress is nighttime casual, I'm likely not at work (unless I feel the distinct desire to thoroughly irritate my boss). This means that if you are in the United States and work a typical eight-to-five like Yours Truly, you are probably not at work either. Being as I originally intended the Friday Five to be downloaded during the work day to ease the anticipation of leaving for the start of the grind-free weekend, posting songs after work seems to be a little counterproductive to the effort.

So, in an epic move to save face (and keep my job - see, everybody wins), the purpose of this blog is going to take a different direction. I'm still going to post five songs per week on Friday, but it's almost guaranteed that I'm going to post these songs in the evening for you to download when you get home. I'll say that it's intended to help you unwind after your workday, granted you're like me and don't actually have a social life to attend on Friday night.

ON THAT NOTE (and watch as I make this deft and smooth transition to something that's actually relevant to your interests), a musical element that's always helped me to unwind is the soft strains of a good piano. I adore the sound of the piano, especially when it's used to create quiet, flowing melodies. Mostly, though, I just love the instrument to pieces.

That's why this week's theme is one of a series: Piano Highlights. I've decided that I'm going to pepper the blog a bit with instrument highlights, and it seems natural that I should choose one of my favourites to go first. So, without further delay, I present:



Jens Lekman - Sky Phenomenon (MP3|5.58MB): This has to be one of the most wistful songs written by Swedish musical genius and beautifully insane Jens Lekman. (This is, of course, excluding such songs as "F-Word," which can be very wistful, especially if you're forbidden to swear.) The piano in this is simple and cyclic, like twinkling tones of a set of bells. Instant love. And, of course, there's this beautiful simile: it's like someone spilled a beer all over the atmosphere. Come on. If that imagery doesn't get you where it counts, then you're a robot.

Markéta Irglová - The Hill (MP3|4.25MB): I loved this movie so much. I cried so hard because I'm such a girl. Once was actually introduced to me by my co-DJ, Chris, and I will never forgive him for it for the following reasons: a) it made me cry, dammit, that needed to be said again; b) it made me insanely jealous of Markéta Irglová for having such mad piano skillz and the romantic attention of an Irishman, and c) I will probably watch it every month or so until the day I die. Anyway, this song is beautiful and sad - beautifully sad, sadly beautiful, whichever - and is the perfect song to hear while it's raining a little, but not quite pouring.

Phoenix and the Turtle - Pianos (MP3|5.31MB): Another cNet treasure. It starts off more insistent than a lot of soft piano pieces, and a little more awkward, but it resolves into a cacophony of octaves and scales that transform into what I would classify as trance if any of it sounded like electronica. (Which it doesn't.) I understand that Phoenix and the Turtle have a completely different sound now, but it's this song which completely stole my heart. (Never mind that the piano cuts out about halfway and the melody's taken up by other instruments. It's the start that counts.)

Regina Spektor - The Flowers (MP3|3.59MB): First of all, if there's any chick alive and active that can totally and utterly rock the piano, it's Regina Spektor. I was introduced to her music by one of the many messageboards I frequent, and just the way her voice melds with the way she plays - it's perfect. This song is hard to classify; it's urgent and soft at the same time - still, I'd be able to relax to it, so that's why it's here.

White Hinterland - Calliope (MP3|4.42MB): Piano-driven from start to finish, this beautiful track from their 2008 release Phylactery Factory (the subject of which what has a variety of interpretations and uses) is the main reason I love White Hinterland at all. Not that their association with the Dirty Projectors or the fact that my best friend recommended them to me held ANY weight whatsoever. Anyway. Calliope listens to everything. Right?

And t-t-t-that's all, folks! I'll catch you all next week for another Friday Five. Be good, and don't do anything I wouldn't do. (Notice how I'm narrowing your options down OH so much.)


As always, send lovemail/hatemail/anymail related to the Friday Five to fridayfiveradio@gmail.com. Requests are always considered and welcomed. See you next week!

05 December 2008

friday five - 05.12.08 - she blinded me with science

This is going to be the shortest and most skeletal FFR post yet, excepting those dark and ominous Fridays wherein no posts were made. Not that I have a deep and crippling guilt about last week or anything. (In my defence, I was actually playing in a rock band - so it was sort of like I was giving music to people, only it was location-specific. Non-Marylanders, I promise never to betray you again.)

Now, however, it seems I've picked up the stomach flu from one of my coworkers. One thing after another, huh? Yeah, well, this blog doesn't write itself, although in the past few weeks it kinda has from my perspective (a very warm and appreciative thank-you goes out to my co-DJ, Chris, who was kind enough to pass up the opportunity to use his temporary blog-dictatorship to mock me relentlessly as I was nearly devoured by a papier-mache tentacled space monster every weekend, and who was also patient and resourceful enough to take on the Friday Five as well as his Sunday Superlative during my respite, and who also remains friends with me despite my tendency to create horrific and entirely preventable run-on sentences).

But I digress, and amazingly so!

Anyway, summaries are going to be short and sweet. Mainly, it's a download-and-enjoy sort of thing. I'm trying to remain horizontal as long and often as humanly possible, and sitting at the computer desk isn't exactly conducive to this effort. But! As always, I shall strive for a better entry next time.



DJ/rupture - Second-Hand Science: We(tm) (MP3|4.21MB): This is another classic example of me absolutely caving to the man, baa-ing on command, and having no regrets whatsoever afterward (unlike the morning after that last shot of tequila). Ganked shamelessly from Uproot - in my opinion, one of 2008's best electronic albums - "Second-Hand Science: We(tm)" is a blissful cacophony of dark, echoing synth and cave droning. Seriously, DJ/rupture and Perfume Tree should get married. No, I don't care if that isn't technically possible.

Les Rsidus Plasmiques - Donne Tes Corpse Les Science (MP3|4.38MB): Some of the most addictive songs I find are free. No, I don't mean free in the "well, it's on the internet, so no one will find out that I didn't pay for it" sort of way. I mean absolutely free, no strings attached, on cNet. This is another awesome song I discovered through one of my random clicking exploits; even though they sing in French, which I can't understand at all, they've had me rockin' for a good couple of years. (Artist information and site not found. If you are this artist, please feel free to submit your information.)

So Many Dynamos - This Can Be Useful in Rocketry (MP3|3.69MB): Not to steal the concept or thunder of this movement's leader, Amber, but I consider myself something of a Dynamovangelist (a self-appointed Bishop, I suppose). I could say so many things about this band, but none of them would adequately deliver a description of their collective Awesome. If you like the Dismemberment Plan, you'll like Dynamos. If you like Chris Walla's production work, you'll like Dynamos. If you have a beating heart, you will at least appreciate the nature of the Dynamos. This is one of their highlight tracks, if I may be so bold.

Modest Mouse - We've Got Everything (MP3|5.44MB): Okay, I admit that I just chose this one because it has "science" in the lyrics. Not necessarily describing a particular science, but comparing everything to a science, insomuch as everything can be quantified and utilised in a form not unlike actual science. If you read the previous statement, I am so sorry. Delirium loves company. Especially when Modest Mouse is involved. And yes, I saw that guitar for sale. Thanks for freakin' asking.

Thomas Dolby - She Blinded Me With Science (live) (MP3|6.24MB): Of course, I had to throw this Thomas Dolby classic in here. The post would be empty without it. God, I love the 80s. (NOTE: I didn't go the Oingo Boingo route! You thought I would, but I didn't! Ha! I sure showed you!)

Anyway, back to bed for me. Why is Pepto-Bismol pink? Universe, you are so weird.


As always, send lovemail/hatemail/anymail related to the Friday Five to fridayfiveradio@gmail.com. Requests are always considered and welcomed. See you next week!

01 December 2008

the sunday superlative - 11/30/08

This Week: Old School Prog-Rock



We all need to start somewhere. For me, it all began with prog-rock. 7th grade. 2002. That was the moment when I finally stepped back and started exploring stuff that interested me. Yes. I was the kid who, at that tender young age, was rockin' to GENESIS and ELP and VAN DER GRAAF GENERATOR and all those hip dudes. I was a tremendous dork.

But prog-rock is an incredibly dorky genre. In fact, if we're talking superlatives (and clearly we are), it is likely the dorkiest genre. That's because the people who were in prog bands were dorks. They were the kids who always got an A+ for being different, going above and beyond, and doing something creative; the music they all ultimately went on to make carries the exact same qualities. Why settle for a four-minute pop song when you can write an eight-minute one with several movements and highly literary lyrics? Or why not just fill up an entire vinyl side with one song! Or, in Jethro Tull's case, actually fill up both sides of a vinyl with one song! HELLZ. YEAH.

So it's a dorky genre. But don't be so quick to judge, all you cool indie hipster kids. Hold your horses. With each passing month, it becomes more and more clear just how influential these old-school proggers were on the bands we know and love today. In fact, it seems like prog has made somewhat of a full-fledged comeback as of late. Predictably, nothing makes me happier.

So let's check out a few choice old-school prog-rock cuts. This is the stuff entire musical foundations are built on. And I would know.

Genesis - "Dancing With the Moonlit Knight" (mp3|5.55MB)
I know. A shocker, right? Guess what: before Genesis was a big 80s pop band led by Phil Collins, they were a smaller 70s prog-rock band led by one of my musical heroes, Mr. Peter Gabriel. Fewer people know this than should (and the distinction always calls to mind that unforgettable quote from Bret Easton Ellis' American Psycho), but it's true. And while 80s Genesis is somewhat of a guilty pleasure, there's no guilt in this earlier stuff. It's damn good, and it's really not much of a stretch to say that -- from roughly 1971 to 1974 -- Genesis was the best prog-rock band on the planet. "Dancing With the Moonlit Knight" may be the single best song the band ever put to tape. At the very least, it's always been one of my huge favorites. It's deliriously complex, every member gets a little chance to shine, and somehow it all fits together beautifully. I love that ethereal "aaaah!" that comes in around 3:45. Love it.
(from the 1973 album Selling England by the Pound)

King Crimson - "Epitaph" (mp3|8.10MB)
More or less, this is where it all started. Of course there were disparate catalysts leading up to this (The Who Sell Out, Days of Future Passed, Sgt. Pepper even), but the true birth of prog-rock is generally pinpointed with the release of King Crimson's In the Court of the Crimson King. Iconic cover art notwithstanding, I can see why it left an impression. Forty years later, it's still as thrilling and as challenging as anything on record store shelves. There's always been debate over which of the five songs is the best, but I've always been partial to the yearning, minor-key "Epitaph," which may well have been the song that got me into this kind of music. The chronology is a bit fuzzy at this point, but I remember in 7th grade I heard my dad listening to this album; this song just blew me away. I promptly stole the album from him and fell in love with the whole thing on my own terms. The rest is history.
(from the 1969 album In the Court of the Crimson King)

Yes - "Siberian Khatru" (mp3|12.38MB)
I was never the biggest Yes fan. When a band is viewed as indulgent and pretentious even within the context of the most indulgent and pretentious rock genre of all-time, you know there's issues. But nonetheless, their influence is undeniable, and -- like it or not -- their '72 album Close to the Edge is something of a masterpiece. "Siberian Khatru" is both the highlight of that particular record (its shortest song, lol), and for my money the best-ever Yes track. I didn't know such a thing as "psychedelic funk" existed in 1972 (maybe they created it, who knows), but for lack of a better term, that's what this is. But it's thrilling stuff. Indulgent or no, these guys always had a keen ear for melody, and they latch onto several here that they manage to seamlessly weave in and out of each other for nine minutes without ever having it get the least bit boring. And it's fun. Prog-rock can be fun, kids. Yes! Yes!
(from the 1972 album Close to the Edge)

And if that's just not enough prog for you, I highly recommend trying the full albums for each. They're all incredibly rewarding listens.

See you all next week for more Sunday Superlativeness! Adios.

23 November 2008

the sunday superlative - 11/23/08

First off, let's get this out of the way.



Today wasn't the best day ever. It wasn't horrible and I'm still alive and all, but a convenient series near-cataclysmic events has more or less stripped me of all energy for today. (For example, it is my professional duty on Sunday nights to close the bookstore I work at. Tonight as I was doing so, the store's database inventory program decided to screw shit up bad while self-reindexing. It shut itself down and refused to reopen due to "corrupted files." When you're afraid you've just lost your store's entire inventory -- the sum of all employees' work since 2003 -- you REALLY don't want the emergency hotline guy to say things to you like, "Hmm. Well, that's interesting" as he's walking you through a so-called recovery process. So, that happened. I eventually got everything up and running again, thank god, but it wasn't fun. At all. And then please understand that this wasn't the only not-good thing to happen to me today. So, yes.)

What I'm trying to say is, today's regularly-scheduled Sunday Superlative on old-school prog-rock is being postponed to next week. I evidently have enough energy to write this, but pounding out a whole "official" post seems a bit beyond my capabilities tonight.

But I will not leave you empty-handed, oh faithful reader. To reward your kindness and understanding, I have left you the following song. I know you'll see it my way. Enjoy, and I'll catch you folks next week!

Wesley Willis - Rock 'n' Roll McDonald's (mp3|2.23MB)

21 November 2008

friday five - 21.11.08 - it's all a myth

Whether we realize it or not, ours is a culture founded on mythology. Or, I suppose more to the point, ours is a culture founded on a culture which founded itself on mythology. Following? Good. There will be an exam at the end. This foundation has led to a near-ubiquitous supply of mythological nods in popular culture, from motifs in literature to homages in film and references in music. Here, of course, we're concerned with that third and final medium. This week I've gone ahead and pulled out five songs of various musical styles and mythological origins (two Norse, one Roman, one Biblical, and one that -- from what I can tell -- is about staying home and watching movies), just for your listening pleasure.

Some I Didn't Include: "Wrapped Around Your Finger" by The Police, because Sting blatantly mispronounces one of the mythological creatures' names and I'd like to pretend I'm sophisticated enough to care; "Rhiannon" by Fleetwood Mac, because I figure everyone's heard it (so I included Led Zeppelin instead); "Louie Louie" by the Kingsmen, because it might be about mythology but I can't be too sure.

Oy-oh, let's go!



!!! - "Myth Takes" (mp3|3.29MB)
Yeah, I have no idea if this has anything to do with mythology. Probably not. I don't care. !!!'s most recent title track is just the kind of short, impossibly infectious song that I can't help but fall hard for (it's that spaghetti-western guitar riff. It has to be). It's so boogietastic that even those with the most stringent inhibitions would probably have to fight the urge to get up out of their chairs and shake a little booty. I only wish it was a little longer. Like, I really wouldn't mind a 20-minute extended groove version of "Myth Takes." Oh well. I guess I'll just have to play this ten times back-to-back. Not that I've ever done that or anything. *shifty eyes*

Jethro Tull - "Cold Wind to Valhalla" (mp3|5.95MB)
Jethro Tull is a band that has been through the whole spectrum. They were popular, they were completely underground. They were great, they were amazing in their suckitude. Without exception, the really popular stuff was great. The extremely recognizable "Locomotive Breath" is a classic for a reason. The underground portion of their output, however, is wildly varied in quality: some of it rocks, some of it ... really doesn't. One of the best (read: only good) songs from 1975's Minstrel in the Gallery is "Cold Wind to Valhalla." What starts off as a chilly acoustic ballad quickly becomes a full-fledged electric rocker, underpinned by Ian Anderson's always passionate vocal delivery and his signature flute-blowing (which contrasts the acoustic guitar very well, actually). Maybe it's not one of Tull's career-best efforts, but it's a decent song that slipped through the cracks. That alone makes it worth checking out.

Led Zeppelin - "Immigrant Song" (mp3|2.19MB)
I've gotten flack for this before and I'm sure I will get flack for it again, but Led Zeppelin is probably among the five or so most overrated bands in rock history. I won't argue that they were good, and on a couple occasions even great ("Stairway," anyone? "Whole Lotta Love"?), but calling them one of the best rock acts ever is so hyperbolic it's almost amusing. But I won't even begin to deny that "Immigrant Song" is really awesome. Steeped in Norse mythology (as lots of Zep was), this is a veritable Viking war cry: pumped up, energetic, and rockin'. And while I usually find Robert Plant irritating, I've got to admit that "aaaaAAAAAAaaa-AH!" gets my blood pulsing every time. Also: the Viking kittens, 'nuff said.

Shearwater - "Leviathan, Bound" (mp3|3.95MB)
If nothing else, Shearwater's tremendous "Leviathan, Bound" will go down as one of 2008's finest vocal performances. It turns out that Jonathan Meiburg, ex-not-singer for Okkervil River, has one of the best sets of pipes in all of indie-rock. His melodramatic Scott Walker-meets-Morrissey croon can take any song and instantly make it sound three or four times bigger, lending it an epic quality both surprising and refreshing. "Leviathan, Bound" is so huge-sounding that it's hard to imagine it only takes up 2:52. With its keen sense of melody and dynamic, it's not hard to wish it wasn't all over so soon, but the punch it packs is something to behold.

The Shocking Blue - "Venus" (mp3|2.86MB)
They couldn't speak English. The Shocking Blue, that is. They were Dutch, you see, and none of them ever formally learned this language. So what you're hearing is actually a really good phonetic pronunciation. It didn't hinder the song any. Perhaps more famously covered by Bananarama in the 80s, the original 1969 track remains the one to beat in my book. It's certainly stood the test of time. There's no arguing it's just as memorable 40 years later as it must have been then. Overflowing with hooks and upbeat vibes, it's just a great pop song. And when I'm in the mood for that sort of thing, I daresay "Venus" suits me just fine.

And we have reached the end of yet another edition of Friday Five Radio. And here's some great news for those of you who can't stand me: my stint as substitute is over. Barring any unforeseen future complications, Lea will be back at the helm a week from today with more great music and less dumb jokes (maybe). As for me, I'll catch you guys back at my regular position as Sunday DJ. 'Til then!

As always, send lovemail/hatemail/anymail related to the Friday Five to fridayfiveradio@gmail.com. Requests are always considered and welcomed. See you next week!

17 November 2008

the sunday superlative - 11/16/08

This Week: Artist Spotlight: The Moody Blues.



I've been trying to figure out how to do this. Let's face it, we all have bands we like a whole lot more than others. As a direct result, these bands will produce more "omg favorite" songs. If I am going to remain true to the concept of the Sunday Superlative (and I am!) and stick to the whole "all-time favorite songs" thing, this issue must be addressed. Either I present a disproportionate amount of songs by a certain band or artist week by week, or I clump 'em all together. The solution has been reached. I'm clumping 'em all together. Or, in more poetic terms, I'm doing an Artist Spotlight.

The Moody Blues are my favorite band. At least, they're my favorite band insofar as someone who listens to as much music as I do can ever have a favorite. They were the band that got me into music, they were the first band I remember liking, and they are the only band I have seen in concert three times. They mean a lot to me. And I know they're not "cool" in the way that bands like The Beatles or The Who or Led Zeppelin are; in fact, they're the very epitome of uncool. But I don't care. I will defend them to the ends of the earth, because in my opinion they are responsible for some of the most sublimely beautiful pop music ever recorded. As far as I'm concerned, if you can write a gorgeous pop song, you've won my heart forever. In the case of The Moody Blues, they've been writing them inexhaustibly for forty years.

I have chosen for this blog my three all-time favorite Moodies songs, all of which are superb enough to be starred entries. If you've been around me long enough, chances are you've heard 'em. If not, give 'em a try. I can't guarantee you'll like 'em, though I've spent so many years in such deep love with them that I can scarcely see how disliking them could be possible, but I have a feeling you might. Just a hunch. (By the way, this isn't to say you'll never see these guys on this blog again. Oh no. There are definitely more favorites. Many more.)

*The Moody Blues - "Nights in White Satin" (mp3|7.00MB)
The Moodies' indisputable career best, and one of the pinnacles of recorded music. For my money, this song sits in constant rotation with about half a dozen others in competition for the title of Greatest Song Ever Written. And Justin Hayward was only 20 when he wrote it (so, uh, what have you done lately?). Also, any arguments against Hayward's position as one of rock music's finest vocalists can be laid to rest right here. Everything is perfect here. Everything. It's not a fantastic song; it's fucking earth-shattering.
(from the 1967 album Days of Future Passed)

*The Moody Blues - "The Voice" (mp3|4.92MB)
They didn't write rockers. Whenever they tried, they really just came out sounding like more uptempo pop songs. "The Voice" was the best of these. It doesn't rock at all, but man, it pops hard. It's catchy, energetic, and somehow it still manages to pack a melodic punch that blows 99% of its competition clear out of the water. I even hear this one on the radio from time to time, if you can believe that. The next time it happens, you'll know that the distant but intense glow is coming from me.
(from the 1981 album Long Distance Voyager)

*The Moody Blues - "Your Wildest Dreams" (mp3|4.44MB)
They never had a "big hit," per ce (other than "Go Now," which really isn't a very good song and was actually recorded by a completely different group of people than were responsible for what I consider the real Moody Blues), but I guess this was pretty successful for them back in the day. It should have been a hell of a lot bigger. This is yet another swoon-worthy creation, so overflowing with melancholic beauty that it's almost overwhelming. And it has one of my favorite lyrics ever: "When the music plays / When the words are touched with sorrow / When the music plays / I hear the sound I had to follow / Once upon a time." Indeed.
(from the 1986 album The Other Side of Life)

To reiterate: I really frigging love The Moody Blues. In case this was at all unclear.

Okay, I'm tired. It's been a long weekend, and it's going to be an even longer week. (No, really. Think about it.) I'll see you folks later!

14 November 2008

friday five - 14.11.08 - end of the world

I love apocalyptic imagery. I'm not sure why. We all have things we're intrinsically drawn to; this is one of them. Believe it or not, I'm even taking a class this semester called The End of Days, which features as its main point of study ... well, you may have guessed it already. You're smart enough.

For better or for worse, most popular music isn't concerned with death, decay, and destruction. It's all about the party, right? The girls? The sex, drugs, and rock and roll? But what happens, as The Doors said, when the music's over? What's left? Let's take a look, shall we, at a few apocalyptic visions in popular music. For music is your only friend, until the end, until the end, until the end...



Godspeed You! Black Emperor - "The Dead Flag Blues" (mp3|22.61MB)
Forgive me. I keep posting these gigantic Godspeed You! Black Emperor tracks on this blog, and it's gotta be friggin' annoying. But honestly, when Lea sent me the topic for this week's entry, this was the first thing that popped into my head. Though, yes, it does run an epic sixteen-and-a-half minutes, it captures a certain mournful apocalyptic beauty I haven't been able to find anywhere else. This is dreary, gray, hopeless music, but there's something so alluringly gorgeous about it that, despite the overwhelming bleakness, I find myself listening to it perhaps more than I should. "The Cowboy," which lasts from roughly 10:10 to 14:25, is among my favorite stretches of music in any discipline.

The Gutter Twins - "The Stations" (mp3|6.27MB)
Speaking of bleak, few -- if any -- rock acts of 2008 have managed to equal the gloom and doom of The Gutter Twins. These are two guys with a dark, dark vision. Some would argue (and have) that it's too dark, that it gets oppressive listening to track after track of Judgment Day and Rapture-laden imagery. I respectfully disagree. Album lead-off track "The Stations" is as representative a track as there is and, once again, the apocalypse never sounded quite so inviting.

Barry McGuire - "Eve of Destruction" (mp3|3.25MB)
Finally, I get a chance to post this song. While this easily could've fit in with last week's political post, and while it would certainly come very close to being a "starred entry" in my Sunday Superlative series, it just seems to fit best in a post about the end of the world. Simply put, Barry McGuire's impassioned folk-rant is perhaps my favorite protest song of all-time. Though written as an attack on Vietnam-era America, its themes are wonderfully timeless. The lyrics are the real star here. With the exception of a couple amusingly ill-conceived rhyme clunkers ("China" and "Alabama"? Really, Barry?), the observations here are so scathing and so undeniably true that the song leaves something of an indelible imprint. (That last verse from "You may leave here for four days in space" on is wonderful.) My hat's off.

R.E.M. - "It's the End of the World as We Know It (And I Feel Fine)" (mp3|3.73MB)
You knew the instant you saw that title that this song would be included, didn't you? And well it should be: in their prime, R.E.M. could've easily stood among the very best in American alternative-rock. "It's the End of the World as We Know It" is R.E.M. in their prime: one of the most hypermanic, wryly amusing songs ever to find its way to FM radio waves. It's so smart, so catchy, so brilliant that it makes you wonder how they ever managed to record anything better. Little did they know that, in 1987, it wasn't the end of the world: the next five years were going to be very, very good to them.

Jeff Wayne - "The Spirit of Man" (mp3|9.27MB)
Plunge with me, for a moment, back into the realm of quasi-esoterica. In the late 1970s, some dude no one had ever heard of named Jeff Wayne somehow managed to get some really popular, talented people together and record a musical version of H.G. Wells' The War of the Worlds (which is, as you know, as fundamentally an apocalyptic story as you're likely to get). While overflowing with great songs and brilliant musical ideas, my favorite song from the album has always been "The Spirit of Man," an intense, dramatic duet between singer Julie Covington and Thin Lizzy vocalist Phil Lynott. Maybe it just has something to do with the fact that I was hooked on this thing in third grade and therefore will hold it close to my heart always, but I think it's quite the powerful piece of music. Check it out.

While perhaps not the end of the world, this is the end of this week's Friday Five. With any luck, I shall be here again in a couple nights for three more all-time favorites from the Sunday Superlative. 'Til then!

As always, send lovemail/hatemail/anymail related to the Friday Five to fridayfiveradio@gmail.com. Requests are always considered and welcomed. See you next week!

09 November 2008

the sunday superlative - 11/09/08

This Week: Gotcha Covered



In general, the mere concept of the cover version doesn't make much sense to me. (1) If it was good the first time, what makes a person believe they can make it even better? It's like covering "Stairway to Heaven" or something. Do you really think that's gonna get you very far? Really? (2) If it wasn't good the first time, why even bother redoing it? I don't think even the godliest of musicians could salvage Limp Bizkit's "Rollin'." Though I'd like to hear Spencer Krug or Colin Meloy try.

Okay, yeah, I'd really, really like to hear Spencer Krug or Colin Meloy try.

But! Some artists have done the nearly impossible and managed to produce cover versions of songs that not only do justice to their originals, but actually surpass them in terms of quality. Though there are a few others (can we see a Gotcha Covered, Pt. II in the future? Ooooh!), I've chosen three I'm quite partial to. Let's see what trouble we can get into.

Wow. Low bandwidth this week. So, really, you have no excuse for not indulging.

10,000 Maniacs - "Because the Night" (mp3|3.40MB)
It must be kind of weird for a band's biggest hit to be not only a cover, but a live cover. Does that happen? Like, how many live cuts in general end up on FM airwaves? It's fascinating. In the case of 10,000 Maniacs, though, I'm glad it happened, or else most of us would never have gotten to experience their beautiful take on Patti Smith's "Because the Night" (which, incidentally, was written by Springsteen, though I don't think The Boss ever recorded it himself). They haven't really done too much to the song itself: they've changed a few words, smoothed out the sound, and replaced Smith's gravel-pit pipes with Natalie Merchant's much more mellifluous contralto, but aside from that it's very much the same song. But it just seems to work better in these guys' hands. It's pretty. It's passionate. It's vaguely haunting. It almost makes me want to dive deeper into the Maniacs' catalogue except, you know, I really doubt it'd be as good.
(from the 1993 album MTV Unplugged)

Johnny Cash - "Ghost Riders in the Sky" (mp3|3.39MB)
Probably the best country song ever. And not just the song overall, but Johnny Cash's version of it. Man. "Ghost Riders in the Sky," a 1948 cowboy epic, deals with some dark lyrical themes to start with (I'm a fan of this pictorial representation), but leave it to Mr. Cash to step in and turn it into one sinister, brooding piece of music. It's almost intimidating in its power, which of course is what gives it such a shattering effect. I've never fully embraced Johnny Cash as a "country musician" in the way that, say, Garth Brooks or all those other multitudinous "mah dawg got run o'er by a semi 'n' mah girl left me fer mah bud"-type singers qualify (which is probably why I like him; can you tell I'm not the biggest cuuuuntry fan?), but this song certainly gives plenty evidence enough that, given the right combination of ingredients, even this genre can be turned into something stirring and unforgettable.
(from the 1979 album Silver)

Jimi Hendrix - "All Along the Watchtower" (mp3|3.67MB)
Forgive me for being so unoriginal, but it has to be mentioned, right? This is arguably the cover version of all-time, which has always been something I've found highly ironic. Jimi Hendrix is widely considered the greatest rock guitarist who ever lived, so it seems peculiar that his finest moment should be a rendition of a fairly obscure Bob Dylan song. Because yes, not only is "All Along the Watchtower" a fantastic re-imagining, it's also the best thing Hendrix ever put to tape in his short time on earth. His secret is, instead of merely copying Dylan (which would've been, uh, weird), he truly makes the song his own. Though Dylan's signature "drugged-out literate whacko" persona is missing, Hendrix injects the affair with a vibrancy completely alien to the original. The central guitar solo is still one of the most exciting and "cosmic" I've ever heard, and the whole thing just rocks. Not to mention Jimi had a much, much nicer voice. Much nicer.
(from the 1968 album Electric Ladyland)

All right. I'm tired. I'll catch you all later. Right now, though, I'm going to go slip under the covers.

And no, I'm so tired I can't honestly tell if the pun was intended or not. If it was funny, yes. If it wasn't, heck no.

07 November 2008

friday five - 07.11.08 - obligatory politics post

I don't know if you knew this, but there was an election earlier this week. Some guy won, some other guy didn't. It wasn't really a big deal, I'd say.

Pardon the sarcasm, if you will, but I -- like most people -- have become so tired of the affair that I'm just glad it's finally over. However, the election has provided an ideal opportunity to inject some heretofore absent political music into the Friday Five Radio bloodstream. Some of the most passionate and urgent music ever put to tape has come in the form of the protest song, and I'd like to take a few minutes to share a few with you today.

Before we go on, you may have noticed that I am not Lea. As I mentioned in my Sunday post, Lea currently has her hands full with stuff and has called me onboard to fill in for a little bit. So think of me as your substitute -- one of those days you got lucky and ended up with an actual teacher from the same school instead of one of those "professionals." So I'm not one of those weird subs who dresses in pink jumpsuits and makes you address them as Grandma Bunny (oh you think I am making this up). You know me; I'm a cool sub. I'm the dude who teaches next door. I'll write the class a good note.

That having been said, let's get political.



Arcade Fire - "Windowsill" (mp3|5.87MB)
I think it's safe to say that this would've been a huge highlight on a lesser album. As it stands, though, Arcade Fire's Neon Bible is so flabbergastingly good that "Windowsill" -- one of the most pointed commentaries on contemporary America in recent musical memory (and they're Canadian!) -- seemed to slip a little beneath the radar. This gives it a great buried treasure quality. Its melody is beautiful, Win Butler's lyrics and vocals carry their normal urgency, and its message is certainly well-taken. It's really not hard to see why these guys are beginning to acquire numerous Band of the Decade labels.

Green Day - "Holiday" (mp3|7.59MB)
I won't be the first to admit that Green Day isn't the best band in the universe, but back in 2004 the stars really aligned for them. American Idiot is indisputably the best album they've put out, and "Holiday" -- just one of four immensely successful singles the aforementioned album spawned -- is their finest song to-date. Although its anti-Bush America political agenda comes through loud and clear, what really makes it special is that it's just so dang catchy. I'm sure I lose indie cred points left and right for admitting I actually like this, but I can't help it. It's an excellent punk-pop song. That's all there is to it.

Paul Kantner - "Hijack" (mp3|11.4MB)
Blows Against the Empire was actually released in 1971 by principal member Kantner under the Jefferson Starship moniker (making it I guess the "first" JS album), but I think you'll find it bears little resemblance to either later Starship or, indeed, the more contemporary Jefferson Airplane. Basically, this is hippie music. Hardcore, drugged-out hippie music (just look at the list of people who play on it: David Crosby, Graham Nash, Jerry Garcia, Grace Slick ... the list goes on). The album's concept is intriguing: it tells the story of a bunch of then-futuristic hippies who hijack a government-built starship and fly it across the galaxy to the Promised Land. Yeah. So, like I said. Drugs. "Hijack" is, naturally, the album's centerpiece, and while the idea itself may seem a bit loopy, the musicianship here is quite good. The first couple minutes especially have a dark, ominous atmosphere that I'm absolutely in love with ("We sail out into the grasshopper night and we seek the righteous poison" -- nice). The whole affair is a bit of an acquired taste, but if yours are anything like mine, you'll find this an unusual but rewarding listen.

Tokyo Police Club - "Your English Is Good" (mp3|4.38MB)
If indie were more mainstream, all of the world's problems would be solved this would have been everywhere this election season. Perhaps as a fortunate safeguard to ensure I didn't get sick of it, it wasn't. From what I can tell, though, it is the anthemic political song of 2008. I'm not entirely sure what Tokyo Police Club is saying with it, mind you, but they've definitely got something on their plates ("You don't need to change; the future's with us"). Whatever it is, it tastes good enough to make this both the highlight of their debut album Elephant Shell, as well as one of my favorite songs of the year.

VNV Nation - "Kingdom" (mp3|8.05MB)
I suppose all of VNV Nation's Empires carries a fairly strong political undercurrent, but lead-off track "Kingdom" seems to possess the album's most direct and barbed commentary. On top of that, it's also a killer dance song that no doubt packs the floor when it comes up in rotation at goth clubs. So, wait. It's danceable and it's intelligent? I think I'm starting to see why they call this genre Electronic Body Music.

And that's it! I will see you all in my class next period for another dose of Sunday Superlative. Take care, now.

As always, send lovemail/hatemail/anymail related to the Friday Five to fridayfiveradio@gmail.com. Requests are always considered and welcomed. See you next week!

02 November 2008

the sunday superlative - 11/02/08

I agree with Lea. Peter Gabriel sounds hot. At least until you hear "Kiss That Frog." Then the illusion just kind of dies.

Anyway.

This Week: Grab Bag: 80s Pop



I'm tired. I didn't sleep last night, so I have actually been up for about 36 hours. (My father, as it turns out, makes some ridiculous snoring noises when he sleeps. After a couple hours of struggling with it, I just gave up, left the hotel room, and read/did homework in the lobby 'til morning.) If you've ever done this involuntarily, you know how not-fun it is, especially if ten of those 36 hours are spent in airline purgatory. So what I'm saying is, I apologize if I'm not witty or on my game this week. I'm frankly surprised I'm even conscious.

But! My devotion is to my craft, and I suppose my craft is blogcasting. This week I'm introducing something that'll pop up from time to time: the grab bag. It is exactly what it sounds like: a random selection of songs with a loose unifying theme. So really, it's more or less what I have been doing, except with a cooler-sounding name.

One of my favorite genres is 80s pop music. It's almost a guilty pleasure, except I have no problem admitting I love it. Lots of mainstream pop songs from that decade were exceptionally well written pieces of music. Over the years I have amassed a large stockpile of favorites, so you can expect to see many, many more in the weeks/months to come. Lucky you. Let's start with these three, all of which I might take over just about anything I've posted in the last couple weeks. Dead serious. I love this stuff.

The Fixx - "One Thing Leads to Another" (mp3|3.79MB)
There are songs that often completely unintentionally evoke a very specific time and place. For my high school graduation present, my dad bought me my very first car. As I was taking the car off the lot and driving it home, this song came on the radio. I cranked it way up and, feeling like a total badass, put the pedal to the metal. So, you see, this here song by The Fixx holds a very special place in my heart. It's one of those that can put me in a good mood pretty much no matter what. The unfortunate thing is that there's really not much to say about the song itself. It's an uptempo, energetic little ditty that's amazingly catchy, addictive, and easy to listen to. And while nothing can quite recapture that same emotional high I felt that fateful afternoon, the song works as a great flashback. I turn it on, take the volume up, and just let the dumb grin spread across my face. That's the way to do it, if you ask me.
(from the 1983 album Reach the Beach)

New Order - "True Faith" (mp3|5.37MB)
One of the unquestionable "holy trinity" of 80s New Order songs ("Bizarre Love Triangle" and "Blue Monday" rounding out the triad, of course), "True Faith" is really the only evidence necessary to cement these guys' importance in the budding synth/dance-pop scene. Rumor has it that the band just wrote this song so that they'd have something new to release as part of their singles-to-date collection Substance (which, together with the simultaneous Joy Division archival of same name, represents a pinnacle in compilation-making). This amuses me, because these made-specifically-for bonuses tend to be total throwaways. Perhaps inadvertently, New Order created arguably their best track ever (personally, there are a couple others I like more, but I know people who swear by this one -- and it is fantastic). The band's primary talent was twofold: they could either create an awesome dancefloor number or they could create a swoon-worthy pop song. Very rarely did they achieve both at the same time; "True Faith" still stands some 21 years later as the time they balanced both sides of the scale just right.
(from the 1987 compilation Substance)

*Tears for Fears - "Everybody Wants to Rule the World" (mp3|3.83MB)
Everyone has a song that almost preternaturally seems as if it was written for them. No matter what is happening in life, that song's lyrics seem to morph perfectly to fit the myriad of new situations being experienced. For me, that song has always been Tears for Fears' "Everybody Wants to Rule the World," probably among my three-to-five favorite songs of all-time (no kidding). Though I've been exposed to the song my whole life, I first "noticed" it when I was in 8th grade, and I was struck even then by how the lyrics seemed to perfectly sum up what I was feeling. Six years later my life is not a thing like it was in 8th grade, but that sensation is still as strong as it ever was. Like the most loyal friend, those same lyrics seem to have shifted themselves such that they still mirror exactly my thoughts and emotions as I journey through life. That supreme connection, which is only strengthened by the wonderful vocal harmonies and the gorgeous, flawlessly written melody, is what the true power and beauty of music is made of. When people speak of music as a religious experience, it's responses this great they're referring to: extremely rare, perhaps, but spiritually moving in ways too profound to be adequately described. What a song this is.
(from the 1985 album Songs from the Big Chair)

That's all for this week's Sunday Superlative. However, it might interest you (or bore the crap out of you, depending) to know that Lea has beseeched me to fill in on Friday Five duties for the next couple weeks while she contends with Real Life Stuff. So you'll be seeing me again sooner than you might think.

Actually not. 'Cause I told you the Friday Five thing already. So it'll be pretty much exactly when you might think. My "ominous" needs work.

31 October 2008

friday five - 31.10.08 - ffr halloween party

I love Halloween. I can't think of any other holiday where the music is more fun. Tonight's introduction will be really short (e.g. "here's the music, love it or die"); we have a lot of awesome to wade through.



Atlas Sound - "A Ghost Story" (mp3|5.00MB): Introducing - to kick us off for the night - something inherently creepy and adorable at the same time: children! Or, rather, one child telling the audience - what else - a ghost story. I chose this to start because children frighten me regardless of whether or not they're in costume. Only sheer luck would put me in charge of trick-or-treaters tonight.

J.S. Bach - "Toccata and Fugue in D Minor" (mp3|10.90MB): Up next is a piece that I consider to be the epitome of "dark-and-stormy-night" music, and I simultaneously recall THUNDER SKATE!1!!one! at the SkateLand in Yakima, WA playing this while I flailed beneath strobe lights, wondering who in the world thought that putting four wheels on your feet (HI, inertia, pleased to meet you) and rolling on them whilst completely blinded was a good idea. So, wonderful scariness all around, and it's only a slight coincidence that this happens to be one of my favourite classical pieces ever written. (Also, for the traditionalists: here's the original on Youtube; it's played on a pipe organ. I'm sorry about the volume; this is the only interpretation I could find that didn't make me want to flinch with unexpected pauses.)

Peter Gabriel - "Intruder" (mp3|6.73MB): I love this song for so many reasons. It's creepy, it's got a damn good beat, and it grants me passage through the Gates of Nostalgia in a whole variety of ways. However - and I'm not going to be ashamed of this; I will not be ashamed of this - Peter Gabriel sounds hot. And that's a huge bonus. (What is it with me and bad guys? Seriously?)

Blackout Beach - "Cloud of Evil" (mp3|4.45MB): The new single from Carey Mercer's solo outfit (though I honestly can't see this being aired on any radio station lest the listeners explode from the sheer magnitude of their psychological distress), "Cloud of Evil" represents what we know of Skin of Evil, and makes me anticipate this album like you wouldn't believe - if only because I'm dreadfully masochistic and just looove them existential crises.

Burial - "Near Dark" (mp3|5.67MB): It was difficult to follow Blackout Beach with another freaky electronic layer cake of death. But I did it. So, have fun getting to sleep tonight.

Grampall Jookabox - "I'm Absolutely Freaked Out" (mp3|8.36MB): I've grown so attached to this album and it isn't even technically released yet. Well, now I get to share this track with the masses who so desperately need to hear it. DOWNLOAD IT. DOWNLOAD IT NOW. BEFORE I EAT YOUR FACE OFF. (Advanced track used with permission.)

Danny Elfman - "This is Halloween (from The Nightmare Before Christmas)" (mp3|2.98MB): I really don't think this one needs any introduction or explanation. (I've gotta sign this blog up with a Danny Elfman cult or something. No question.) Aah, the memories of our youth. Or, like, three weeks ago. It's a good thing I can watch this movie with my adult eyes and mind because now I know for sure that my crush on Jack Skellington, despite the fact that he's totally made out of clay, is not just a phase. a-HEM.

Genesis - "The Waiting Room" (mp3|6.19MB): Watch as I utilise this blog to show blatant favouritism! Here's some early-Genesis noise for your shivering pleasure. I honestly don't know how to categorise it. Experimental noise-rock avant-garde glass-shards-in-tapioca? Um, it's really freaky. Mmyep.

Bobby "Boris" Pickett and the Cryptkickers - "Monster Mash" (mp3|2.46MB): Another one what needs no introduction. The essential Halloween party song. Return to the Forbidden Planet has corrupted my vision of this song, because now all I can think of is "when my monster from the Id began to rise," and I'm like, dammit.

of Montreal - "Spooky Spider Chandelier" (mp3|2.06MB): I wonder how long it took Kevin Barnes to write this song. I'm pretty sure the man is a machine, regardless. (A gorgeous, gilded, ethnic transvestite machine.) Anyway, it's a poppy little ditty with just the right amount of creep to get your party jumpin'.

Dead or Alive - "Something in My House (US Wipeout Mix)" (mp3|6.61MB): Thunder? Lightning? A dog's violent howl? Frantic, shameless 80s synthesizer beats? For the love of the dead, sign me up! This is another one of those songs that will blow apart the dance floor. I'm not going to tell you how many calories I think I burned just by listening to it.

Talking Heads - "Psycho Killer" (mp3|3.96MB): Fuh-fuh-fuh-fuh, fuh-fuh-fuh-fuh-fuh-fuh. Fun. Not just for Halloween, but for driving down the main streets in your city in broad daylight with the windows rolled down all the way. Don't forget to jut your head forward like a chicken. Ask me all about it in the comments; I am a master of the art.

Creedence Clearwater Revival - "I Put a Spell on You" (mp3|5.17MB): Most of us young folks (okay, make that everyone alive) remember(s) hearing this song issuing from Bette Midler's fabulous pipes in Disney's 1993 Halloween spectacular Hocus Pocus (and here's that video, just because). I adore both versions of this song, which honestly doesn't happen to me very often. I'm so time-torn. I can't decide which decade would have been better for me to experience growing up. THE ANGST. OH GOD.

Electric Six - "I Invented the Night" (mp3|4.52MB): I'm pretty sure Electric Six lives in a dimension where it's Halloween every day and the dimension's soldiers and police line up to dress in pleather and glitter beneath neon lights. Because of this, I desperately needed to include a song from Fire on the playlist, if only to satisfy my fluorescent envy. (IMPROMPTU CONTEST: Who will be the first to make out with someone atop a moose with broad, luminescent genitalia? Will it be me, or our currently detained-in-Canada-and-therefore-at-a-slight-advantage Sunday DJ? STAY TUNED TO FIND OUT. THIS IS NOT A TEST.)

Concrete Blonde - "Bloodletting (The Vampire Song)" (mp3|4.13MB): This is the song, believe it or not, that paved the way for my (almost creepy) TV on the Radio love. I'm serious. The wild chorus and relentless bass are so beautiful to my ears. You cannot resist the 80s.

Oingo Boingo - "No One Lives Forever" (mp3|9.48MB): And finally, to further support the idea that Danny Elfman needs his own wax statue here in FFR headquarters, here's another Oingo Boingo track - the second in a single month. (I don't know; I think I might just get this way around autumn.) Please forgive me. I have an addiction. Admit it, though: you simply cannot have Halloween without the 'Boingo. That is a fact of life.

And just because my cynicism is stifling (unlike the East Coast weather), here's a collaboration video for a song featuring several indie artists (that is what you crazy kids are calling them, right?) of yore. It's a spoof on "Do They Know It's Christmas," and the proceeds from sales went to UNICEF. Check it out. See if you can tell who's who.



North American Halloween Prevention Initiative Website


There you go! Your own spooky FFR mix CD! Happy Halloween!

-- FFR.

29 October 2008

midweek madness - mt. sims

It's never too early to start getting ready for Halloween.

In preparation for FFR's Halloween party, a post wherein I so adamantly and wisely instruct you in the sacred art of playlist construction as well as shamelessly encourage you to dress in the most ridiculous costume you can find and get down with your spooky self, I thought I'd grease the wheels with a little post-punk goth ditty to get the blood pumping just in time to have it sucked out with your soul aaaaaaah.

Anyway.

Mt. Sims of Berlin, Germany (formerly Mount Sims of Los Angeles) takes a sharp left away from a charted land of pure-beat, groovable electronica shared by the likes of fellow mixers Vitalic, Assemblage 23, and Ladytron; in their recently released Happily Ever After, it seems they've lost their minds. In a most excellent way, that is. It's electric goth rock with CHARGE! Here's a single on the album that was put out as a demo in 2004. If Danny Elfman were truly a superhuman android (and I have yet to find evidence to the contrary), and if he happened to enjoy wearing fake fangs to dark underground clubs, this is exactly the song he would request of the trenchcoated DJ.


Mt. Sims - "The Bitten Bite Back" (mp3|4.66MB)

Stay tuned for Friday: I've got a special surprise for everyone. Knowing only that, it's up to you to decide whether or not to be excited or wary.

26 October 2008

the sunday superlative - 10/26/08

This Week: Blame Canada?


The only thing we can legitimately blame Canada for is the age-old crime of stealing the show. At the very least, if those rascally Canucks aren't outright stealing the show, they're at least doing a very good job of making sure they get equal stage time with America and Britain. Some of the most vital indie-rock acts of the past decade hail from ye northern regions: Arcade Fire, Broken Social Scene, The New Pornographers, Wolf Parade ... the list goes on and on. While I love each and every one of the aforementioned, I've gone ahead and highlighted songs by three Canadian bands that I wouldn't necessarily put under the "indie" umbrella. This isn't to say they're any less brilliant, of course; quite the contrary. Take a trip north with me. Let's see what we can find.

Actually, I really am taking a trip north to Canada in a few days. You can guess where the inspiration for this week's theme came from. I'll make sure to send a postcard. (Do not fret, o reader, for I shall be back in time for next weekend's Sunday Superlative. At least I hope so. If it mysteriously fails to appear, though, you can choose your own misadventure: (1) Chris has met a woman who sounds like Jack White and has gotten distracted making out with her among glowing moose genitalia; (2) Chris has become tied up in the systematic chaos known as the pre-election airline system; (3) Chris has been kidnapped by beavers, which are slowly and painfully gnawing his toes off.)

Er, um. Anyway.

Godspeed You! Black Emperor - "Moya" (mp3|14.91MB)
For better or for worse, Godspeed You! Black Emperor is a very difficult band to blogcast. Over the course of three albums and an EP, the band only ever released one song under ten minutes ("9-15-00, Part 2"); in general, the average length is much closer to twenty. However, this should most definitely not be a deterrent from one of the best and most important rock acts of the past decade. From bands like Mogwai to Explosions in the Sky, "post-rock" has become an almost ubiquitous genre as of late. I'm not sure what it is, but GY!BE has always stood as the best in their field. These guys (now sadly disbanded, though A Silver Mt. Zion lives on) were so blindingly good at what they did that it seems almost pointless to listen to any other post-rock bands. In general, EPs aren't my format. I prefer indivdual songs, I prefer albums. But in 1999, these guys released a two-track EP called Slow Riot for New Zero Kanada that is so tightly constructed and so fully realized that I have no problem counting it among my favorite releases of any kind. "Moya" is the first track from that EP, and is probably my #1 choice to introduce people to the band. On paper, it sounds like your standard-issue post-rock track: slow-burning intro slowly builds to cathartic, crashing crescendo. You've heard it before, right? Well, maybe. But GY!BE brings something to the affair that really makes it special. It's careful, it's methodical, it's beautiful. And it's done so, so well.
(from the 1999 EP Slow Riot for New Zero Kanada)

Perfume Tree - "My Worst Friend" (mp3|7.89MB)
For years I have harbored the belief that Perfume Tree may in fact be the best band no one has ever heard of. (No, you're thinking of Porcupine Tree, another very good band, but this is different.) Perfume Tree is this Canadian outfit specializing in music that, while consistently beautiful, is quite difficult to pin down. If I had to give my best shot, I'd say it's something along the lines of My Bloody Valentine meets the Cocteau Twins by means of the Cranberries, occasionally factoring in some IDM/drum-and-bass-inspired electronics. In other words, it's much easier -- and more pleasant -- to listen to than it is to categorize. In fact, few bands are easier to listen to: their sense of melody is impeccable, singer Jane Tilley has a wonderfully mellifluous voice (I once heard it described as "smoky," an adjective which has stuck with me), and the arrangements are always tip-top. "My Worst Friend" is perhaps one of their darker and more aggressive tracks, but that doesn't keep it from being just as alluring, if not moreso, than all the rest. All of the elements that define their sound come together flawlessly to form one of the best "buried treasure" songs in my library, and the overall habit-forming effect would be slightly worrisome of the music itself wasn't so lovely. I can't foist this band off on enough people -- go forth, check them out. I imagine you'll be glad you did.
(from the 1996 album A Lifetime Away)

Red Rider - "Lunatic Fringe" (mp3|4.01MB)
Everyone has stupid classic rock songs they like for no apparently good reason. I am no exception, and -- unlike most wannabe music snobs -- I have no problem freely admitting what I like and dislike, no matter how embarrassing. Now, Red Rider's first and only hit isn't particularly embarrassing, but it is a pretty stupid song. In fact, it's really just an excuse to rock out for the sake of rocking out. Of course, if this were a crime, half the stuff out there wouldn't exist. I can't fault Red Rider for that, nor can I fault them for the tense and doomy atmosphere they create here, the rockin' guitar solo they throw in, the unconventional but still appropriate vocal delivery, the tasteful use of synthesizers ... or, hell, anything. The song just works. It shouldn't, by all accounts, but it does. That's the secret behind a lot of classic rock, really: it's big and dumb as a rule, but it's a lot of fun to be around. Whenever this one comes on the radio, I crank it up. After hearing it, I bet you'll feel compelled to do likewise.
(from the 1981 album As Far as Siam)

Hmm. My sources tell me that Nickelback is also Canadian. ...eh, well, nobody's perfect.

Blue-da-ba-dee-da-ba-die-that's all, folks!

22 October 2008

midweek madness - tin hat trio

I've never really been into country. The occasional hit of bluegrass, maybe, when I'm in the mood for it. Sometimes I really wish I could like country music - real country music, the kind played by the crazy guys in flannel shirts who have fingers like lightning. It's almost a shame that something in my blood seems to revolt whenever I hear copious amounts of twang.1

Fortunately, what I'm about to share with you isn't country. Why is the above relevant, then? Because every single music website I've visited in order to find a label that corrects this grievous error apparently has these guys listed as country, and I don't get it. If anything, Tin Hat Trio (now simply Tin Hat with the rotation of a few musicians since The Rodeo Eroded's release in 2002) projects a style that's teeming with early jazz influences sidled keenly next to a sound that recalls more of a genre identity crisis than any adherence to something as specific as "country."

The highlighted track today is "Holiday Joel," which is a light little instrumental number that sounds like a jam session in the elevator of an empty Italian restaurant. Surprise drums! Sounds like jazz to me. Excellent jazz at that. Another high point of this album is "Fear of the South" (does it hold as much irony for you as it does for me, dear reader?), which is avant-garde and artsy enough to knock any uptight indie snob off their feet. (Never mind that a more effective method of doing so would be to apply a dobro viciously to the midsection. But hey. No twang, remember?)

Tin Hat Trio - "Holiday Joel" (mp3|4.10MB)

So, what have we learned today? That's right. ID3 tags lie. Don't worry. The shock and betrayal wears off after a few minutes.


1 I think Colin Meloy gets away with it occasionally only because I love him, and love is apparently deaf as well.

19 October 2008

the sunday superlative - 10/19/08

This Week: Chicks Who Rock.



You have no idea how hard it was to restrain myself from putting a Culture Club song in this post. But I was good.

Chicks can rock. We know this. I mean, we've all heard Avril Lavigne, right? But, believe it or not, she wasn't the first. Since the dawn of rock music itself, there have been multitudes of females headbangin' right along with their male counterparts. Believe or not, Sarah Palin even tried to form a rock band a few years ago. Much to her dismay, however, The Killers was already taken.

This week I'm going to highlight three songs that I think particularly exemplify the age-old condition of feminine rocktuitiveness. There are many others, of course, but I signed a contract with Lea that binds me to one post a week through 2023. In time, we'll get around to them all. Courtney Love will get her chance to shine.

Pat Benatar - "Outlaw Blues" (mp3|4.05MB)
She's kind of the quintessential Chick Who Rocks, isn't she? And although she had a very steady stream of hits in the early 80s that still get played on the radio today, this -- a fairly obscure track that nonetheless still ended up on her Best Shots compilation (a great overview, by the way, if you must get one) -- has for whatever reason always been my favorite of hers. I think it might have something to do with the fact that, though she does still save room to crank up the amps a bit at the end, there's something atypically restrained about it. Whereas songs like "Heartbreaker" and "Promises in the Dark" go straight for the jugular, this takes time to quietly brood and kick up an uneasy, foreboding atmosphere. And, while both of the aforementioned are great songs in their own right, there's something very effective about "Outlaw Blues"' change-up. Though I wouldn't go so far as to call it chilling (Mrs. Benatar was never exactly a master of emotional manipulation), it's certainly ominous. And, though I'm glad her career went the way it did, I kind of wish she had tried "ominous" on for size a bit more often. It looks good on her.
(from the 1984 album Tropico)

Bjork - "Bachelorette" (mp3|4.81MB)
Bjork scares me. She really does. By all accounts, she should be someone I'm deeply in awe of: she has created a very distinctive image for herself and, in spite of her fame, still seems to maintain complete creative control over her music. So I should be enamored, but I'm not, really. See, she's very inconsistent -- her output ranges from the very good (Post and Homogenic) to wtf (Medulla), her eclectic taste in costuming is a bit on the intimidating side, and in general she just seems like a terrifying person. It's hit-or-miss with her. The good news is, when she hits, she hits. "Bachelorette," the centerpiece of her career-defining 1997 album, is beyond a shadow of a doubt the finest song she's ever recorded. When people cite incredible vocal performances, a reference to this song almost has to be included. She goes in a matter of seconds from sounding frail and gentle to sounding like she's cataclysmically going to destroy the world. The instrumentation mirrors the sentiment: soft, skittering beats are overtaken by swelling string sections that seem to summon giant tidal waves. Her lyrics have never been more compelling, her atmosphere never so singularly striking. So it disappoints me that she's spent so much time honing the demented nattering goofball aspect of her persona when she can just as capably be a storming Olympian goddess. This is one hell of a powerful song.
(from the 1997 album Homogenic)

Scandal - "The Warrior" (mp3|3.62MB)
I'll be the first to admit I don't really know too much about Scandal; I just think this is an incredibly kickass song. This and "Goodbye to You" are really the only two Scandal songs I've ever heard, and that's only because I do listen to the radio from time to time. Still, it's hard to deny that -- for this song at least -- Patty Smyth (definitely not to be confused with Patti Smith) was one tough gal. Like a bit of a warrior herself, she really belts it out here, and the result is one of the catchiest and most memorable power-pop songs of its era. I don't think there's much else to say about it, honestly. It's a simple, straightforward, can-of-whoopass-openin' pop song. And it's great.
(from the 1984 album The Warrior)

And that's it for me this week. I'll see you all next Sunday. Until then, stay tuned -- Lea's got you taken care of for your Midweek Madness and, of course, your Friday Five. Hasta la vista. Baby.

17 October 2008

friday five - 17.10.08 - metropolis

First of all, I would like to point out that I live in a very rural area. I could drive twenty minutes south and smell nothing but horse manure. (Occasionally, it comes from actual horses.) My adventures into the city are few and far between, usually frought with excitement, profanity, or a decidedly unique mix of the two (with a pinch of confusion for flavour). However, despite the fact that city traffic convinces me even further that I'm the only person on the East Coast who knows how to drive, I'm in love with the idea of the big city - its personality and opportunity.

Of course, that's probably because I don't live there. (Not only is the grass not greener; it's nonexistent!)



The Uglysuit - "Chicago" (mp3|6.79MB): If you're going to put out music and classify it as pop, then your music better be poppy. I understand that not all pop music is required to be happy, but it'd better have a beat and catchy refrains or I will be sorely disappointed, my hopes crushed by dangling expectations. (Okay, maybe that was a bit dramatic. But you get the gist.) It's a good thing, then, that I decided to check out The Uglysuit. Their recent self-titled release is of a sweetly cheerful, melodic persuasion, and this track is probably my favourite of them all. Careful, though: you might need to brush your teeth afterward.

The Books - "Tokyo" (mp3|4.83MB): This track wants to don a silk robe and dance wildly around in a garden beneath a delicate snow of cherry blossom petals. Seriously. A mix of fervently plucked sixteenths from a guitar mixes beautifully with strings, synth, and the spoken word in this song from The Books' The Lemon of Pink. Though understated when I first listened to it, I realised soon that I just wasn't paying enough attention. There's some real beauty in here - you just need to pause and listen.

Doves - "N.Y." (mp3|2.30MB): As stated so frankly by my fellow internet DJ, Chris (also, notably, the person who first introduced me to Doves): It's absolutely impossible for this band to make bad music. Or even remotely mediocre music. Everything I've heard from this band has been incredible, and again I find that I'm kicking myself for not having found out about them earlier. Luckily, I was saved from my ignorance (as I have been many times before), and am now contently relishing this track, which is one of the best songs, I think, about picking up everything and running away to the city.

St. Vincent - "Paris is Burning" (mp3|6.06MB): I put off listening to St. Vincent's Marry Me for a very long time before curiosity finally got the better of me. Why? I honestly don't know. It was probably media hype that got me all conflicted and identity-crisis-y, but the end result is still the same: I thought it was okay. Not the best, definitely not the worst. However, this song had me from the moment I heard the chorus (one which, coincidentally, stuck in my head for two days afterward): We are waiting on a telegram to / Give us news of the war / I am sorry to report dear Paris / Is burning after all. Disquieting, yes, but expertly delivered.

Sufjan Stevens - "Chicago" (mp3|8.34MB): To be honest, this entire entry could have been comprised of Sufjan Stevens songs. Also, I can't say that the temptation didn't cross my mind once or twice. (Well, it was more like six or seven. But let's be reasonable.) Given that, it shouldn't be much of a surprise to know that this song was one of the highlights of 2005. Everyone's heard it; I don't care. It needs to be here. Sufjan's voice is beautiful, and no, I don't feel ashamed to use that adjective in reference to a guy. One of my personal favourite songs, bar none.

Bonus because I worked late AGAIN on Wednesday:
They Might Be Giants - Istanbul (mp3|3.54MB): I really need Tiny Toon Adventures on DVD. (Don't judge me, foo'!) Hey, it isn't my fault. TMBG signed the contract. And now this song will be stuck in your head for HOURS. Ha ha.

I actually have next Wednesday's artist already written up (for the most part), so there will be NO EXCUSE for my negligence. Chris'll be here Sunday, though (and he's way better at the whole dependability thing than I am), so you won't have to wait long for more audio gold. But don't just take it from me. You've stuck by us this long, haven't you?


As always, send lovemail/hatemail/anymail related to the Friday Five to fridayfiveradio@gmail.com. Requests are always considered and welcomed. See you next week!

12 October 2008

the sunday superlative - 10/12/08

Allow me to introduce myself. My name is Chris.


("Hello, Chris.")

A couple days ago, I was approached by the proprietess of this particular blog and asked if I would contribute a weekly feature. I, being as incurable a music junkie as she, leaped at the opportunity. The goal as I understand it is to ultimately make Friday Five Radio a daily event, with each day representing a different alliterative theme that slowly but surely builds up to the aforementioned end-of-week motherlode. When asked, I was quick to suggest the Sunday Superlative. A couple emails, a greenlight, and -- at least in her case -- a few intoxicants with trust-inducing side effects later, here I am.

So, what is this? Well, as I said, I am addicted to music. Anyone who listens to enough of the stuff gradually accrues a lengthy list of favorites. The Sunday Superlative is my excuse to foist, three at a time, some of my all-time favorite songs onto the world. These, as with the Friday Five, will be presented in themes: best songs narrated by psycho stalkers (The Police's "Every Breath You Take," naturally), best songs about sexually ambiguous lovers (The Killers' "Somebody Told Me"), and so on.

This week's theme is very basic. We're just getting acquainted, you and I, so I think you should know in general where my tastes fall. My three favorite genres are modern indie-rock (my big favorite, and I'd be ostracized if it wasn't), dance/electronica, and late 70s/early 80s post-punk/New Wave stuff. What I've done this week is chosen three lesser-known songs that more or less adhere to each of these categories. Of course, music really becomes the most fun when it blurs genre boundaries, but we'll get to that later. I promise.

In addition, as with everybody, my favorites aren't equal. They don't all just hang out on a plateau together and have a Wow I'm On Chris' Plateau party (but certainly, were such a party to happen, they'd all be invited; "In-A-Gadda-Da-Vida" would be my bouncer). They're hierarchical. So, even though every song I will post in the Sunday Superlative will certainly be among my all-time favorite tracks, I want to distinguish the huge favorites. They'll pop up every now and again, each time with a little asterisk next to the title. Be on the lookout for those. Those are the true Desert Island Songs. In fact, if you look closely enough, you might see one tonight. Oooh.

Also: I'm wordy. Can you tell?

Without further ado, let's go!

Electronica:
*Apoptygma Berzerk - "Until the End of the World" (mp3|5.38MB)
This is where it all started. My rabid, foaming-at-the-mouth craving for dance music can be tracked right back to this song. I blame Lea. It's all on her shoulders. In summer 2004, I was already in the process of discovering electronica little by little via my dad's Kraftwerk albums and other oldschool bands like Tangerine Dream, but Lea asked me one night -- as she is wont to do -- if I had ever heard Apoptygma Berzerk. I probably said something like, "Bless you." But I checked them out. The first song I downloaded was this one. After listening to it just once, the point of no return had been reached. I have not returned, nor do I want to. This is a hard-hitting, pure adrenaline dance song. It conforms to pop song structure, but its pounding industrial influences are also capable of absolutely destroying a dance floor. As far as electronic music goes, I couldn't have dreamed of a more perfect introduction.
(from the 2002 album Harmonizer)

Post-punk/New Wave:
The Cure - "The Holy Hour" (mp3|4.05MB)
I don't think people fully grasp the importance of The Cure. To the devoted, they're the best band ever, bar none. To the casual observer, they're this depressing goth band that had a couple hits in the late 80s that they secretly like but will never admit it. But the thing no one ever recognizes is that Robert Smith and his band of not-so-merry men are just about the most versatile, chameleonic act this side of Zappa and Bowie. Take "The Holy Hour," just about the best cut from their 1981 album Faith. The band is still very much in Joy Division mode here -- the mopey bass, the robotic drums, the foggy wall-of-impending-doom atmosphere -- but think about it: does this sound anything like "Boys Don't Cry"? That song came out two years -- two years -- earlier. And does "Boys Don't Cry" sound anything like 1983's "The Lovecats"? It's impressive when you think about it (I mean, it's taken Axl Rose fifteen years to even get around to releasing Chinese Democracy, and yet Smith was able to reinvent himself at least twice in less than half a decade). What's even more impressive is that The Cure can tackle all of these styles seemingly without even trying. "The Holy Hour" is a delicious sampling of a style that, though unmistakably of its time, still resonates almost 30 years later. It's also a flashbulb of a band not in transition, but in a constant state of perpetual motion.
(from the 1981 album Faith)

Indie-rock:
Mew - "Am I Wry? No" (mp3|6.75 MB)
Mew is (are?) from Denmark. This may, in fact, make them the only Danish rock band in the history of time. I'm being facetious, of course, but it's easy to see why they're so big in their homeland. What's not so easy to see is why that success isn't shared the world over. These guys are good. I mean it. And as much as I hate the description of "Sigur Ros meets Queensryche" (thank you, webzine that wrote that -- you know who you are), that pretty much nails it. They're icy and melodic, but also have a distinct hard, arena-rock flavor that by all acounts should win them millions and millions of fans. "Am I Wry? No" is the first and best track from their phenomenal 2003 (or 2007, if you live west of the Atlantic) album Frengers, and -- intentionally or no -- it's a working example of everything the band excels at. One of the best memories I have of fall 2007 is doing 70 on a dark, empty road with the windows down and this song blaring. When the coda kicks in around 3:30, it's heaven on earth.
(from the 2003 album Frengers)

Until next week, Chris -- signing off!

Ha. "We Built This City" tries to get into my party. "In-A-Gadda-Da-Vida" is like, 'No, bitch! *FWAP!*'

10 October 2008

friday five - 10.10.08 - two (or more) sides to everything

Opinions are never objective. When people approach issues, things, even other people, they automatically judge them based on their own interests or experiences, often choosing to adhere to a single perspective. In public, we project different sides of ourselves than we do to those who know us (and similarly, we have another side to us that we only reveal when there's no one around). It's not a bad thing. It's a part of being human.



The Unbearables - The Darker Part (mp3|5.29MB): For a group telling the story of someone nervously approaching the unknown within their significant other, The Unbearables don't seem to be too concerned about repercussions. Instead, their bouncy, brass-peppered pop gives the situation an overall positive outlook. The song ends with your eyes are more than enough for me, which makes me wonder if the subject in question was at all receptive to his inquiries, or if he just gave up. I don't know. Maybe it's just that modern love isn't so blind, after all.

The Besnard Lakes - And You Lied to Me (mp3|10.09MB): Now this is the kind of music you'd expect to be associated with finding out something surprising about someone you thought you knew. It's forboding at first; the vocals echo subtly, muffled as if trapped behind glass (go ahead, have a metaphorical party with that one). This song seems like a peculiar homage to Pink Floyd - what with the march-on riot guitar and prog-ish riffs - and I think that's one of the reasons I like it so much. Of course, there's always the fact that the Besnard Lakes are one of the bands that I can always rely on to fuel my slightly-frightening Jagjaguwar obsession, but hey, I don't really need a reason for my selections, do I? (Insert pause, then a whiny, vocal vindication of"my blog, mine.")

Marching Band - Makeup Artist (mp3|6.48MB): Swedish pop. Yes. I blame it all on Confessions of a Would-Be Hipster. Two years ago, I would have never seen myself desperately seeking channels in what seems to be an ongoing Swede invasion throughout the indie-rock world; now, however, I'm reluctantly accepting yet another musical addiction. Marching Band delivers to us a story of a girl with a double life (or a life drastically altered - I'm terrible with lyrical interpretation) with a poppy tune that's so infectious it should be quarantined. (The bad puns will continue until morale improves!)

Hercules and Love Affair - True False/Fake Real (mp3|6.24MB): Hercules and Love Affair sez: time to disco in the circus tent. No, seriously. I love this album more than I care to admit. And this song, which boasts lyrics that consist of nothing more than True false, fake real and I know you know I know, is dance-y ear candy that seriously tempts my geeky sweet tooth. In fact, I enjoy it so much that I'm going to pretend I didn't buy it because a certain behemoth music site told me to. So there.

My Brightest Diamond - The Good and the Bad Guy (mp3|5.85MB): Shara Worden's voice is absolutely amazing. With years of operatic training, she (along with the rest of My Brightest Diamond) manages to make some of the most beautiful rock music I've ever heard. They played this song when I saw them live in 2007, and it was incredibly compelling - the dilemma of a woman who's still in love with her ex, but only projects the bad side of him to people she knows in order to make herself appear stronger. In truth, she wants him back. There are two sides to every story - even the ones told by a single person.

Bonus Because I Fail (Yet Again):
Spoon - The Two Sides of Monsieur Valentine (mp3|6.80MB): Am I getting too predictable? I don't care. Have some Spoon.


As always, send lovemail/hatemail/anymail related to the Friday Five to fridayfiveradio@gmail.com. Requests are always considered and welcomed. See you next week!

03 October 2008

friday five - 03.10.08 - cats

Cats are great. When they aren't waking you up in the morning by sticking their butts in your face, howling to go back outside when they just came in thirty seconds earlier, or ignoring you completely, cats definitely compete for the title of "man's best friend." (If said title showcased the ups and downs of an actual friendship, they'd have it nailed.) That's why I've chosen to dedicate this week's Friday Five to them. That, and maybe if my own cat psychically realises that I'm paying him exorbitant amounts of attention via the Internet, he'll stop threatening to pee in my closet.



Death Cab for Cutie - "Flustered/Hey Tomcat!" (mp3|2.73MB): Early Death Cab makes a happy me. Don't worry about the grammatical accuracy of that sentence; hell, this track's so heavily mixed that you can barely tell the band's using English at all. The intent behind this song is so convoluted and unable to be grasped that I'm not even going to attempt a coherent analysis. And I love it. In fact, to my knowledge, this song isn't even about cats. But this is my blog, and I'll freak out if I want.

Elastica - "Pussycat" (mp3|3.73MB): The post-punk scene in 1999 had slippery reigns, and some gems slipped between the floorboards when "modern alternative rock" began to prowl on its territory. Nonetheless, Elastica's EP Stutter/Pussycat remains - at least in my mind - one of the most sincere attempts at a true revival of the art. Not that other bands haven't tried in recent years - it just doesn't seem genuine when politics are involved. (Insert appropriate Pretenders/I Can Has Cheezburger joke where applicable, because although I'm vegetarian, I'm also a horrible person. And that trumps all other psychological traits.)

Pro Audio - "And Then I Was a Cat" (mp3|7.14MB): Pro Audio, you are my heroes and my life. Nothing says awkward unrequited love like a geek jumping into the metaphorical body of a creature who has no capacity for human language whatsoever. I try to ask a question / But I can't form the speech / So I'm batting at your shoelace / And clawing up your indie rock magazines. Seriously? Dinner? At eight? Sounds awesome. See you there, catboy.

Starlight Mints - "Black Cat" (mp3|4.71MB): Even if this song were about something completely unrelated, it would still have that hep cat swing. (Yes, I said "hep." Sometimes I just can't hep myself. -- Hey, what're you doing with that mallet?) As it is, rather than pursuing the Black Widow persona of olde, the Starlight Mints reveal the existence of a "Black Cat" and a "Black Cat Detector," the likes of which I'm still trying to figure out. Is it the girl who's the detector or the girl who creates the need for a detector? Is she the black cat or is she trying to protect him from himself? I don't know. But it's catchy. Yay for strings!

Stray Cats - "Stray Cat Strut" (mp3||3.00MB): How could I not? You all know this song already. I don't care. It's so difficult to be a casanova. Right? I had the fortune of seeing the Stray Cats in concert, and my God, they still "got Cat class." Brian Setzer, I don't care how many times your name has been in lights. I don't care if I have to sacrifice my subscription to Under the Radar for this to happen, but please let me buy you a gin martini (is there any other kind?) and we can talk about how wonderful you are.


BONUS: Because I suck and forgot to post the Midweek Madness on Wednesday, you get another song. So, basically, it's still - with technicalities - the Friday Five, but you can pretend this song is completely unrelated and exists in a separate entry. Or, like, don't. Fine. I see how you are.

Lebo M. - "Circle of Life" (mp3|4.56MB): Yeah, I like this version better. Sue me. And hey. A lion is a cat. The Lion King was a cute movie! It - it totally works.1



1 I. Am such. A nerd.


As always, send lovemail/hatemail/anymail related to the Friday Five to fridayfiveradio@gmail.com. Requests are always considered and welcomed. See you next week!