2007: The Year In Music

These are the albums in 2007 that caught my ears, peaked my interest and took up space on both my iPod and computer. If something you know of isn’t on here, it was either too terrible to mention, or I didn’t listen to it. Of course, the ratings are out of 5 stars and my own opinion. For a complete list of music releases this year, go here.

And now, without further adieu…

Best Release of 2007: In Rainbows- Radiohead (*****)

Jazzy, dynamic, and confident describes my pick for the best album of 2007. Radiohead’s In Rainbows did more than blow away the competition, it completely obliterated it. While the album will be most known for its unconventional manner of release, one can’t ignore the plethora of strong arrangements here. From the jangly “Bodysnatchers” to the haunting “Videotape,” the songs represent time well spent on a three year hiatus as well as a band, a full decade after their biggest release, seeming fully confident and excited to make these songs. Don’t believe me? Listen to Thom Yorke’s controlled, but passionate vocals on “Nude” and then tell me these songs are the work of a band struggling with their craft. Nigel Godrich’s meticulous production job allows listeners to really sink their teeth into all that’s going on in these songs, making it a clusterfuck for your headphones. Hands down, the strongest release goes to one of the most innovative rock bands still making music today.

Key Cuts- Bodysnatchers, Nude, Videotape

Best Debut: Bend To Break- The Color Fred (***½)

When I heard Fred Mascherino split from Taking Back Sunday and did so to pursue a solo career, my stomach clenched just a little bit. For better or worse, I really wanted him to suck it up because his voice complimented their sound perfectly (Better than John Nolan, I know it’s blasphemy) and because I didn’t think he was up to the task of fronting himself. Boy, did Bend To Break prove me wrong. This album is filled with the most infectious hooks this year, as well as a great overall power-pop feel. Mascherino’s gravely voice wails against surprisingly heavy chunks of guitar on tracks like “If I Surrender” and “Complaintor.” The Color Fred far surpassed my expectations, and I can’t wait to see a different shade on his next release.

Key Cuts- If I Surrender, Hate To See You Go, Don’t Pretend

Best Rock Release: Icky Thump- The White Stripes (*****)

Just when you think the duo of Jack and Meg White had mellowed with 2005’s piano driven Get Behind Me Satan, they pull a 180 and assault our ears with squealing blues and a heavy helping of Zeppelin to boot. Icky Thump is probably the loudest and most raucous Stripes album since their self-titled debut and more than earns its spot as my best rock pick for 2007. Blistering tracks like “300 M.P.H. Torrential Outpour Blues” finds White abusing the hell out of his guitar in that metallic way only he knows how to. However, this doesn’t mean the Stripes have forgone melody. The bouncy “You Don’t Know What Love Is (You Just Do What Your Told)” and the quirky “Rag & Bone” remind us they are just two weird kids with solid storytelling chops. All in all, Icky Thump reminds listeners that sometimes, good writing goes along way.

Key Cuts- You Don’t Know What Love Is (You Just Do What Your Told), 300 MPH Torrential Outpour Blues, Rag & Bone

Best Metal Release: Nocturnal- The Black Dahlia Murder (****½)

2007 was the year that metal gasped for life. While big name artists like Metallica and In Flames promise releases next year, there was nothing that really that flew the flag of bone crushing metal. Except, however, for The Black Dahlia Murder. Nocturnal reminds everyone what evil sounding metal should sound like. Cuts like “I Worship Only What You Bleed” and “Warborn” are completely ugly and twisted nightmares, wretched out by the abrasive vocal chords of Trevor Strand. The band is tight, offering ten tracks of behemoth-sized riffs with gothic tinge solos that just seem to climb and climb. And while they’ll never grow to the heights of their influences, The Black Dahlia Murder are a band that refuse to sacrifice their art. Three albums into their career, it’s evident that the band shows no signs of slowing down.

Key Cuts- What A Horrible Night To Have A Curse, I Worship Only What You Bleed, Warborn

Best Punk Release: New Maps Of Hell- Bad Religion (*****)

In my close circles of friends, I utter the following phrase quite a bit: “The only two punk bands that ever had anything to say about society were The Clash and Bad Religion.” And when their 2004 masterpiece The Empire Strikes First fell on deaf ears about the direction our country was going in, the band decided to get angry. New Maps Of Hell is an furious record, and a call to arms at that. It’s not subtle, nearly all the tracks clock in under 2 minutes, it’s a punk assault. Songs like “52 Seconds” and “Murder” call to mind the band’s hardcore days, and others like “New Dark Ages” exemplify the epic feel and big sound Bad Religion have mastered on later releases. Lyrically, Greg Graffin still exercises his thesaurus in a focused and concise fashion that only adds to their lean attack. And while the band approaches their forties, they still manage to make music that sounds vibrant and pertinent rather than stodgy and conservative.

Key Cuts- Heroes & Martyrs, New Dark Ages, Requiem For Dissent

Best Electronic Release: Year Zero- Nine Inch Nails (*****)

I liked [With_Teeth] but never saw it as groundbreaking as The Fragile. For me, it saw Trent Reznor done with dense and cluttered electronic arrangements, in favor of a more modern rock sound merely accentuated by electronics. In short, a watered down version of the Nine Inch Nails I loved. Year Zero then, was exactly what I was looking for. And me being a sucker for concept albums, well I suppose Reznor couldn’t have read my mind more concisely. Tracks like the sexually charged, white noised infused “Vessel” and the abrasive “My Violent Heart” make up the meat and potatoes of this dense collection of sound collages. It’s Nine Inch Nails at some of its angriest, and not at his most cruise-controlled. It all comes together beautifully for the closing track, “Zero-Sum.” Against a backdrop of white noise, the haunting piano line plays out over small squiggles and bleeps tied together by Reznor’s apocalyptic moan. I wish I could party like it’s Year Zero all the time.

Key Cuts- Vessel, My Violent Heart, Zero-Sum

Best Produced Release: Chase This Light- Jimmy Eat World (****½)

I’ll admit, I had reservations about Butch Vig producing the new Jimmy Eat World album. After all, the man is notorious for placing a glossy sheen on everything he touches. The last thing I wanted was Jimmy Eat World sounding like Garbage. Thankfully, Vig was smart enough to understand these tracks and not let his penchant for polishing get the best of him. Jimmy Eat World crafted large and anthematic songs this time around and Vig was the perfect man to twist the knobs for them. His production is crisp and clear but not compressed. Underlying synthesizers add vibrancy to the chugging “Big Casino,” and the shimmering “Chase This Light” simply sparkles. The album’s standout is the string tinged dirge, “Gotta Be Somebody’s Blues,” where Vig adds just enough reverb to allow the drums to hit hard and Jim Adkins’ voice to pierce our souls. It’s a huge sounding record, one where the production employed matches the heights that the song craft aims for.

Key Cuts- Gotta Be Somebody’s Blues, Chase This Light, Dizzy

Best Comeback Release: Zeitgeist- The Smashing Pumpkins (****½)

Before I delve into this, let me say one thing: people wanted a HEAVY Pumpkins record and they got one. And since Zeitgeist dropped in summer of this year, the jury has been still out on whether or not Billy Corgan rekindling the old Pumpkin flame was a good or bad idea. “Tarantula” sports one of the most driving melodies since “Zero” and “7 Shades Of Black” reminds listeners just how accomplished a guitarist Corgan is. Yet, everyone’s been quick to dismiss the album. I ask why? It’s beefy, big, bold, lavish, and everything that The Smashing Pumpkins have always been. So what if a t-shirt costs $50 at their reunion tour? So what if Billy and Jimmy Chamberlain are the only two original members? They wrote all the material anyway! And the new songs they play are some of the hardest-hitting songs of their career, something that people have been aching for since Adore dropped the electronic bombshell on everyone. My opinion? Sometimes people can get exactly what they want, and still aren’t happy because they’ve built it up so much in their heads. With The Smashing Pumpkins writing songs like the sprawling 10 minute, “United States” I have no doubt that they are here to stay. And if nothing else, it got people to start talking about the band again, making it one successful comeback.

Key Cuts- 7 Shades Of Black, Tarantula, United States

Best E.P.- Is Is E.P.- Yeah Yeah Yeahs (*****)

Quite honestly, there were not too many E.P.s that came out in 2007, but I loved this one just as much as any album of the year. The Yeah Yeah Yeahs really out did themselves with the Is Is E.P. The tracks further pull part the different facets of the band’s sound, they caustic take on 70’s garage punk and their melodic and dense balladeering. “Rockers To Swallow” balances abrasive guitar lines against Karen O’s sand-paper screams while “Kiss Kiss” pushes that sexy sass that only the Yeah Yeah Yeahs know how to deliver. The release is lean, compact, and leaves its mark rather strongly. The highlight, however, is the title track “IsIs,” a track that’s positively hypnotic with its delay soaked guitars, rumbling percussion and ethereal vocals. If more bands made albums as good as this E.P., contemporary music wouldn’t be in the dire state it’s in.

Key Cuts- Rockers To Swallow, Kiss Kiss, IsIs

Most Ambitious: The Alchemy Index Vol. I & II: Fire & Water- Thrice (*****)

It’s a four disc collection of E.P.s that is each themed after the four elements of Fire, Water, Earth, and Air. How could I in good conscience, pick anything but Thrice’s epic, The Alchemy Index? They released Fire and Water, the first half of the collection and we’ll have to wait till next year to hear the rest. However, the LA four piece have done good to musically manifest the qualities of these elements within their song craft. The songs on Fire bludgeon and sear eardrums with little mercy. “The Flame Deluge” acts as an endless wall of noise, devastating all in its path. Elsewhere, Water consists of textured and large sounding movements, accentuated by electronics and keyboards. Such sounds give ballads like “The Whaler” a large and spacious feel. Thrice has pushed their sounds to their limits, fully immersing themselves in a collection of songs that is an expansive and grand undertaking. And we only have part one.

Key Fire Cuts- Firebreather, The Flame Deluge
Key Water Cuts- Digital Sea, The Whaler

Most Experimental: The Needles, The Space- Straylight Run (***½)

Everything AND the kitchen sink seems to describe Straylight Run’s new album, The Needles, The Space. Here, it sounds like the Nolan siblings and the rest of the band seem to have been listening to tons of bands a la Neutral Milk Hotel. This record stretches the band’s piano rock styling, adding an avalanche of instruments from horns to accordion. The songs are schizophrenic too. “Soon We’ll Be Living In The Future” hovers around indie-pop one minute and cold synthesizers the next. However, the one thing that has remained in tact is the band’s penchant for tight song writing. With all the new additions, songs like “How Do I Fix My Head” and “Still Alone” come across as honest despite the bizarre instrumental flourishes. All in all, it makes for a wonderfully fresh sounding release, even if it’s less epic in scope and less memorable than their debut.

Key Cuts- Soon We’ll Be Living In The Future, How Do I Fix My Head, Buttoned Down

Most Eclectic: The Mix-Up- The Beastie Boys (****)

Since Paul’s Boutique, there is nothing that The Beastie Boys haven’t done to push their sound forward or at least refine it. Here, on The Mix-Up, the Beasties certainly refine their instrumental work and show us that their twisting arrangements can be just as enticing as when we hear them cut up and sampled. As a whole, the material is unlike anything the Beasties have done before. While still borrowing heavily from 70’s jazz and soul, there is an urban and gritty quality to these rather funky tracks. Songs range from the bouncy “B For My Name” and to the distortion soaked “Freaky Hijiki.” The band has shown us there is no type and style of music they can’t handle, from mainstream rock, hip-hop, to hardcore punk and jazz. Tracks like the lush “Off The Grid” remind us that the Beasties are all about tweaking their collective creativity just enough to break new ground. And to think, it’s all instrumental.

Key Cuts- B For My Name, Freaky Hijiki, Off The Grid

Most Critically Praised: The Reminder- Feist (***)

There wasn’t a major publication, internet message board, or blog that didn’t cream themselves over Leslie Feist and her album, The Reminder. However, I still don’t understand the buzz behind the mainstream’s sudden fixation with Feist. Sure, she was on that Apple commercial but does the music itself warrant the heaps of accolades? Well for starters, The Reminder is certainly an easy disc to listen to and her rather dry voice is distinct enough to separate her from the crowd. Sonically, the production is a bit needlessly lo-fi for the type of indie-pop she’s going for but it’s nothing terrible. And while catchy numbers like “My Moon My Man” and the folky “1234” have the internet blazing, it’s the quirky piano ballad “Brandy Alexander” that merits repeated listens for me. With its tumbling melody, Feist’s soft but present voice reflects about parallels drawn to one of my favorite Chuck Palahiuk characters. That being said, I can’t argue with the pounds of praise The Reminder has earned for I’m a fan myself, even if I feel the buzz is a little inflated.

Key Cuts- My Moon My Man, 1234, Brandy Alexander

Most Critically Crapped On: Lead Sails Paper Anchor- Atreyu (*)

Atreyu were always, in my opinion, unfairly crapped on by the mainstream and music elitists. I for one found their first two albums to be a thing of beauty, both heavily influenced by Gothenburg metal alongside rich prose from Alex Varkatzas. Now, that is all but obliterated and I can’t help but agree with those same voices that trashed them earlier in their career. I don’t use the term “sell-out” too much, but Lead Sails Paper Anchor is very much a “sell-out” album. It reeks of a band that was tired of created music and rather manufactured a collection of songs that was bland and watered down. Here, rather than demons from hell, they sound like a Bon Jovi cover band. Even the cuts that seem some what interesting, like the rumbling “Doomsday” and “Can’t Happen Here,” fall on their face because of rather contrived sounding lyrics. The band doesn’t sound like their out to express anything except a top 40 hit which they probably won’t achieve because Clive Davis isn’t producing them. For all the hating they’ve endured for being “hacks,” I can now say the critics have finally got it right since the band looks like they are going through the motions. It’s sad to see one of your favorite bands fall but in this case I can’t help but crap on them further. In this case, Atreyu deserves it.

Key Cuts- Doomsday, Can’t Happen Here, Lead Sails (And A Paper Anchor)

Biggest Surprise: Era Vulgaris- Queens Of The Stone Age (****)

I remember when I first heard Era Vulgaris. I thought, “Jesus Christ, when does this album take off!” My first listens were frustrating, there was no standout like “No One Knows” or “’You Got A Killer Scene There Man…’” To add to it, Josh Homme and Co. had crafted a sludgy, abrasive, and caustic album. I hated it. I hated that it wasn’t anything like “Songs For The Deaf” and I hated that the lead single had an asinine title like “Sick Sick Sick.” Then as I was out walking my dog one day, the brilliance of the album hit me. It’s not an album of hooks, or technicality, it’s rather an album of rhythm. Era Vulgaris is chock full of off kilter and jangly jams like “Turning On The Screw” as well as eerily hypnotic numbers like “Into The Hallow.” Homme lead his revolving door militia of musicians to create a quirky, unfriendly, and surprisingly dancey album. “Misfit Love” is a raw and dirty garage rock number that reminds you of some of the dingiest and grittiest parties you’ve been at. The album is filthy, sleazy, appalling, and ugly…and I think it’s great.

Key Cuts- Turning On The Screw, Into The Hallow, Misfit Love

Biggest Letdown: No World For Tomorrow- Coheed & Cambria (***)

I was beyond excited for the concluding chapter of Coheed & Cambria’s sci-fi rock epic, aptly titled No World For Tomorrow. However, as the album worn on, I couldn’t help but feel under whelmed. The sound wasn’t BIG like its predecessor and the epic sense that pervaded their other releases felt strangely absent. I’ve always thought that the story that Coheed & Cambria told was just as important as their lyrics and instruments and I failed to care for any of it on this release. Fans of band’s sing-song singles should have no problem diving into the material here, but I expected more depth in arrangements. The non-stop Rush by way of Queensrÿche worship on the album’s title track feels canned and contrived rather than the big opening it’s supposed to be. Oddly enough, the middle of the album is the most listenable. The anthematic, Van Halen-like “Feathers” has the biggest sounding chorus on the album while the ominous “Mother Superior” brings the only point of darkness desperately absent in these songs. Rather than going out with a bang, Coheed & Cambria decide to go out with a whimper alongside their buried drums, weak guitar tones, and rather average storytelling.

Key Cuts- Feathers, Mother Superior, Gravemakers & Gunslingers

Biggest Blog Buzz: Ga Ga Ga Ga Ga- Spoon (***½) & Sky Blue Sky- Wilco (***½)

Every music blog that I frequent (other than my own of course) plugged either Spoon or Wilco at nausea, even delegating either of the two as “Best Ofs” for the year. Granted, I think Ga Ga Ga Ga Ga and Sky Blue Sky are both fine records but I think it’s a lots of hype over something that isn’t too ground breaking. Both bands seem to fancy themselves as being really influenced by The Beatles, almost to the point where its derivative. Spoon attempts to fashion McCartney-esqe pop songs while Wilco attempt George Harrison-like guitar arrangements alongside John Lennon weirdness. The results are discs that are fun to listen to, maybe even contain a few catchy melodies, but don’t stand out too much. In fact, the only thing they have going for them is that they are tight and well made, not incredibly innovative. And while music is a far cry from horrible, it just seems like the elites in the blogging community would fancy themselves at the forefront of cutting edge music rather than simply decent.

Key Cuts off Ga Ga Ga Ga Ga- You Got Yr. Cherry Bomb, The Underdog, My Little Japanese Cigarette Case
Key Cuts off Sky Blue Sky- Either Way, Impossible Germany, On & On & On

The Album That Should Have Caught On: Under The Boards- Saves The Day (*****)

Chris Coley of Saves The Day has a serious set of demons that his three part epic is trying to excise. Under The Boards is the middle and perhaps might be the darkest chapter in this album cycle. Conley refers to this part of the story as “reflection and remorse” and while that might be the case, there is nothing here to deter listeners from finding a wealth melodies, and solid song writing. The album hits hard with the bouncy “Get Fucked Up” and “Bye Bye Baby” to the gut wrenching and wretched sounding “Woe.” It’s an album of extremes, where Conely and guitarist Dave Soloway trade off between the band’s punk influenced assault and gentle atmospherics like the ons found one “Stay.” The album is rife with lush harmonies and surprisingly intricate guitar work as well as a solid rhythm section and poignant but accessible lyrics about Conely’s personal struggles. The disc ends with the eerie “Turning Over In My Tomb” allowing listeners to feel the claustrophobia within Conely’s own soul as we wait for Daybreak, the next chapter in his trilogy. For what it’s worth, it’s a gem that’s been overlooked by a great deal of people and I highly recommend it for it’s honestly and musicality.

Key Cuts- Get Fucked Up, Stay, Woe

Worst Release: Good Morning Revival- Good Charlotte (Ø)

For what it’s worth, I own two Good Charlotte records. I listen(ed) to them because they had great hooks and they appeared to be making music that they wanted to make, not what was necessary popular. Good Morning Revival, is not an evolution, experiment, or maturation. It is a calculated shift in sound to capitalize on this dancey pop-punk thing bands like Panic! At The Disco and Hellogoodbye have popularized in the mainstream. Good Charlotte if you decide to make another record to hop onto a bandwagon with, kill yourselves. I’ve got no respect for that and neither should your fans.

Key Cuts- Any other Good Charlotte CD that reminds fans that they were always a little poppy, always a little fun, but never this disgusting.

The following releases were all albums that I really enjoyed in 2007 and receive a 3/5 and above from me (for whatever that’s worth to you). Some are better than others and some were close to being listed up top for specific categories. Regardless, all of them deserve a listen at least once.

1997- A Better View Of The Rising Moon (***½)
A New Found Glory- From The Screen To Your Stereo Pt. II (***½)
Against Me!- New Wave (***)
Amy Winehouse- Back To Black (***½)
Arcade Fire- Neon Bible (***)
Air- Pocket Symphony (***½)
Blaqk Audio- CexCells (****½)
Bloc Party- A Weekend In The City (****)
Bright Eyes- Cassadaga (***)
Bright Eyes- Four Winds E.P. (***½)
Buckethead- Pepper’s Ghost (****)
Chiodos- Bone Palace Ballet (***)
Dashboard Confessional- The Shade Of Poison Trees (***½)
Dropkick Murphys- The Meanest Of Times (***)
Dustin Kensrue- Please Come Home (***)
Elliott Smith- New Moon (****½)
Foo Fighters- Echoes, Silence, Patience & Grace (****)
Grinderman- Grinderman (***½)
The Good, The Bad & The Queen- The Good, The Bad & The Queen (***)
Ingrid Michaelson- Girls & Boys (***)
Interpol- Our Love To Admire (****)
Jay-Z- American Gangster (***½)
Kanye West- Graduation (****)
The Killers- Sawdust (***½)
Korn- Unplugged (***½)
Korn- Untitled (***)
Linkin Park- Minutes To Midnight (***)
Maroon 5- It Won’t Be Soon Before Long (***)
Megadeth- United Abominations (***)
Modest Mouse- We Were Dead Before The Ship Even Sank (***½)
Motion City Soundtrack- Even If It Kills Me (***½)
The Nightwatchman- One Man Revolution (***)
Nine Inch Nails- Y34RZ3R0R3M1X3D (***½)
Nora Jones- Not Too Late (***½)
of Montreal- Hissing Fauna, Are You The Destroyer? (***)
Prince- Planet Earth (***½)
Ryan Adams- Easy Tiger (***)
Rivers Cuomo- Alone: The Home Recordings Of Rivers Cuomo (****)
Say Anything- In Defense Of The Genre (****)
She Wants Revenge- This Is Forever (***)
Sigur Rós- Hvarf/Heim (****½)
Tegan & Sara- The Con (***½)
Thursday- Kill The House Lights (***½)
Tiger Army- Music From Regions Beyond (****)
The Used- Lies For The Liars (***½)
Yellowcard- Paper Walls (***)

The 2007 Mixtape

To those that celebrate this oh so plastic and fake holiday, I offer my tidings and good cheer as meager as it seems. As a small present, here is a compilation of my favorite tracks from 2007. I’m too lazy to upload a zip for you all, so find them with your legal or illegal musical avenue of choice.

Merry Xmas.

The Best Of 2007 (1 hour & 17 minutes)

Song For Clay (Disappear Here)- Bloc Party
7 Shades Of Black- The Smashing Pumpkins
Stiff Kittens- Blaqk Audio
You Don’t Know What Love Is (You Just Do What Your Told)- The White Stripes
(Fork & Knife)- Brand New
Nude- Radiohead
Let It Die- Foo Fighters
Woe- Saves The Day
New Dark Ages- Bad Religion
Gotta Be Somebody’s Blues- Jimmy Eat World
Superfriend- Rivers Cuomo
Calling All Cops- Motion City Soundtrack
Pretty Handsome Awkward- The Used
Misfit Love- Queens Of The Stone Age
Ladies & Gentlemen: My Brother, The Failure- Thursday
I Worship Only What You Bleed- The Black Dahlia Murder
Mother Superior- Coheed & Cambria
The Flame Deluge- Thrice
Zero-Sum- Nine Inch Nails

Xmas Party 2007: The Musical Guests

Much in league with blogs with greater notoriety than myself, I’ve decided to get somewhat into the holiday spirit of a holiday I truly hate. However, even as Grinchy as I am I cannot deny the good fun had at such events. While I hate the actual holiday, I think Xmas parties are the perfect time to invite everyone over and allow them to either:

A) Have some quiet time to relax away from the buzz of the season.

B) Let them get shitfaced.

All that aside, I’d love to invite some of my idols in the music world to a shindig at my place. While I feel I’d be a terrible host, offering horrible food and less to drink than they’re accustomed to, I know I’d relish the opportunity to pick their brain and swap stories with some of the people that grace my eardrums during the week.

So, without further adieu…

The Guest List

10. Axl Rose (Guns N’ Roses)

Simply put, I’d invite the son of a bitch over, and refuse him entry into the most ill’nest party this side of Rite Aid until he handed over a finished copy of Chinese Democracy. The holidays bring out the beast in people, and I’m no exception.

9. Meg White (The White Stripes)

I suppose every party needs that girl who’s so ugly she’s cute. Meg is that girl times a million. Not to mention she’d probably be the one girl that would come in the most hideous Christmas sweater known to man. Chances are, it’d be red and white.

8. Kirk Hammett (Metallica)

As the only sane member of Metallica, Kirk has a special place in my heart. While I’d probably initially grill him about the progress of their next album, I think Kirk is one of the people that would need to de-stress more than anyone. Hang around Lars Ulrich long enough, I think anyone would go crazy.

7. Davey Havok (AFI)

Were Davey Havok to come to my party, I’d just need to stand him in the corner and drape lights over him. There’s no need to buy a Christmas tree due to the fact that his ridiculous make up would bring enough color to the room. Oh, and he’d have to sing “Love Like Winter” all night long.

6. Karen O (Yeah Yeah Yeahs)

There’s always one woman that decides to get smashed and lead the festivities in karaoke, eventually ending up puking in the toilet half way into the night. I think Karen O would be superb at this, and she’d love me like I love her for it.

5. Prince

Prince would bring the party. The dancing, the music, the women, and the FUNK would all burst through my small apartment doors all courtesy of the Purple One. No one really comes close to the unbridled energy of this guy and that’s what precisely what my party needs.

4. Rivers Cuomo (Weezer)

Every party needs a wallflower and Rivers Cuomo is the quintessential wallflower. And much like he describes his second album as “being drunk at a party and spilling your guts out” I’m sure the same thing would happen here. Rivers, it’s ok. You can cry in my arms and I’ll do my best to talk you through it.

3. Matt Skiba (Alkaline Trio)

Much like Rivers’ unflinching honesty, every party needs an angry bitter drunk. They need a person that will scare everyone else with how much beer they’ve been drinking because of their toxic relationships. I hope Matt won’t mind flying into SFO from O’Hare.

2. Amanda Palmer (The Dresden Dolls)

I need to know that there is at least one attractive girl that might get plastered and want to make out under the mistletoe.

1. Jesse Lacey (Brand New)

Big surprise, my musical idol makes the top of the list. It’s selfish, but so is the entire premise of this list. Chances are, I’d ignore all my guests and just pick his brain about his music, his band, and his thoughts until he left and I was stuck cleaning up after everyone. And who knows, maybe he’d get up there for a rendition of “O Holy Night” before the evening ended.

Nine Inch Nails- Y34RZ3R0R3M1X3D (***½)

Trent Reznor has had one hell of a year.

In April, the mastermind behind Nine Inch Nails dropped Year Zero, a concept album about an oppressed society set to some of his most schizophrenic break beats yet. Year Zero’s punching glitches and electric howls found Reznor regaining some of his confidence after 2005’s somewhat undercooked “With Teeth” and everyone from critics to long time fans took notice.

Since then, Reznor has been completely outspoken against how Interscope records is ripping fans off. Reznor’s dissatisfaction with his label reached the breaking point while on the road touring. He wanted to make all his Year Zero master tracks available for remixing amongst fans, but the label was tight fisted. They told him it violates a number of copyright laws and it would hurt the label from a commercial standpoint.

Pissed off, Reznor decided to do what he always does when he’s angry and put out another album.

Y34RZ3R0R3M1X3D effectively fulfills his contract with Interscope records and furthers his hope of artists remixing “Year Zero” to their own creative whims. Nine Inch Nails material has always been subjected to a great deal of remixing, with even Reznor himself taking the reigns and radically reinventing his own tracks. However, Y34RZ3R0R3M1X3D features a wide array of artists, each putting diverse spins on the material found on Year Zero.

The collection begins with a raucous remix of “HYPERPOWER!,” newly dubbed “Gun Shots By Computer.” Saul Williams raps over the military-like drum pattern, only becoming fiercer as the song falls into jagged distortion. It shakes listeners, letting them know that there’s innovation and thought found on Y34RZ3R0R3M1X3D and not just a cash-in opportunity to sell you the same songs you already own. Listeners won’t find a very cohesive listen on Y34RZ3R0R3M1X3D due to the different ways these artists choose to interpret these tracks, but this hardly affects the final product.

Modwheelmood provides a complete re-imagining of “The Great Destroyer” that tends to drift along rather than assaulting listeners. While the original track was rampant with electronic squiggles as well as thick and dense synthesizers, this version begins with an anemic acoustic guitar and Modwheelmood cutting nearly everything else out of the mix. Reznor’s fragile voice sneaks itself in and the progression seems to climb as Modwheelmood adds eerie echoes, rumbling bass, chunky drum patterns. The chorus has been completely refashioned and delay saturated effects give Reznor’s voice an almost ethereal presence as he sings, “I am the great destroyer!”

Interestingly to note is how fervent Reznor is about fans remixing his own work. Past remix albums such as the Fixed E.P. and Further Down The Spiral have found Reznor enlisting only big name producers, but on Y34RZ3R0R3M1X3D Reznor actually uses a remix created by one of his own fans, going by the name Pirate Robot Midget.

His remix of “My Violent Heart” might be the strongest track on the entire collection. Sporting an almost fetish-like use of static and white noise, Pirate Robot Midget transforms “My Violent Heart” from a slow lumbering beast, into a bludgeoning and abrasive monster. The static simply washes over Reznor’s biting and sinister voice, making the remix almost feel sexy and tense despite how dissonant the sounds are.

And like most remix albums, there is a definite dance under current that creeps its way into Y34RZ3R0R3M1X3D. Ladytron erases nearly all the punk flavor from “The Beginning Of The End” accentuating pulsing bass lines and driving rhythms. Her backing vocals add a ghost-like atmosphere that pulls listeners into its sway. There strong melodies at work in these remixes and they don’t come across as synthetic sounding or poppy. Elsewhere, The Faint makes “Meet Your Master” sound like the love child of Daft Punk and KITT from “Night Rider.” The results are intricate enough to keep listeners coming back for more.

And although it makes for a refreshing listen, not everything works perfectly on Y34RZ3R0R3M1X3D. Epworth Phones completely destroys “Capital G,” cutting Reznor’s voice into so much staccato that it actually distracts the listener from the track itself. There’s also Olof Dreijer’s pointless 14 minute instrumental version of “Me, I’m Not,” aimlessly meandering around without ever giving listeners a real hook. While the original reveled in an almost hypnotic and fleeting melody, Dreijer’s remix feels more like an excuse to mess around with canned sound effects in the studio than his take on the original track.

Flaws aside however, Y34RZ3R0R3M1X3D is an eclectic showcase of artists playing to the strengths of these songs. Those involved with this project created remixes that don’t sound like recycled versions of the originals, but entities onto themselves. And if nothing else, the album further proves the strength of the arrangements found on Year Zero.

With albums like this and Year Zero being so well made, let's hope that Trent Reznor is just as angry in 2008.

Sounds Like: Richard D. James Album (Aphex Twin), Year Zero (Nine Inch Nails), Kid A (Radiohead)

Key Cuts: The Great Destroyer (remixed by Modwheelmood), My Violent Heart (remixed by Pirate Midget Robot), Meet Your Master (remixed by The Faint)

Author's Note: This review appears in a recent issue of the Sonoma State Star. As this is the author's own writing, and he's the A&E Co-Editor of the Sonoma State Star, and this is his own blog, he posts it here with express consent of himself. Duh.

Radiohead- In Rainbows Disc 2 (****½)

With the dreaded nasty monster that is Final Exams over and done with; I can come back and update the masses on my musical exploits. As such, there’s quite a bit to catch up on, particularly once piece of music that got me through the hard, hard times I suffered through the past weeks.

As the distribution began for the discbox version of In Rainbows began, most people like myself (that didn’t shell out 80 pounds) only cared about the b-sides disc. For here on this disc was a collection of songs, a sizable collection of songs that were deemed unfit for the whole album that’s had the internet buzzing since it’s October giveaway. Curiosity and agitation aside, the songs found on In Rainbows Disc 2 are far from throwaway tracks.

Listening to them, one can’t help but be mesmerized at how seductive, jazzy and confident the band sounds during these songs. I think the In Rainbows sessions as a whole were the best thing to happen to the band, allowing them the stretch their legs just enough while enjoying themselves a bit, something that probably hasn’t happened in a decade. And interestingly enough, this collection of b-sides might be a bit more experimental than some of the songs found on the actual album.

Teased during Nigel Godrich’s “From The Basement Tapes” mini-concert the real highlight on this collection is “Down Is The New Up.” A tension filled string number lead by a sassy piano line, nimble bass work, and Thom Yorke’s signature tenor all at once pulls listeners in. There’s a sway and smoothness to this track that all at once gives it an edge as well as accessibility. And for as gloomy as the number is, the band sounds like their actually having fun which translates well to your eardrums. Rumor has it that the band left if off because it didn’t “fit” on the record.

Pardon my bluntness Radiohead, but I think this song would have followed “Nude” nicely.

While “MK1” and “MK2” are essentially cutting room floor interludes, they are breathy and ethereal snippets that continue to prove Radiohead just love to shape sound. They’re the only moment on the collection that feels like it’s been thrown together, because other than that it’s surprisingly cohesive.

“Last Flowers To Hospital,” a track that’s been labored over since the OK Computer days, follows in the vein of “Videotape.” A gentle piano progression helps put focus on Yorke’s mournful lyrics and somber voice. His singing just seems to climb and climb, much like something you might find on The Bends.

A lot like some of the tracks on In Rainbows, many of these tracks borrow the bizarre and off-kilter rhythms that this band love to hook you in with. “Bangers + Mash” could be somewhat of a cousin to “Bodysnatchers,” but the grungy and almost funky guitar work of Jonny Greenwood and Ed O’Brien creates something downright spazzy. Yorke’s half-rapped lyrics add just amount of swagger to a highly political song. It’s dissonant, full of melodies that are just a step off and bridge that brings it to a halt, yet further hammering home across that sometimes, a little weirdness goes a long way.

The rest of the collection revels in rich uses of feedback layered over Yorke’s cutting voice. “Go Slowly” is a vibrant yet dense soundscape under pinned yet again by a melancholy and ghost-like voice. The track lumbers along, providing listeners with a rich and intricate number that gives more and more upon each listen. Elsewhere, “Up On The Ladder” showcases gritty and swirling guitar lines over eerie keyboards. It’s probably the angriest the band gets on the collection if not the most volatile.

When a band’s b-sides can stand up proudly next to their album material, I think it’s just a testament to how in control of their craft they are. Radiohead are no exception, showing their fans that their recording sessions are full of vibrant experimentation and quality workmanship.

As a fan, I hope to get a CD copy of these songs that isn’t attached to an 80 pound collection.

Key Cuts: Down Is The New Up, Go Slowly, Last Flowers Till Hospital

Sounds Like: Sea Change (Beck), In Rainbows (Radiohead), Adore (The Smashing Pumpkins)

My $0.02: Finch’s Reunion

I’ll never forget getting into Finch. It was my senior year of high school and I’d blast them through my headphones during my studio art class. I’d revel in their wonderfully infectious take on melodic hardcore by way of Glassjaw. I was married to their sound on What It Is To Burn, the soaring harmonies, the crashing riffs, and the gentle atmospherics. It was impeccable, an album that really could do no wrong at any turn.

I became a fan right before they dropped the sinister and jazzy, Say Hello To Sunshine.

I fought for that record, because it seemed I was the only one that “got it.”

The band called it quits shortly after, seeing that their gamble in sound alienated every but people like me and to put an end to the ugly in-fighting that was taking place both on stage and off. From what I understand of Finch’s final shows, the atmosphere was extremely toxic with the band failing to play big hits such as “Letters To You” and “Stay With Me.” The announcement of their hiatus was merely a note on their website, saying thanks and all that jazz, but you could tell the band was burnt out. It was a damn shame.

News of their recent reunion and one-off concert the day after Thanksgiving was good for a variety of reasons. The first being most obviously, that the band has reformed and delivered the goods. While they sport a new bassist and drummer, the core creative team of Nate Barcalow and Randy “R2K” Strohmeyer are still intact. Fan reports indicate that the band actually seemed to interact with the crowd, cracking jokes and seeming to enjoy themselves

The next reason is that the band seemed to have finally embraced their musical past. The set list in Pomona consisted of about half of What It Is To Burn and Say Hello To Sunshine material. They played hits like “Letters To You,” songs that they vowed never again to play and this time for fans and new comers alike. This is a level of comfort they never attained while touring the first time and it should be commended.

Finally, there is a chance at new material. If it’s not clear enough from my senseless babbling that I love all the material this band has to offer, than let me iterate that it is and I want more. Many band members have said to the press that this is not just a one night thing; they definitely want to see where this goes. After playing Bamboozle next year, it’s rumored that they’ll be going back into the studio to record.

As someone who fell in love with them 3 years ago, saw them rise and fall, I never thought I’d be saying this.

There is a miniscule fear to entertain though, and that’s of a reunion album recycling the old sound of What It Is To Burn just because of the fact that it will sell. Still, the more I think about it, this is a band that wrote “Dreams Of Psliocybin” and the just plain weirdness of it makes me think there isn’t anything they won’t try once. Ideally, they’ll find a way to channel both sides of their sound into further experimentation.

In any case Finch, I just want you to know that I missed you.

Thrice- The Alchemy Index Vol. I & II: Fire & Water (*****)

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Sigur Rós- Hvarf/Heim (****)

On days where the rain clamors against the sidewalk in fits of rage and the wind is so cold is cuts through my layers like razor blades, I stay indoors. With minimal lights on and perhaps my favorite heated beverage of choice, I look out at the darkened landscape. I revel in the various hues of gray and black that litter the clouds because for me, such days are strikingly beautiful amidst the freezing cold.

It is in these moments, that Sigur Rós make the perfect musical accompaniment.

Hailing from Reykjavik, Iceland the gentlemen from Sigur Rós have been crafting their frigid take on minimalist post-rock since about 1997 and their new release Hvarf/Heim is no exception. Hvarf/Heim is a double disc release, culling together unreleased tracks, rerecorded arrangements of old favorites, and an acoustic performance the band played for their close families in Iceland.

The collection is a consistent affirmation of the often experimental, yet minimal compositions that these men excel at. While the collection itself doesn’t necessarily break them out of the comfortable niche they’ve created for themselves or push their sound forward, they still prove that their B-sides are worthy companions to their A-sides.

Hvarf begins with one of the standouts on the collection, “Salka,” a gentle track that begins with an ethereal guitar line and fragile xylophone melody. The song rises and dips, providing listeners with dense soundscapes that call to mind images of Sigur Rós’ frozen landscapes in Iceland. Guitarist/Vocalist Jón Þór Birgisson’s falsetto cuts the air with its smooth, airy presence while Orri Páll Dýrason provides some tumbling percussion to round out the track.

The treat is listening to Birgisson’s often melancholy croon as another instrument the band employs in its compositions. Birgisson sings in a language the band dubs Hopelandic. While some believe it’s derived from an Icelandic tongue that’s incredibly archaic, Hopelandic’s present incarnation renders it a hodgepodge of irrational syllables strung together. The result is that while Sigur Rós doesn’t reach out with a specific message in their lyrics, the pay off is on audiences appreciating Birgisson’s voice as an integral part in these arrangements.

Elsewhere, the shimmering “Í Gær” begins with resonating wind chimes that have been enhanced through studio trickery and looped alongside a jumpy keyboard line. It carries on until about a full minute in, where the drums and bass kick in on a downbeat and positively explode in sound. Swirling harmonies and fuzzed sounds are provided by Birgisson implementing an e-bow on his electric guitar. Soaked in delay effects, this method of playing his guitar creates dense and echoing sounds.

The guitar tones range from delicate to heavy, but never in a jagged sense. Making liberal use of the e-bow allows Sigur Rós to create atmospheres that feel like patches of fog on a winter day. There is fluidity rather than a metallic tone to their guitar. Another highlight is a rerecorded version of the band’s classic, “Von,” where they exploit this thick resonance to its fullest, nearly doubling the original track’s running time.

And if Hvarf is typical for Sigur Rós, than Heim will be the real surprise for listeners. The entire Heim disc is an acoustic concert the band treated their close friends and family to in April of 2007.

As a whole, the arrangements on Heim come across as far more organic and frail than the material on Hvarf. The band chooses to begin the concert with “Samskeyti” one of my favorite cuts originally found on their album ( ). With it’s spiraling and ascending piano line, the track builds alongside swelling strings until it finally plateaus and shrinks back again into quiet. The track is all at once stripped down from its studio incarnation, but not necessary raw in the way most songs are when performed acoustically.

The way Sigur Rós have chosen to leave their amps unplugged for this performance really emphasizes their classical influences. It further illustrates how melodic the band decides to make their arrangements. The real gem on Heim is the band’s rendition of “Vaka.” The track opens with muted horns, a jingly glockenspiel melody, and climbing strings. Birgisson’s tender voice gently soars alongside the velvety strings, giving listeners and almost dream-like composition. And unlike most live recordings, the absence of crowd noise really allows listeners to take in the music as if they were actually present.

Sigur Rós’ double disc collection succeeds on many levels. It’s perfect at showcasing the best the band has to offer while allowing audiences who haven’t experienced their live show, to take in the intimacy of what such an event might be like. And due to the dense nature of Sigur Rós’ song craft, it’s a great avenue for those that are curious about these Icelanders. The band’s decision to divide Hvarf/Heim into its electric and acoustic parts allows listeners to easily digest a band that averages 7 minute songs in two concise discs.

And who knows, maybe new listeners will be like me and find Sigur Rós to be the perfect companion to any freezing day.

Sounds Like: One Day I'll Be On Time (The Album Leaf), The Earth Is Not A Cold, Dead Place (Explosions In The Sky), ( ) (Sigur Rós)

Key Cuts: Salka, Í Gær, Vaka

Author's Note: This review appears in a recent issue of the Sonoma State Star. As this is the author's own writing, and his own blog for that matter, he posts it here with express consent of himself. Duh.

Live: Brand New/Thrice/mewithoutYou @ SJSU Event Center 11/2

Every so often, there are concerts that you really, REALLY psyche yourself up for. You’ve seen the bands before and you’re more than eager to see them again. Rather, you’re bursting at the seams with anticipation. What will they play? Will the venue suit them well?

Perhaps most importantly, will they be as good as the last time I saw them?

I asked myself all such questions before the Brand New/Thrice/mewithoutYou show. Earlier this year, I was able to catch the Brand New/Kevin Devine/Manchester Orchestra show up in San Francisco and I considered it the best concert I’ve ever been to. They played Deja Entendu in its entirety, an album that has defined a lot of my life up until this point, alongside some of their newer material and old fan favorites. The concert hit home personally, and their energetic live show made it a night to remember.

You can see my worry that I’d psyche myself up for a big disappointment this time around.

As for Thrice, I haven’t seen them since Warped Tour 2005 and though they played a fantastic set, I was curious as to what they would play as their sound has drastically changed since they dropped both Vheissu and The Alchemy Index (of which I will review soon). I didn’t know what to expect, and it scared the crap out of me. For the entire wait in line, aside from cracking fairly inappropriate jokes alongside my buddies, my insides churned and twisted into knots.

This show NEEDED to be good.

However, opening band mewithoutYou did not help matters. I’m not too familiar with their work but I will say that they are one of the most disappointing live bands ever, rivaling my hatred for The Strokes but taking it to ridiculous proportions. For one, whoever was running their sound board blurred all the levels and masked their often times “pretentious for the sake of pretentious” song craft. In their entire set I couldn’t discern a single word from singer Aaron Weiss. Between their aimlessly meandering songs as well as Weiss’ ridiculous dancing that melded together a seizure with the inability to keep time, I was less than impressed.

So far, I was disappointed to the max.

Then, the lights blacked out and Thrice took the stage.

Sirens cut the air and band launched into a bone crushing version of “Firebreather.” Dustin Kensrue’s gnarled voice grated against the onslaught of distortion, matching the music perfectly. In short, Thrice were even better than when I saw them in 2005. They played a healthy mix of older material from The Artist In The Ambulance as well as four great cuts from The Alchemy Index. Glitchy experiments like textured “Digital Sea” and the dissonant “The Messenger” were fully embraced by the crowd and are destined to be big once the entire collection of E.P.s hits store, but it was the old material that got the mosh pit going.

The bludgeoning “Silhouette” reminded fans of Thrice’s post-hardcore past with machine gun drumming, crashing riffs, and Kensrue’s deafening howl. Elsewhere, Thrice’s breakout single “Deadbolt” combined the best of their old thrash roots alongside huge shout outs. The band integrated their old material and new material seamlessly, none of it felt forced. They ended up closing their set with “The Earth Will Shake,” ostensibly shaking the very foundation of the event center with the chain-gang inspired number.

Thrice did the job of two bands that night, and more than made up for the sorry excuse that was mewithoutYou.

By the time Brand New takes the stage, my excitement is peaked.

The Long Islanders stole the show and from the first note to the last, captivated the audience. Opening with the vibrant and driving “Not The Sun,” the band’s songs exhibited the best of their loud/soft dynamic with the utmost success. We hung on every word, from the “C-c-c-c-c-controversial” of “Ok I Believe You, But My Tommy Gun Don’t” to the gut wrenching cries of “You Won’t Know.” Unlike mewithoutYou, Brand New’s sound team did wonders on the board, adding just enough grit or delay to their instruments but never letting the sounds bleed together. Unlike other bands I’ve seen live, Brand New’s instruments are all clearly heard, translating their recorded material almost seamlessly into a live setting.

This, in my opinion, is the sign of ANY good band.

However, it’s front man Jesse Lacey that really ups the ante. Dressed like a Salvation Army reject, Lacey goes from tortured screams to breathy croon on the drop of a dime. Such showmanship was best exhibited on the ominous “Luca.” With 5 guitarists implementing eerie atmospherics, Lacey sings “Touch me or don’t/Just let me know/Where you’ve been…” One by one, the instruments drop out except for Lacey’s broken voice, before erupting in deafening sound as he shrieks “WHERE YA BEEN?!”

The band ran through the entire The Devil & God Are Raging Inside Me album with only three cuts off Deja Entendu and none from their debut, Your Favorite Weapon. However, compared to the quality of the performance, this is small potatoes. The evening’s highlight was when Brand New decided to play the sprawling epic, “Limousine.” Building from somber acoustic strumming, the song eventually morphs into a slow burning and sinister number over Lacey’s melancholy wail. Derrick Sherman adds some density to the arrangement by playing his guitar with a bow, as the whole number slowly comes together. The instruments eventually explode into a cacophonous and feedback drenched wall of noise.

Breathtaking. They truly are a force to be reckoned with live.

After the concert I was aware of a two things. For one, Brand New is the best live band on the planet. The other, was that I’m not sure which concert was better, when I saw them in April or November. Oh well.

Brand New, I love you so much. But do me a favor and tour again. If you dish it out, I can take it.

(*****)

Setlists:

mewithoutYou:
They were not worth my time.

Thrice:
-Firebreather
-Stare Into The Sun
-Kill Me Quickly
-Burn The fleet
-The Artist In The Ambulance
-Digital Sea
-Silhouette
-Don’t Ask We Won’t Tell
-Deadbolt
-The Messenger
-Open Water
-Red Sky
-The Earth Will Shake

Brand New:
-Not The Sun
-The Archer’s Bows Are Broken
-You Won’t Know
-Ok I Believe You But, My Tommy Gun Don’t
-Luca
-Millstone
-Sic Transit Gloria…Glory Fades
-Play Crack The Sky
-Handcuffs
-Sowing Season
-Degausser
-Limousine
-Jesus

Encore:
Instrumental