I was hoping to introduce Tim before he started posting, but that's why I gave him the keys to the place.
Tim and I work together, and have developed a decent bon homie over the past year. He's got the same kind of wicked humor, and likes even more jacked up music than I do.
He also doesn't pull any punches, as you can tell with the She & Him review (which I pretty much agree with. I'm pretty sure Ben Gibbard is going to beat him up for that).
If you're on Twitter (and seriously, at this point why aren't you?) you can follow Tim @timtalksnow. Or check ou this blog, Tim Talks Now.
Thursday, March 18, 2010
Wednesday, March 17, 2010
An Uneasy Feeling: She & Him Volume 2
She and Him, a musical collaboration between Indie-Folk artist M. Ward and singer/actress Zooey Deschanel (The Happening, 500 Days of Summer), are expected to release their second album on March 23rd on Merge Records. It is aptly titled "Volume 2". I never got a chance to listen to "Volume 1", but decided to give this album a whirl when I saw NPR was previewing the album before its release (Check it out here: http://bit.ly/cYMi3S if you're interested in hurting your ears).
Yes. You heard me correctly. This album is painful on the ears. And it also pains me to hear an artist that I enjoy a lot, M. Ward, get mixed up with this Zooey woman. She appears to be a bad influence. The third track, "Don't Look Back", (and pretty much most of the album) sounds like a satire of the all-girl groups from the mid-60's. Except, instead of being a satire, I think we are supposed to be taking this stuff seriously. Note the following lyrics:
"Don't look back - all you'll ever get is the dust from the steps before - I don't have to see you every day, but I just want to know you're there."
I don't have to see you every day, but I just want to know you're there. Awww....how cute! Except it's not. It is hard to take it seriously. Especially when the next song is a cover of NRBQ's "Ridin' In My Car", with lyrics like this:
"And I can't find no true love oh baby it's so hard - and I still think about you every time I'm ridin' in my car."
When you're tossing stuff like "true love", "riding in cars", and "making romance" around, it reduces the credibility of the songs. At times, I thought some of the songs were takes that were too poor to make it onto the Dirty Dancing sound track.
I would highly recommend that you stay very far away from this album, unless you need something to annoy someone else. For example, I was previewing this album the other day for this review, and my wife came in the room, and remarked curtly: "What the heck are you listening to?"
Fuck Spotify
Maybe this is cranky old man talking, maybe it's last night's bourbon.
But fuck Spotify.
And I mean that in the nicest way possible.
Spotify is a European only streaming music service that allows you access to an unlimited stream of ad supported music. You can subscribe and get some sort of iPhone/Android app to listen to off line. And of course, if you like it, you can buy it.
I've said it before, and I'll say it again - streaming music is bad for musicians, both financially and artistically. It promotes a singles driven culture, and the royalties you reap (especially independent artists) are very minor.
The problem is that there is no value on content (same thing for newspapers and print media online). And if the consumer doesn't value it, then he'll never give you any money for it.
The big four record companies (who all own a stake in Spotify in exchange for access to their catalog) haven't quite figured out that their sales keep dropping because they put less and less value on their content.
Spotify is just quicking their death. Don't buy in.
But fuck Spotify.
And I mean that in the nicest way possible.
Spotify is a European only streaming music service that allows you access to an unlimited stream of ad supported music. You can subscribe and get some sort of iPhone/Android app to listen to off line. And of course, if you like it, you can buy it.
I've said it before, and I'll say it again - streaming music is bad for musicians, both financially and artistically. It promotes a singles driven culture, and the royalties you reap (especially independent artists) are very minor.
The problem is that there is no value on content (same thing for newspapers and print media online). And if the consumer doesn't value it, then he'll never give you any money for it.
The big four record companies (who all own a stake in Spotify in exchange for access to their catalog) haven't quite figured out that their sales keep dropping because they put less and less value on their content.
Spotify is just quicking their death. Don't buy in.
Tuesday, March 16, 2010
Singled Out - FLR001 Young Mothers 7"
Will 2010 be the year we see a revival of the seven inch? God, I hope so.
Is there a more perfect, innovative way to distribute singles, pay artists, and keep people excited about music? Little Skittle-colored pieces of viynl, just brimming with one or two songs. More real than a digital download, it puts real dollars into artists pockets. They're cheap to produce, and if you've spent $5 on a 7in and it sucks, you don't feel like you've lost anything.
Indeed, the money you'll spend on Ft Lowell Records first 7 inch release from Phoenix band Young Mothers, is totally worth it.
With just two songs, you've got to come hard and impress. The first song "Come On, The Cross" is a strong indie pop effort. Multi harmonies, jangly guitars. Kind of reminds me of Weezer (early) or The Decemberists (but with out all that Decembereists weirdness). A wandering coworker said it reminded him of Modest Mouse. So there ya go.
The second, Good Swords, is a slower, more barebones affair. And though I'll probably regret this later, it reminds me of Versus in their more tender softer moments. It's beautiful and serene.
There's plenty of Young Mothers work in iTunes, but I'd wait until April 17 to pick this up. I'm sure the good folks at Ft Lowell will be tossing in some extra goodies with this first release.
Is there a more perfect, innovative way to distribute singles, pay artists, and keep people excited about music? Little Skittle-colored pieces of viynl, just brimming with one or two songs. More real than a digital download, it puts real dollars into artists pockets. They're cheap to produce, and if you've spent $5 on a 7in and it sucks, you don't feel like you've lost anything.
Indeed, the money you'll spend on Ft Lowell Records first 7 inch release from Phoenix band Young Mothers, is totally worth it.
With just two songs, you've got to come hard and impress. The first song "Come On, The Cross" is a strong indie pop effort. Multi harmonies, jangly guitars. Kind of reminds me of Weezer (early) or The Decemberists (but with out all that Decembereists weirdness). A wandering coworker said it reminded him of Modest Mouse. So there ya go.
The second, Good Swords, is a slower, more barebones affair. And though I'll probably regret this later, it reminds me of Versus in their more tender softer moments. It's beautiful and serene.
There's plenty of Young Mothers work in iTunes, but I'd wait until April 17 to pick this up. I'm sure the good folks at Ft Lowell will be tossing in some extra goodies with this first release.
For purchase and release information, see:
Monday, February 22, 2010
What We're Listening To - The Soft Pack's s/t
The Soft Pack's self titled kinda debut album (the first under the band's new name) is a fun 10 song, 40 minute ride, full of garagey punk guitars and mopey lyrics. It's an odd combination that works much better than you would think.
If I hadn't been hooked by the opener "C'Mon," I wouldn't have stayed for the rest. With its Dick Dale surf rock guitar opening, pushing drums, and ridiculously catchy chorus, these guys got the order right. "Move Along" and "Answer to Yourself" melds those depressing lyrics ("I don't know what shape I'm in/Living here I just can't win") with some classic punk motifs of simple guitar chords and bass.
My favorite one-two punch is "Flammable" and "Mexico," two songs that can't seem further apart. Flammable with all this bottled up quick energy, sounds like a train about to derail. Then it's back to that dreamy surf rock with Mexico, a song that almost twice as long as the one before it. It slows you down to a crawl, and it's beautiful.
In a year that so far has seen some pretty stellar releases, this is another notch on 2010's music belt.
Download for FREE The Soft Pack's "Answer To Yourself" from Amazon mp3
If I hadn't been hooked by the opener "C'Mon," I wouldn't have stayed for the rest. With its Dick Dale surf rock guitar opening, pushing drums, and ridiculously catchy chorus, these guys got the order right. "Move Along" and "Answer to Yourself" melds those depressing lyrics ("I don't know what shape I'm in/Living here I just can't win") with some classic punk motifs of simple guitar chords and bass.
My favorite one-two punch is "Flammable" and "Mexico," two songs that can't seem further apart. Flammable with all this bottled up quick energy, sounds like a train about to derail. Then it's back to that dreamy surf rock with Mexico, a song that almost twice as long as the one before it. It slows you down to a crawl, and it's beautiful.
In a year that so far has seen some pretty stellar releases, this is another notch on 2010's music belt.
Download for FREE The Soft Pack's "Answer To Yourself" from Amazon mp3
Tuesday, February 9, 2010
Labeled - Interview with Cherub Records Head Honcho PJ Sykes
Chances are if you follow music, you probably follow a few labels. Labels tend to sign the same bands, so you know if X band is on Y label, Z band on the same label will probably sound just as fantastic.
We fell in love with Merge last year, but we've been fans of Teenbeat, Matador, Slumberland... the list goes on. And those are the biggie indies.
I wanted to take a moment and interview some friends who are doing some very cool work with their own labels. In this series Labeled, we'll chat with some smaller labels and see how they do it.
First up (and on his 30th birthday no doubt) is PJ Sykes, founder of Cherub Records, a kind of bedroom label. I met PJ and his lovely fiancee Melissa this summer at that Merge XX fest. He saved our spot near the front of the stage, where he was snapping pictures (which you can see here.)
You can check out Cherub Records stuff on their website. Most of the free stuff is gone, but if you hear something you like, drop him some cash.
The Basics
Name and age: PJ Sykesalmost 30. (Ed Note: We delayed putting this up, but he's 30 as of today)
Title: I never know what to say here... Founder?
Location: Started in Lynchburg, VA moved to Richmond, VA early '00s
Years running: started officially in 2001 (with roots back to 1996)
So how did this all start? What's the genesis behind Cherub Records?
I was playing in a band called Angels VS Aliens on my friends label called Batty Records. When AVSA was breaking up I started getting interested in releasing some side projects and friends bands. Since Batty Records wasn't really my label I decided to come up with a name to put out records under. It was a very last minute thing... I think I looked around my bedroom and took a handful of words and stuck them in front of word "records". Cherub came from "Cherub Rock" a Smashing Pumpkins song. No real reason other than it sounded good at the time. The reason I started a label was so I could get press. I found it was smarter to contact press as "PJ Sykes from Cherub Records" rather than "hey talk about this band I'm in"
What's your mission/belief statement? What do you hope to accomplish?
Originally the label was all homemade CDrs with artwork that I made by hand. Most of the releases have had handmade artwork for the first batch then photo copied versions later. It started off as a way to put out some funny Kids Techno albums. Then I started to branch out. At one point I was trying to release records by bands that I liked but didn't necessarily record, or play in. Then I realized that cost a lot more money that I was willing to part with... so I did some Compilations instead. Soon after that the label basically became a place for my own music or music that I have a hand in directly.
What are some of the challenges for your label?
The main challenge for my label was been deciding what I what it to be. Now that I'm comfortable with what it's function is it's much easier to run. Many of the early challenges were getting the releases into stores, and once they were stocked... selling them. Now that I can sell them online through iTunes and other websites I don't feel the need to keep physical releases stores. All the bands on the label are projects I'm directly involved in.
What sound are you looking for? What are some bands on the horizon?
I'm into a lot of music and the "sound" of Cherub has changed as I get into different things. Working on finally getting the Graceland Grave Robbers release online. It's being mastered in February.
What are some of your favorite recent releases? What's an album youfind yourself always going back to?
My top 5 from 2009:...And You Will Know Us By The Trail Of Dead The Century Of Self
Akron/Family Set Em Wild, Set Em Free
Vic Chesnutt At The Cut
Fin Fang Foom Monomyth
Lambchop Live at XX Merge (PJ Shot the album cover for this)
I keep going back to Fugazi, Mogwai, Smashing Pumpkins (pre 2000), the first three Foo Fighters albums, My Bloody Valentine "Lovelace", The first three Trail of Dead albums, Rollins Band "Do It", Refused "Shape of Punk To Come", Joy Division, New Order (anything pre Republic)... there's more I'm sure!
Where do you see Cherub in 1 year? 5 years?
1 year - put out the rest of the A New Dawn Fades stuff that is in the "vault"
5 years- put out some one off projects with different people.
Where can I get a Cherub pressed album?
Right now the best way is to download Cherub releases from iTunes or www.cherubrecords.bandcamp.com
Who's doing the pressing? Distribution?
Still all handmade by me or downloads to your computer.
We fell in love with Merge last year, but we've been fans of Teenbeat, Matador, Slumberland... the list goes on. And those are the biggie indies.
I wanted to take a moment and interview some friends who are doing some very cool work with their own labels. In this series Labeled, we'll chat with some smaller labels and see how they do it.
First up (and on his 30th birthday no doubt) is PJ Sykes, founder of Cherub Records, a kind of bedroom label. I met PJ and his lovely fiancee Melissa this summer at that Merge XX fest. He saved our spot near the front of the stage, where he was snapping pictures (which you can see here.)
You can check out Cherub Records stuff on their website. Most of the free stuff is gone, but if you hear something you like, drop him some cash.
The Basics
Name and age: PJ Sykes
Title: I never know what to say here... Founder?
Location: Started in Lynchburg, VA moved to Richmond, VA early '00s
Years running: started officially in 2001 (with roots back to 1996)
So how did this all start? What's the genesis behind Cherub Records?
I was playing in a band called Angels VS Aliens on my friends label called Batty Records. When AVSA was breaking up I started getting interested in releasing some side projects and friends bands. Since Batty Records wasn't really my label I decided to come up with a name to put out records under. It was a very last minute thing... I think I looked around my bedroom and took a handful of words and stuck them in front of word "records". Cherub came from "Cherub Rock" a Smashing Pumpkins song. No real reason other than it sounded good at the time. The reason I started a label was so I could get press. I found it was smarter to contact press as "PJ Sykes from Cherub Records" rather than "hey talk about this band I'm in"
What's your mission/belief statement? What do you hope to accomplish?
Originally the label was all homemade CDrs with artwork that I made by hand. Most of the releases have had handmade artwork for the first batch then photo copied versions later. It started off as a way to put out some funny Kids Techno albums. Then I started to branch out. At one point I was trying to release records by bands that I liked but didn't necessarily record, or play in. Then I realized that cost a lot more money that I was willing to part with... so I did some Compilations instead. Soon after that the label basically became a place for my own music or music that I have a hand in directly.
What are some of the challenges for your label?
The main challenge for my label was been deciding what I what it to be. Now that I'm comfortable with what it's function is it's much easier to run. Many of the early challenges were getting the releases into stores, and once they were stocked... selling them. Now that I can sell them online through iTunes and other websites I don't feel the need to keep physical releases stores. All the bands on the label are projects I'm directly involved in.
What sound are you looking for? What are some bands on the horizon?
I'm into a lot of music and the "sound" of Cherub has changed as I get into different things. Working on finally getting the Graceland Grave Robbers release online. It's being mastered in February.
What are some of your favorite recent releases? What's an album youfind yourself always going back to?
My top 5 from 2009:...And You Will Know Us By The Trail Of Dead The Century Of Self
Akron/Family Set Em Wild, Set Em Free
Vic Chesnutt At The Cut
Fin Fang Foom Monomyth
Lambchop Live at XX Merge (PJ Shot the album cover for this)
I keep going back to Fugazi, Mogwai, Smashing Pumpkins (pre 2000), the first three Foo Fighters albums, My Bloody Valentine "Lovelace", The first three Trail of Dead albums, Rollins Band "Do It", Refused "Shape of Punk To Come", Joy Division, New Order (anything pre Republic)... there's more I'm sure!
Where do you see Cherub in 1 year? 5 years?
1 year - put out the rest of the A New Dawn Fades stuff that is in the "vault"
5 years- put out some one off projects with different people.
Where can I get a Cherub pressed album?
Right now the best way is to download Cherub releases from iTunes or www.cherubrecords.bandcamp.com
Who's doing the pressing? Distribution?
Still all handmade by me or downloads to your computer.
Friday, February 5, 2010
What We're Listening To - Vampire Weekend's Contra
I'm on the fence about Contra.
I've listened to it over and over and over again. And I can't quite peg it. But something is wrong with it. I dunno. Maybe attacking me first out the gate by rhyming horchata and balaclava isn't the way to get me to like you. Yes, you're smart. Don't flaunt it.
But then there are songs like California English and the Diplomat's Son, brimming with Afro Caribbean beats and funk. Don't even get me started on Cousins. That is how you make a pop song people.
But I feel like every other song puts me in a bad 80s movie. Maybe I'm asking too much.
Whatever it is, I can't stop listening to it. Buy at your own caution.
I've listened to it over and over and over again. And I can't quite peg it. But something is wrong with it. I dunno. Maybe attacking me first out the gate by rhyming horchata and balaclava isn't the way to get me to like you. Yes, you're smart. Don't flaunt it.
But then there are songs like California English and the Diplomat's Son, brimming with Afro Caribbean beats and funk. Don't even get me started on Cousins. That is how you make a pop song people.
But I feel like every other song puts me in a bad 80s movie. Maybe I'm asking too much.
Whatever it is, I can't stop listening to it. Buy at your own caution.
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