The Wombats: "The Wombats" EP

Unless you’re from the U.K. (which I know at least a few of you are), you’ve probably never heard of The Wombats.  In just a few years, this Liverpool trio have gone from local crowd-pleasers to the “next big thing.”  With two import-only albums already under their belt, The Wombats are prepped and ready to invade the U.S. with a few dates scheduled in March of 2008.  This 6-song EP won’t be available to the general public until April 8th, but in anticipation of their arrival to our side of the pond, I’ve decided to review this one a bit early so that the proper “heads up” is given.

In listening to the first track on The Wombats, “Backfire at the Disco,” I was immediately captivated by the energy that this band brings.  Their sound reminds me a lot of Art Brut, albeit a less talky version of Art Brut.  In this indie pop/punk gem, vocalist Matthew Murray reminisces on the unfortunate happenings that occur on a particular night on the town.  He catchily sings, “It backfired at the disco, she she slapped me at the disco.”  He later reveals the cause of his misfortune, noting, “It was a chat-up line built not to impress, more a sleazy remark on her whorish dress.”  It’s quite the humorous number, and with a steadily rockin’ tempo, sing-a-long melodies, tight instrumentation, and brilliant background vocals, it’s hard not to imagine this one playing at your local disco.  A definite crowd-pleaser.

First single (I believe), “Kill the Director” is just as infectious, if not more so.  Again, Murray’s lyrics are quite humorous.  The song is about his inability to speak to a girl who “makes me feel seasick,” brushing off the song, saying, “Here’s another song about a gender I’ll never understand.”  In the unforgettable chorus, he pleads, “If this is a rom-com, kill the director!”  Again relying on a very punk rock style, the band excels in crafting an unbelievably catchy, danceable song.  So catchy, in fact, that you’re sure to find yourself shouting out “This is no Bridget Jones!” with the band, whether its in the privacy of your own home or at one of their shows.  It is an inevitable occurrence, so make the necessary preparations prior to listening to this one.

“Moving to New York” changes the vibe a little bit, this time opting for a more traditional indie rock sound.  However, it’s no less enjoyable because of it.  The lyrics also take on a more sober role this time around.  Murray recalls a horrible week and then plots a move to New York to start anew.  It’s got a pretty cool guitar riff, and it’s not a bad song at all.  “Little Miss Pipedream” is the EP’s first “ballad.”  Here, Murray sings about the oh-so-relatable  pipe dream of a girl.  He begins the song by singing, “I think the postman intercepts everything I try and send to you and I can’t say I blame him because I’d cheat a priest just to get to you.”  He spends his time pondering about her days and excusing her flaws, wailing “I don’t mind that she gets hammered and goes home with other guys.”  His voice tells a different story, however, and the sadness in realizing that his pipe dream is just that rings through all the silly lyrics.  It’s strange how something can be fun, yet still maintain its poignancy.  This song does a brilliant job of achieving such a thing, and I’m fully impressed by its ability to do so.

The EP’s final “real” song is “Lost in the Post,” yet another song about Murray’s numerous inadequacies in the dating world.  While the topic has been touched on on numerous occasions thus far, it seems to be what he’s most capable of writing of, and each song has its own unique spin on the theme, so disappointment is rare.  He once again manages to deliver one of the funnier lines I’ve heard in a while in, “She wanted Mary Poppins and I took her to King Lear.”  Ummm….there’s a pretty big difference there, but I get it.  I hate Mary Poppins too, and King Lear is awesome!  The EP’s last track is a CSS-remixed version of “Kill the Director” which doesn’t manage to capture any of the raw energy that the original had, instead replacing it with plastic  electronics.  Skip it.

The Wombats will be playing 3 dates at SXSW this year, so if you’re going to the festival I highly recommend swinging by and checking them out.  The band is an inarguably talented group of guys that are armed with an inexhaustible wit and infectious punk songs.  I can’t wait to hear more from them!  Fortunately, I won’t have to wait for too long; their debut album here in the States is due out later this year!

Key Tracks:

1. “Backfire at the Disco”

2. “Kill the Director”

3. “Little Miss Pipedream”

8 out of 10 Stars

myspace music monday: The Sailor Sequence

Why hello there. How are you doing today? Me? Oh I’m fine. Thanks for asking. It’s Monday, so that means it’s time for yet another myspace artist. Who do we have today? Hmmm….

The Sailor Sequence

Today’s band comes to us from Olathe, Kansas, as if you know where that is. The Sailor Sequence (not The Helio Sequence, apparently) have a very solid, straightforward adult alternative/soft pop sound. As much as I hate to say it, the genre of music I equate it most with is contemporary Christian. But don’t stop reading there! This group of guys are loaded with an immense amount of talent that goes far beyond my mediocre genre-placement exercise. To put it bluntly, if you were to skip out on listening to The Sailor Sequence, you really would be missing out.

Songs
The first song on the band’s myspace page is entitled “Why Would You Bring,” and features some very cool electronic programming and gentle guitar plucks. It’s an instrumental, so don’t expect some inescapably cool vocal melody to pop in, it never happens. What does happen, quite unexpectedly I might add, is a loud, thudding synth line that sounds entirely out of place. When I first heard it come in, I literally thought that something was wrong with my computer’s speakers. It’s unfortunate, because the rest of the song has a very mellow Dntel-ish vibe going on that is completely ruined by the time this part of the song comes along. Still, it’s a good introduction to the band.

“Find Yourself” finds lead singer, Dave, noting, “When there’s nothing left to hide behind, that’s where you’ll find yourself,” in the chorus which is another brilliantly produced piece of music . By now the Contemporary Christian influence is at full force, so much so that I found myself combing through the lyrics to find something that was blatantly religious. While the song is definitely inspirational, it’s ambiguous in it’s religiosity. Again, the song is very calming and relaxing and the band fully displays their talent here. “Light From the Window” keeps the same style as its predecessor, adding in some uptempo, glitchy drum synths, light guitars, and perky bells to accentuate the near-flawless vocals. The song’s coda adds layers upon layers of instrumentation, building quickly and forcefully before collapsing just in time for Dave to gently sing, “The curtains pull back and there is no sound.” It is quite the beautiful ending.

“Around the Corner” is another instrumental track, this time being lead by an acoustic guitar and a less glitchy, more traditional electronic drum beat. Unlike the instrumental song that precedes it, however, this one is chill throughout and the guys do a good job of not overdoing too much of anything. It is approached gently, and it sounds fantastic! The page’s last track is called “Anchor” and at this point I’m completely convinced that these guys have at least a tiny bit of affiliation with Christianity, or Contemporary Christian music. It’s an inescapable comparison and if they aren’t, they should really consider it. They are way better than a lot of the stuff that’s out there.

Conclusion
I’m actually pretty impressed. Though I’m not the hugest fan of the genre with which I have (perhaps unfairly) assigned The Sailor Sequence to, I haven’t really heard anything that I’m completely turned off by. And even if I was, these guys still have too much talent to care. If you’re into calming, atmospheric pop music, I think you should check out The Sailor Sequence. You could definitely do worse.

Links
The Sailor Sequence’s myspace Page
YouTube Page w/ a few live performances

Live: "Throwing Copper"

I’ll be the first to admit that I’m not the most devout Live fan. Sure, I like them well enough, I’ve heard a few of their albums, and I’ve even seen them live (nice, huh?). One of their songs even inspired me to create a piece of art which I later entered in a contest and got a few offers on (no, it wasn’t a great piece, but hey, music inspires people to pay). Live put out their first album in the late 80’s followed by another one that the general public probably still knows nothing about, but it was their breakthrough, Throwing Copper album that leads me to this retro review.

Let me start off by saying that this album has some great songs on it. It is a mostly brilliant album. Throwing Copper begins with a track called, “The Dam at Otter Creek”. This song is both entertaining an unusual. It starts very softly with only a quiet guitar riff and lead singer, Ed Kowalczyk’s unique voice. The lyrics would lead you to believe that this song deals with the most unfortunate death and cover up of a man. However, nothing is ever as simple as it seems, so I’ll leave the interpretation up to the listener. Though the song begins modestly, it soon picks up and becomes a rock out track in the style that only Live can accomplish, with its heavy sound that, by the end is more menacing than modest. While this song didn’t go on to be a radio hit, it’s a perfect introduction of what’s to come. “Selling the Drama” was a hit that was born from Throwing Copper and is still played on many alternative stations. In the album insert, an accompanying picture to the lyrics of this song intensifies it’s mystery. A mystery is exactly what you get with this song. In all the years I’ve listened to it, I know all the words, but none of the meaning. The lyrics are made of of mostly analogies and antonyms. There are actually very few sentences in this song, but plenty of entertainment. It’s very easy to sing along with as the melodies are pleasing and easily memorable. I don’t often meet people who like Throwing Copper, but not “Selling the Drama”. I believe they’re appropriately paired.

“I Alone” probably remains to this day, their most famous hit. It’s a killer song with great lyrics and awesome musicality, and I know it’s by far, my favorite from Live. In fact, if you listen to this album and despise this song, I will question your auditory senses. These particular lyrics, like a lot of Live’s lyrics, take on many religious undertones in dealings with places, figures, actions and emotions. The album insert acknowledges Kowalczyk as the lyrical mastermind, and his talents are brilliantly displayed in this track. He writes/sings, “I’ll read to you here, save your eyes. You’ll need them, your boat is at sea. Your anchor is up, you’ve been swept away and the greatest of teachers won’t hesitate to leave you there by yourself chained to fate.” May not read like much, but your ears should say different. It’s one of their most acclaimed songs, beginning very quietly and simplistically, adding percussion in the second verse, then with all hell breaking loose into the chorus. Then just as suddenly as it came, the drama has faded back to simplicity for the verse, but refuels soon after. From then on, “I Alone” takes the same boisterous feel up until the end. If I may take you to my one Live concert flashback, “I Alone” is freakin’ awesome live (this word usage getting confusing yet?) The next track, “Iris” will come at you like a surprising shock. Not only does Live grab you a few times with this track’s immediate volume and instrumental transitions, they also make some interesting rhythmical choices. Nothing in weird time signatures, just unusual in the transitions;. It’s a nice effect. Kowalczyk’s voice is just as unique as ever in the quality of his voice (tone/timbre). This song is far from my favorite, but it’s not a bad one. “Lightning Crashes” is also a fan favorite. I can definitely determine that this song is about birth and death. I also presume it deals with the circle of life. It depicts a mother giving birth to her baby; baby lives, mother dies (fact). Years later, baby grows up and is having a baby of her own; both live (logical presumption). This track is emotional and beautiful in one swoop. Not only is the story behind the song so human, but the music itself is appropriately tasteful in regards to the events it tells of. “Lighting Crashes” was dedicated to the late Barbara Lewis (1973-1993).

While Throwing Copper boasts some great tracks, “Top” is not one of them. It’s an almost musically boring song with lyrics that are obscure enough to the point of wondering, “Is he just taking out some long, overdue aggression, or is he a newly reformed neo-Nazi?” A bit strange, I agree, but I’ll let you ,the listener, make a decision. Apart from the meaning, it’s really not a musically memorable song. I don’t know the words from memory, I can’t tell you what it’s about, and I will admit to having skipped over this track. It’s simply not my favorite. However, the next track is completely opposite in it’s delivery. “All Over You” is a lyrically shorter song that has a catchy hook and is full of overall entertainment. Along with it’s counterparts, “All Over You” has had tremendous airplay and is considered to be a good song by most Live fans, though it’s not their most creative; It’s actually pretty safe. While Kowalczyk’s vocals remain heavy, the overall song is lighter than a lot of them. Your mom may even enjoy this tune.

“Shit Towne” is one song with two distinct sounds. A specific sound for the verses and a completely opposite sound for the chorus. It works to this songs advantage. It seems to be pretty cut and dry where lyrics are concerned as they describe a place I picture to be a lot like “Cheap side” in the movie A Knight’s Tale; a place that’s poor, dangerous, and derelict. They then claim that’s where they live. I really like the verses in this song though. I feel that they paint very vivid pictures while at the same time being melodically appealing. I enjoy this track a lot, though probably wouldn’t play it for the children. “T.B.D.” is a favorite song of mine on this album. If you Google “T.B.D., Live” you’ll find many bloggers claiming that they know exactly what the song is about, yet every definition is different. In this case, the only fact that any of the bloggers got right about the song is that T.B.D. stands for the Tibetan Book of the Dead. There are many ideas behind the meaning of this song, which I would encourage you to Google later, but for now, here’s my opinion of the song. It’s one of the softest songs on the album with Kowalczyk’s quiet vocals and the timid volume of the musicality. “T.B.D.” does seem to take a while to get through, due to the lack of change throughout the song, but the elements which seem so constant, force you to listen to the lyrics. A good song that is both lyrically interesting and challenging.

I do not find the track “Stage” very special at all. It’s pretty average lyrically and melodically. In fact, without giving it too much notation, I will say that unlike “T.B.D.” this song’s lack of change works to its disadvantage. While being much faster and shorter than it’s predecessor, it seems to last forever. You’d be likely to skip over this one during the listening of the album. On the contrast, “Waitress” is an angry tale that is seemingly about a problem waitress doing an okay job. Apparently, Kowalczyk is highly pissed during these few minutes. His excessive use of profanity leads the listener to believe that there’s more to this story than meets the ear, but we’ll likely never know. The instrumentation in “Waitress” does a fantastic job of portraying the same anger. While there is nothing super unique about this song, other than the random, “happy go lucky” whistling at the end, most Live fans would probably enjoy giving this song a quick listen. Even softer than “T.B.D.” is the track “Pillar of Davidson”, where like other Live tracks, there appears to be more to the story than the listener is privy to. The lyrics are dark with dealings of drugs, religion, death and other elements unbeknownst to us. The melodies of the track, vocally and instrumentally, are enchanting, while Kowalczyk’s vocals and one of “the two Chad’s” background harmonies enhance this song’s chorus. It’s a beautiful song that I tend to merely listen to rather than analyze, so please forgive the lack of remaining comments on this song, but I feel you’d do the same. Definitely check this one out, as it’s sure to be one of the two quiet pleasers.

I remember the first time I heard “White, Discussion”. I wasn’t too sure what it was about then, and I’m not too sure what it’s about now, though I highly doubt it’s about white supremacy, as you may first believe. The meaning of this song will be for you to discern and contemplate, as I would not do it justice to give my interpretation. As for musicality, “White, Discussion” has an intriguing guitar melody that compliments Kowalczyk’s vocal melody and ability. It’s soft, yet gruff. At the end of the second verse, the song builds an immediate momentum and fury that lasts a few moments, then returns with the lyrics, “Look where all this talking got us, baby”. “White, Discussion” keeps the energy up through the end of the song. It’s a great song on the album, probably one of the best, and again, it’s just as good live.

Throwing Copper was released in 1994, and 14 years later, it is just as great an album today as it was then. All the songs on this album are definitely good and most of them are even great. Some are even perfect. It’s all a matter of opinion, but I say the fact is, Throwing Copper will hold up as being one of the best albums made, ever.

Key Tracks:
1. I Alone
2. Lightning Crashes
3. T.B.D.
4. Pillar of Davidson
5. White, Discussion

9 out of 10 stars

My Rock Band DLC Wishlist

It doesn’t take a genius to figure out that I’m a huge video game nerd and that I have this thing for a little music game called Rock Band.  For those of you who just awoke from a coma, Rock Band is a video game that uses peripherals that mimic the motions of real instruments.  You can sing and play guitar, bass guitar, and drums…kinda.  Hell, you all know what Rock Band is, and if you don’t, just read my lengthy review of it.  Anyhow, one of Rock Band’s cooler features is its downloadable content (DLC); essentially songs that you can download and add to your game.  More often than not, these come in the form of Track Packs, organized by artist.  With that said, let’s get on with it.  The following list is My Rock Band DLC Wishlist.

5:  Band of Horses Pack – Band of Horses are a real rock band.  They don’t play around on their instruments.  They know what they are doing.  However, they’re not going to go off on a 10 minute Dragonforce solo either.  Their music is typically balanced, with equal importance placed on vocals, guitars, and drums.  That’s why I feel like they’d be a perfect fit for Rock Band.  That, and I totally love singing along to this stuff!

Songs Included:

“The General Specific”

“The Funeral”

“Cigarettes, Wedding Bands”

4:  Franz Ferdinand Pack – Admittedly, my fondness of Franz Ferdinand has wavered over the years.  Back in 2004, there was hardly a time when I didn’t have their debut album playing.  But things change, and albums wear out.  Still, that doesn’t mean that I’ll keep them off my list.  Quite simply, Franz has put out some of the most inescapable jams of the last decade.  It’s a shame they’re not already in the game.  Here’s how I’d alleviate that:

Songs Included:

“Take Me Out”

“This Fire”

“Do You Want To?”

3:  Rilo Kiley Pack – It’s no secret that I completely despise Rilo Kiley’s attempt at trying to be Fleetwood Mac.  “Under the Blacklight” is laughably bad, and for all of you reading who were introduced to the band through that album, I apologize on their behalf.  They didn’t mean it.  Believe it or not, if you go back and listen to their earlier albums, there’s quite a collection of indie rock jams.  Nothing too rockin’ and always with a little bit of country, but unabashedly fun tunes nonetheless.  Here are the songs I’d pick to go on such a track pack.

Songs Included:

“Portions for Foxes”

“Science vs. Romance”

“Paint’s Peeling”

2:  Cursive Pack – I am completely unashamed of my girly obsession with Tim Kasher and the guys of Cursive.  It’s indie and emo, but not so emo that you go running for the scissors.  Unlike most emo bands, however, Cursive has talent.  Kasher presents his vocals with such earnestness, such force that your head has no choice but to bang, your hand no choice but to ball into a fist and be thrown into the air repeatedly.  The rest of the band ain’t so bad either.  All Rock Band needs is a cello or brass peripheral.  But then I’d never leave the house.

Songs Included:

“Dorothy at Forty”

“Art is Hard”

“Driftwood: A Fairy Tale”

1:  Muse Pack – I highly doubt that there’s a band out there more suited for Rock Band than Muse.  Their music never fails to disappoint, and they are doubtlessly the most “rockin’” band on this list.  The most difficult thing about putting Muse on the game is deciding which of their countlessly impressive songs should make the cut.  “Knights of Cydonia” is out because it’s already on Guitar Hero III and the vocals are kind of “meh.”  Fortunately, I’ve devised a list so awesomely sinister that the folks at Harmonix can’t help but oblige.  Bwahahaha!

Songs Included:

“Time Is Running Out”

“City of Delusion”

“Citizen Erased”

Oh, and in case you were wondering what all this nonsense sounded like, enjoy this nice little playlist to start off your weekend.  Fellow nerds, I’m wondering.  What songs would you add to Rock Band?

Moods – Weak

It’s February 14th and we all know what that means. It’s Valentine’s Day. Super-market card aisles are flooded with people looking for just the right card, tables are hard to get at even the dingiest of eateries, and floral delivery men are working double and over time to get those deliveries out before the end of the day. I imagine there are a lot of women swooning right now, or will be later, and there are men who are feeling awfully obligated to show up with some sort of flower/candy/gift combo. I also imagine there are a lot of unhappy people out there; the lovelorn, the shy, the lonely, those of us who think Valentine’s Day is just another day.

That’s right. I’m a woman who doesn’t really get all excited about Valentine’s Day. “It’s just another day” I always say. Don’t get me wrong, I like hearts and lace and pink and candy and flowers just as much as the next girl. I like love well enough. It’s got its ups and downs and weird turn of events I can sometimes do without, but I like it well enough. Being in love is nice, I’ll be the first to admit. I’m just not the kind of girl who needs a specific, targeted day to be reminded that love is grand and someone is enamored with me. If it works correctly, I know pretty much all the time I’m very much loved and wanted.

I have other reasons for not liking Valentine’s Day. It leaves me weak. It breaks down those protective barriers in my head and makes me think about things I’d rather not think about. It makes me weak and grumpy and thinking about all the people I’ve ever loved, who have loved me, who I wished had loved me, whom I wish I didn’t love. Some good, some bad, it never fails, Valentine’s Day rolls around and there they are, parading through my head.

Weak, as defined by Websters:

1. not strong; liable to yield, break, or collapse under pressure or strain; fragile; frail
2. lacking in bodily strength or healthy vigor, as from age or sickness; feeble; infirm
3. not having much political strength, governing power, or authority
4. lacking in rhetorical or creative force or effectiveness
5. lacking in logical or legal force or soundness
6. deficient in mental power, intelligence, or judgment
8. not having much moral strength or firmness, resolution, or force of character
9. deficient, lacking, or poor in something specified

So here it is, a mix I call It’s Valentine’s Day Everywhere But In My Heart, dedicated to the lovelorn, the obsessed stalkers, the men who are at this very moment caving and paying for a very expensive piece of jewelry, those who are too shy to ask someone out, those who want to end their relationships but won’t because it would be cruel to do it on February 14th, the multitudes who will be engaging in a one-night stand at the end of their evenings, those who send themselves flowers and candy so that they don’t look left out, and those of us who think about love in good, bad, and ugly ways on a day meant for celebration of how we feel. We’re all weak in one or another, especially when it comes to love.

Video of the Week – Week 58

“I knew you were going to go there when you said you were doing the Video of the Week last night. I’m kinda excited.” My friend Chris.

To be honest, this has really bothered me since Sunday night. The Recording Academy decided to pair Keely Smith with Kid Rock for a rendition of “That Old Black Magic.” That song was popular for Keely Smith and her husband Louis Prima in 1958. (It’s been popular since then for all sorts of people, but that’s beside the point.) Kid Rock fumbled through it and somehow couldn’t be bothered to memorize the lyrics very well; Keely Smith played it off and kept going. It was a terrible performance. Jazz isn’t something that a lot of people in the 18 to 30 age bracket are into and to be exposed to it, even in a Grammy performance like that, is and was disheartening. We’ve all been exposed to Jazz in one form or another and if we haven’t, this wasn’t really the performance that set any stellar examples.

My point: Keely Smith and Kid Rock performing together was such a poor representation of Jazz…not only of Jazz but of the amazing voice that is Keely Smith. She is one of my favorites and always has been and to not give you a glimpse of her in her heyday would be nearly criminal on my part.

(Disclaimer: while I know that Jazz isn’t everyone’s favorite, you should at least give her and it a chance. You might be surprised and like it.)

So, here she is, Keely Smith in 1956 doing “All Night Long.” It was one of her television performances with her then husband Louis Prima, who appears very briefly at the beginning and there at the end. They were on television often together and she was part of his stage show the entire time they were married. He was the main attraction and she played the “stand up” girl; Prima was the jokester on stage, she was the serious one and they played off of that while singing together. It was a blissful chemistry. It should be noted that, as far as I know, there is no album version of Smith doing this song. This is the only recording of it.

Hers is one of my top five favorite voices and I’m very pleased to share her with you. Enjoy.

British Sea Power: "Do You Like Rock Music?"

Sometimes you’re just a little late to the party. For whatever reason, this is my first time hearing British Sea Power. Oh sure, I had heard of them but Do You Like Rock Music? is my first real introduction to the band. From what I can tell, the band is uber-talented; featuring hypnotic rock vocals, loud distorted arrangements, and enough grandeur to make a monarch blush. Unfortunately, Do You Like Rock Music? just seems like a misguided effort at taking all those elements and blending them into a cohesive and memorable album. It’s far from terrible, but if you’re like me, you’ll find it tough to get into but easy to forget.

Album opener, “All In It” is simply an introduction to the sound that British Sea Power is going for on Do You Like Rock Music? Taken in context of the question that the album begs, the only logical answer is, “Well…you better!” The line, “We’re all in it and we close our eyes,” is repeated throughout the length of this track like a mantra. An ever-building amalgam of indie rock, stadium rock, and atmospheric reverb completely envelopes it. When it finally does explode into something totally worth fussing about, most will find it a highly- effective intro.

“Lights Out For Darker Skies” is equally as impressive, though this time featuring more than a line’s worth of lyrics. It’s driving, non-stop electric guitar intro perfectly secedes to what turns out to be an impressive, yet catchy rock anthem. The line “We dance like sparks from the muzzle, ” is one part catchy, one part genius, and is followed by an equally notable chorus (“Welcome for the day, I’ll stay forever. There’s things that we all need to navigate.”). Several minutes in, the loud atmospheric rock collapses into a soothing bridge which eventually evolves back into a sound more becoming of the album’s title. It is, by far, the standout track on the album.

From here, songs go back and forth between being memorable favorites and forgettable throwaways. “No Lucifer” is by no means a bad song, but it just sounds like the band is trying their best to evoke U2. That is far from my cup o’ tea! And when the background vocals start emphatically chanting “Easy!” to no end, I just can’t help but think I’d much rather hear one of Bono’s ridiculous “Yeah! Yeah! Yeah!” ad-libs. At least those I can laugh at. “Waving Flags” picks things back up with guitar lead that sounds like the anthem to a 50s “Under the Sea” themed prom; albeit a cranked up to 11 and drunken version of one. Eventually though, the song is so grandiose and unflinching in its conviction that it sounds surprisingly similar to something Sigur Ros would put out. It’s a very awesome song, and one that will stick with me longer than most.

After that, however, Do You Like Rock Music? heads nowhere but downward. Songs begin bleeding into one another, sounding annoyingly similar to one another. Others re-evoke U2, and some just blatantly rip off guitar riffs that you’ve heard in other songs before (the catchy riff in “Atom” is almost identical to that of Clap Your Hands Say Yeah’s “Is This Love?”). This is unfortunate because the first few songs on the album show such immense promise. But I can’t help but express my lackluster feelings for “A Trip Out” or “The Great Skua.” They’re just so similar that it all becomes so bland and uninteresting.

And that, perhaps, is my biggest problem with Do You Like Rock Music?. After a few listens of the album, the magic is gone. Even the awesomeness of “Lights Out For Darker Skies” is voided due to the fact that you have to spend the next 50 minutes listening to stuff that sounds eerily similar, but a whole lot less enjoyable. There’s no doubt in my mind that the guys of British Sea Power put a lot of work into this album, and I can definitely appreciate the effort. But as a newcomer to their music, there is very little about Do You Like Rock Music? that would compel me to check out their first two albums. This one just feels inspired for a few minutes before becoming utterly tedious. If I may quote the late Mitch Hedberg in finding a suitable comparison, Do You Like Rock Music? is like pancakes. “All exciting at first, but by the end, you’re f***ing sick of them.”

Key Tracks:
1. “Lights Out For Darker Skies”
2. “Waving Flags”
3. “Canvey Island”
4. “No Need to Cry”

5 out of 10 Stars

U.S. Radiohead Dates Officially Announced!

As promised, I have brought you a news story that I feel is pretty damn significant. Of course, if you’ve been refreshing Dead Air Space for the last few months, you already know what I’m about to tell you.

Pitchfork is reporting that Radiohead will indeed head out on tour in the next few months, and that Live Nation will be promoting what will undoubtedly be one of the most-hyped tours of the year! A full list of tour dates can be found by clicking the word, “expensive.”

EXPENSIVE

Fortunately for me, Radiohead is coming to a venue that is all of 5 minutes from me, and is operated partially by the company I work for. How lucky is that? Here’s hoping I won’t have to shell out 60 some-odd dollars to see this one. I think I would’ve much preferred a “pay what you want” system for the tour, but I guess you can only milk that cow so often before you realize that she’s dry as a bone.

Tickets go on sale this Saturday, Februrary 16th. You can purchase them by clicking the phrase, “No really, they’re super expensive!”

NO REALLY, THEY’RE SUPER EXPENSIVE!

Jill Does the Grammys: An Exhaustive, Painstakingly Long Recap

Dear Grammys,

It was your 50th birthday last night and you decided to celebrate. You prettied up the Staples Center, you filled a lot of the seats with your brethren from the WGA, and you started a show that had I not been watching with someone else, I would have avoided all together. Not because I don’t like you. No, not true. I don’t really like you. You have a tendency to pick the obvious, popular choices, rather than dig really deep for things of quality. You gave Ludacris a Grammy when it should have gone to Lupe Fiasco. You keep on nominating American Idol winners. I don’t have a love affair with you the way I do the Oscars, so I avoid you like the plague because a girl can only watch Maroon 5 win for a really old album so many times. I avoid because you don’t really “know” the music of your industry; it seems to have moved on without you and I’m sorry it has, because there’s nothing worse than being behind the times.

You showed a little promise there at the beginning, starting with Frank Sinatra talking about how “a record can do anything.” It was a nice start; who doesn’t love (or at least appreciate) The Chairman of the Board?

Then you have you go and ruin it with Alicia Keys. Doing a video duet. With Sinatra.

“Oh god. Oh. God.”
“Is that Alicia Keys?”
“Forward. Forward.”

Thanks for the really bad flashbacks of Nat King and Natalie Cole doing “Unforgettable”, Grammy Academy. I thought I’d burned that from my memory.

The mission remains the same, you tell me, Grammy Academy. Your mission remains the same: to keep on giving us the more popular, sometimes horrible music, vote as a guidepost to our listening needs. Thanks for that. I don’t follow it, but lots of people do.

It’s all personal opinion, Grammy Academy. Some of it isn’t nice. A lot of it is funny. I amuse myself, what can I say? A lot of my comments are deserved. You can weather it…

Love,
jill

On with it…

“Hey. It’s Carrie Underwood and Stomp. Or Stomp wannabes.” It’s the paranoid girl song! Nothing says love and trust like destroying someone’s car for no reason just because you’re positive he’s going to cheat on you. I really want Carrie Underwood to trip coming down those stairs. I thought she was wearing a wig but was informed that “That’s how Country hair looks.” Here’s the best thing about “Before He Cheats”: while it’s supposed to be this girl-power, take charge anthem for the modern women in a redneck kind of way, it was written by two men.

The announcer comes on and declares Prince a winner of the Male R&B Vocal Performance. Wait. Shouldn’t that be nominee? We think this is a mistake on her part. About an hour later we realized that it wasn’t a mistake, it just wasn’t an award they chose to broadcast. If I wanted to know who won what, I realized, I’d have to pay attention to the poorly put together ticker that zipped through awards going into commercial breaks. How do you skip Male R&B and give us Female R&B?

Prince comes out to give the award for Female R&B Vocal Performance and let me just say, the color red works for him. The winner: Alicia Keys for “No One”. And there she is, still backstage after her duet with The Chairman of the Board, throwing the fake “Oh. Did I win?” look to the camera.

Jimmy Jam. Jimmy Jimmy Jam. Striding up on stage looking like a mobster of some sort. Chairman of the board for the Recording Academy. You’re going to launch into a speech, aren’t you? My finger is poised to forward but…but…Oh. HELLO. It’s Morris Day and the Time. Do you think they had to rehearse those moves? I bet they didn’t. I bet Morris Day has those down for life. What an unexpected surprise, Morris Day and the Time…oh. Jeez. Loud sigh. Why do you have to ruin Morris Day and The Time with Rhianna? WHY? “Ella, ella, ella, ella…” the woman drags out the word umbrella like there’s no tomorrow. It’s a crime against humanity.

Tom Hanks. Why is Tom Hanks at the Grammys? Oh. Right. The Recording Academy supports their brothers in the WGA and actors were given permission to cross the picket line to attend. The Band. Getting a Life Time Achievement Award. Only Forrest Gump would get excited about The Band; “The Band” he points. He keeps pointing. What’s he pointing at? It’s not like they’re there. Robbie Robertson and Levon Helm HATE each other; there’s no way they’re there to accept an award together. Not only that, they aren’t letting Lifetime winners give speeches this time around, which I’m not opposed to. It just cuts down on the unnecessary chatter.

Still with Tom Hanks. Moving on to The Beatles. Blah blah blah. Love Yoko Ono’s top hat. Could Forrest Gump use any more Beatles song titles in a clever way? “Their music sparked a Revolution.” Seriously, knock it off, Tom. More groaning on my part; I’m not a Beatles fan. They’re on my overrated list. But the crowd? And Forrest Gump? They’re ALL OVER the Beatles. Maybe they’re bored like I am.

It’s been like 20 minutes and I’m ready to watch the newest episode of House I’ve been saving on my Tivo. (What? Wilson is dating Cutthroat Bitch. This is monumental.)

Does anyone like Cirque de Soleil anymore? Isn’t that strictly a Vegas thing now? I’m annoyed. I want to forward. “No. I like it. It’s very calming.” Cancel the forwarding. How very Wizard of Oz house swirling in a tornado. I’m blocking out the music but I’m watching the action. I’m mesmerized. This is worse than Carrie Underwood and Rihanna combined. You know what would be fantastic? If there was a malfunction and that VW Bug just lurched forward and killed people.

Pity. It wasn’t even a real car. It was people disguised as a car. It was a nice fantasy while it lasted.

ITS NOT OVER. STILL MORE BEATLES. “Would you rather listen to The Wall?” Good point. “Let It Be” is so painful. What is that kid? Like 12? Man, I was looking forward to some Gospel. It’s a Gospel choir. I didn’t know it was going to be “Let It Be.”

“She looks like the lady from the Guiness Book of World Records that could shoot her eyes out like 8 milimeters. I swear.”

Comic relief. It helps. I. Wanted. Gospel. Not some circus freaks and the eye lady. Peace signs? I’m shocked. Cue the Obligatory Standing Ovation. (OSO count: 1)

OMG! It’s Hannah Montana! Hannah! Is she going to be in 3D? That would be cool. And Cyndi Lauper. Is that her real hair color? I know that’s not Hannah Montana’s real hair color. Leather? Lace? Isn’t she like 50 something? And clearly, she loves Hannah Montana. Best New Artist Awarded: Amy Winehouse. I am SHOCKED.

I’m not, really. Bring back Hannah Montanna. It doesn’t demand rocket science to figure out Amy Winehouse was going to be crowned the Best New Artist. Of her competition, she was clearly the best and Paramore had no chance.

“Jason Bateman? What?” He’s really not that funny. “Greatest band in the land?” The Foo Fighters? Really, Jason Bateman? Let me get this straight. The Foo Fighters + John Paul Jones + the My Grammy people? In a collaborative effort outside the Staples? With voting?

Favorite Grammy moment 1: “Lazy over here in the chair.” Tara Klein with her Cello. Jason Bateman was funny! I’m texting 3 right now.

Ooh. It’s Kanye West time. Those sunglasses? Fresh. (Yes, fresh.) The beginning of “Stronger” is like a Goth remix. I like it. In the dark, those things behind him look like Kryponite, lending a Superman-esque air to Kanye West suggesting that he can in fact do anything. Kanye West performance irritation: Why edit a song. Aren’t you supposed to embrace and support your artists? Aren’t you supposed to be against censorship of any sort? I like the “blonde dyke” line. I didn’t really realize it at first, but halfway through the song it occured to me Daft Punk was in that Pyramid. Compared the last few performances that Pyramid looks quaint and inviting. More live acts should wear helmets. The song about Kanye’s mother is so very sweet but bring Daft Punk. Didn’t she die from a Lipo treatment? Or during one?

OSO count: 2 (because of course you’re going to give a standing O after a song about someone’s mother like that.)

And we fast forward through Fergie and John Legend. I’m going to guess this is a really good idea. John Legend is okay, but I do try to avoid Fergie when at all possible. There isn’t an expensive enough dress in the world to make her look good. Compilation Soundtrack Album for Motion Picture, Television or Other Visual Media, the award. Dreamgirls? Really? Didn’t she win an Oscar for that like 2 years ago? Why did they even put Dreamgirls in there? And Hairspray? (Group singalong to the Hairspray clip, because you know, you can’t stop the beat.) They put the Beatles in there so you know nothing else had the chance of winning, not even a soundtrack from a movie made 2 years ago.

(And if you’re wondering, Dreamgirls did actually win a Grammy. Song Written for Motion Picture, Television or Other Visual Media. I guess there wasn’t a Beatles song on that list they could give it to.)

Cher? That’s Cher??

Beyonce and Tina Turner. Teaming up for “Proud Mary.” I wish I had Beyonce’s legs. “I hope Tina doesn’t fall and break her hip.” Do you notice they don’t really show Tina dancing with Beyonce? Watching Tina is painful, almost like watching Axl Rose now. It’s like Beyonce is doing the classic “Proud Mary” performance with the short dress, the legs, the dance moves and Tina is doing the karaoke version. I was really hoping the word “upgrade” would come into play when Beyonce was on stage. Oh, and thank you Beyonce for clearly lip-syncing. I knew you couldn’t dance and sing like that at the same time.

Why did they bring the chick from CSI onto the stage with Andy Williams and Nelly Furtado if they weren’t going to let her speak?

OSO count: 3

Song of the Year: “Rehab”. Again, are you shocked? I’m not. It’s a great song. It’s better than The Foo Fighters and we all know it’s better than “Umbrella.” I like Justin Timberlake but “Rehab” really is the best out of all of them. She’s a total trainwreck, but she can sing. Also, I just realized, that by the way they are hyping Amy Winehouse’s upcoming performance, she’d had better kill someone or shoot up or have a nervous breakdown right there on stage.

The Eagles? Country? Really? Since when? Brooks and Dunn, Emerson Drive, The Time Jumpers. Montgomery Gentry. All Country. The Eagles? Not so much. Country Performance by a Duo or Group With Vocals for those of you who are wondering.

3 didn’t win. Darn. I would have watched had 3 won, but it’s the Foo Fighters. It’s an instant fast forward.

George Lopez. Oh. That’s right. The picket line thing. What a lame political joke. And thanks, George, for pointing out that everyone is a Grammy winner tonight. Being nominated is an honor and while techinically, in some sense, that does make you a winner, but if you aren’t going home with a statue, winner you aren’t.

Could Brad Paisley have his shirt unbuttoned any more than he does? Whoah. Let’s back up here. Am I hearing this right? These are the best lyrics ever.

cause I’d like to see you out in the moonlight
I’d like to kiss you way back in the sticks
I’d like to walk you through a field of wildflowers
and I’d like to check you for ticks
I’ll keep you safe you wait and see
the only thing allowed to crawl all over you
when we get there is me
you know every guy in here tonight
would like to take you home but
I’ve got way more class than them

Wanting to check a girl for Ticks really doesn’t say classy, does it?

Chris Brown: Prince could do red. You can’t. Please don’t talk Akon, please. Your voice pains me. Wow. I actually like all the albums this year. Who’s doing that obnoxious Indian wild call in the audience? Best Rap Album: Kanye West‘s Graduation. What’s his head say? Oh. Mama. You know, I like Kanye West. I really do. I think he’s a genius when it comes to producing. I think he’s so far out of the reach of other rappers in terms of some of the things he comes up with. I can pretty much not pay attention to his ego…but…come on. “I told Common you can’t drop an album the same year as me. This is my award.” How obnoxious can you get?

Come on, Grammy Academy orchestra. You have that “stop talking and take your exit music” for a reason. Just because Kanye West was going on about his mother doesn’t mean you have to stop playing it when he throws out a comment about your being disrepectful. Not once, but twice. It’s your job to cut those speeches down. You totally blow by caving and stopping so he could prattle on; I would have paid you to increase the sound until he left the stage. “We run this.” When did he turn into a Black Panther?

Luda can dress. I appreciate this. Finally some Gospel. I’ve edited out a comment that made me laugh so hard I got dizzy. Boring Gospel. Moving on…but, Aretha, that dress? NO.

Hey. It’s Carol King. She’s super short. Again with an outfit that’s too young for her. All kinds of Lifetime winners. Can I just point out that that’s about the 50th flash of Carrie Underwood in the audience and she looks bored? Can I point out she’s not the only one? Seems to be there’s an awful lot of Lifetime winners…I thought the Grammy’s was an awards show and not a tribute show.

“1234”. Feist. NO. I can’t watch her. It’s something about her mouth. I almost missed Keely Smith forwarding through Feist. (I will be honest…I really was only watching for Keely Smith.) Keely Smith is a Jazz icon and one of my favorites, what can I say? Um. Oh man. Why do you do this, Recording Academy, why? Keely Smith with Kid Rock? WHY WHY WHY? Is he flirting with her? You know, dude could have learned the lyrics to “That Old Black Magic.” Seriously. It wouldn’t have been difficult.

You know, you let Alicia perform with Frank via video, why couldn’t you let Keely perform with her husband, the late great Louis Prima, via video? At least then someone would have gotten the lyrics correct.

“Hey. It shows diversity.”
“Dude could have learned the lyrics.”

Poor Keely. She looks so uncomfortable standing there with The Foo Fighters, winners of Best Rock Album for Echoes, Silence, Patience, and Grace. Why do the wives/girlfriends/mothers/sisters/escorts always look so shocked when there’s a win? More so than the people who actually win? While I was surprised to Wilco on that list, did they or anyone else really expect them to win? Daughtry is a joke, Springsteen is just a sentimental favorite. John Fogerty had no chance as did Wilco. Echoes wasn’t really an album I enjoyed (clearly) but of the ones it was up against, it was clearly the best.

Do you realize that Stevie Wonder does a better Alicia Keys than Alicia Keys does? And does she really have to perform again? With John Mayer? Couldn’t we let Stevie Wonder sing “No One” instead?

Dave Stewart and Ringo Star? They love Country music. I’m just not buying that. I’m not speaking for them, but I venture to guess they like some Country songs and artists, but have the love for Country they’re proclaiming? I bet not. This turns out to be my second favorite part of the entire broadcast. Vince Gill wins the Best Country Album award. “I just got an award given to me by a Beatle. Have you had that happen yet, Kanye? … Just kidding.”

I had to rewind that. Did I just hear that? I did. Let me repeat it: “I just got an award given to me by a Beatle. Have you had that happen yet, Kanye? … Just kidding.” That has to be the best diss on Kanye West ever. And on live television to boot. You should have ditched the golf shirt, Vince, but I can let that go because you just made me laugh really hard.

Hey. It’s Joan of Arcadia’s dad. We’re heavy on the Jazz this evening and the Lifetime awards. I am a Jazz fan, so I’m enjoying it. It’s really quite a nice break from the monotomy that is the Grammy’s. Really, though, with the Lifetime awards. Have a seperate show for that and show us some of those categories you missed in favor of short, uninsightful blurbs about your Lifetime winnes.

Another whoah moment. My third favorite moment of the entire show. “Rhapsody in Blue.” Really? I’m so shocked/excited I can’t even come up with commentary. I just have to watch. Lang Lang and Herbie Hancock? I’m hyperventilating here.

“Beef. It’s what’s for dinner.”
“That’s Aaron Copeland.”
“What was this? Cheese?”
“No. It was American Airlines.”

Because, clearly, we only know our classical pieces by food and airline commercials.

OSO: 4. I wanted to give it one but I couldn’t bring myself to get up off the floor.

Rap/Sung Collaboration: “Umbrella” Rihanna with Jay-Z. She really bugs me. That song isn’t that great and it’s certainly overplayed. Even she should recognize that. And did she really just put her hand in Jay-Z’s face to silence him? Who does that? And we’re off to London. Hey, Jericho is back. Good to know. “We didn’t know if this person would be available…” Cuba Gooding Jr, you are the master of the unintentional comedy. Truly. Snickering on my part.

I’ll just say this. Amy Winehouse? Total trainwreck. Her Grammy performance? One of the best damn live performances of that song I have ever seen. EVER.

Natalie Cole is huge, Tony Bennett for some reason lost his ability to read, and there’s a group sing along in my living room with Doris Day doing “Que Sera Sera”. Pan out to Usher with the “Doris Day who?” look. Amy Winehouse takes Record of the Year and she honestly looks like she has no clue what’s going on. It’s kind of endearing. Let’s all chant “Amy! Amy! Amy!” while she tries to figure out what’s going on because that’s not going to confuse her even more. There’s a lot of genuine happiness on that stage. “She looks like a missing Spice Girl.”

Eldar? El Dar? Elder? What? Is he a magician? A little Oscar Peterson never hurt anyone, especially since we’re on the cusp of the Dead People Montage and Oscar Peterson is in it. The kid’s striped tie made him look like he came straight from prep school. Why didn’t anyone tell me Don Ho died? And shock…Pimp C made the Dead People Montage. It was kind of sad, that uncomfortable silence, when they flashed on Ike Turner. Sure, the man wasn’t the greatest human being ever (to put it lightly) but he did contribute a lot to music.

Forward forward forward. Josh Groban and the blind whats-his-name is a big NO. Does Bonnie Raitt ever not wear a yellow coat of some sort? John Fogetry’s dentures look like they’re about to fly out. Mute. Little Richard never looks old and Jerry Lee Lewis’ hand looks so artrithic its making my hands hurt watching him play the piano.

Sighs all around. Will.I.Am. I hate you. Was there some kind of issue that they needed a filler? He looks like he shouldn’t even be out there and he doesn’t make much sense. He scares me. Please get him off that weird little stage out there in the middle of the audience. It’s time for this show to be over and you bring out a song that makes little sense and probably would have been better suited for the beginning. You could have done it as a Billy Crystal opening the Oscars kind of thing. A parody of your nominees, as it were. I’m clearly confused by this, as are several other people in the audience, with the exception of one woman right near the stage that is clearly enjoying the beat.

Is Usher going to dance? Why did they pick Usher? He hasn’t had an album in years. Quincy Jones I get because he’s an icon, but Usher? And what’s up with the sunglasses? It certainly can’t be that bright in Staples. I’ve been in there for basketball games. A concert or two. None of them so bright I needed sunglasses. Yet every other person tonight is wearing them. Maybe that’s how they mask they’re boredom.

Unbelievable is right. Let’s talk about this, the last award of the night. The Album of the Year: “River: The Joni Letters” by Herbie Hancock.

1. It’s Herbie Hancock, who is such a fine Jazz artist and a lot of people don’t realize is a Jazz artist.
2. It’s not a Joni Mitchell tribute album like everyone keeps calling it.
3. It was favored 5:1 to win.
4. It’s a Jazz artist up against Amy Winehouse and Kanye West. I couldn’t pick which one would win but I was certain one of them would. I knew Vince Gill didn’t have a chance and neither did the Foo Fighters. I completely wrote off the Herbie Hancock album because it was such a laugh to see it there. (And I liked it quite a bit.) It felt a little bit obligatory, to be honest. While surprising to see it on the list of nominees, it still had the feeling that it was there out of respect or something. This isn’t Susan Lucci never winning a Daytime Emmy. This is Herbie Hancock who’s won several Grammys in the past, so it isn’t like they nominated him because it was time to recognize his work.
5. It’s not a Joni Mitchell tribute album…it’s just an album inspired by some of the work of Joni Mitchell, who, for as much as I hate to say it, is really rather a prolific singer/songwriter. While Herbie Hancock is a fine Jazz artist, this isn’t, by far, his best or most impressive work ever.

To quote Herbie Hancock: “I’d like to thank the Academy for couragously breaking the mold this time.” I would too. We can complain all we want about how the Academy doesn’t pick the right things. You can complain all you want about Herbie Hancock getting the Album of the Year nod but at the same time you can’t. People have been calling for a change to who gets nominated, who wins what, and the quality of music that’s supposed to be the “best.” Herbie Hancock is certainly the out-of-left field, different choice, the most surprising choice. He’s exactly the kind of change people have been calling for, yet so few people seem to be willing to embrace it. Pick one, people, you can’t have it both ways. You can’t call for change yet not accept it when it isn’t the kind of change you were looking for.

With that, the Grammy’s were finally over. The Obligatory Standing Ovation count rounded out to a 5 and there were some pleasant surprises through out the night. There was also some seriously epic failures and some unintentional comedic moments. There were way too many Lifetime Acheivement Award winners and I just read that the viewing audience only totalled 17.5 million, making the 50th Grammy Awards the 3rd least watched broadcast in it’s history. That’s really too bad because the Grammy’s are a musical institution but at the same time, it’s expected. Who wants to watch a failing academy who’s so behind the rest of the music world struggle to put together nominees that are sub-par?

myspace music monday: Projekt A-Ko

We’re back, once again, in Scotland this week. However, unlike last week’s artist, this week’s manages to rock your socks off while sounding both old and new, all at the same time! Ladies and germs (oh, how I miss the 3rd grade), I present to you, Projekt A-Ko.

Projekt A-Ko

Despite a name that would lead you to believe that you are about to listen to a late 80s hip hop group, Projekt A-Ko in fact has more in common with indie music from the early 90s. More often than not, the sound that the band creates is something that is surprisingly raw, yet somehow a lot of fun to listen to. I’ve made myself clear on numerous occasions that I’m not the biggest fan of this particular style of music (I really do hate Sonic Youth, after all), but most of what I’ve heard from this band so far is very good, and I strongly encourage you to give them a listen.

Songs
The first song “Supertriste Duxelle” is an unapologetic dog pile of distorted guitars and second-hand vocals. The whole early-90s indie rock aesthetic is in full force as each member of the band gives everything they have to make the music louder, nastier, better. It’s very Pavement-ish. Yet despite my so-so feelings towards that band, I find myself strangely compelled to like every second of this song. It’s a very cool, very raw rock track.

“Hey Palooka” boasts a similar sound, complete with infectious guitar riffs, missed notes, and enough distortion to make you question whether or not you’re listening to the final version to the song or just some back alley cassette that’s been recorded over one too many times. As is typically the case, it could possibly polarizing. But for those who are able to look past it all and dissect the song down to it’s brilliant little parts, it’s hard to be completely turned off.

“New Confusion” and “Ichiro on 3rd” follow the same path that their predecessors traveled, the latter, however, is a bit more gentle; with a relatively quiet verse and a sing-along chorus. In fact, it isn’t until “Our Teenagers Need Healthy Touch” that the band’s really mixes things up, or rather, slows things down. The result is really a mixed bag. While the instrumentation is a tamer, though no less impressive version of itself, the vocalist’s lack of a refined voice weighs pretty heavily. When the band is playing louder, dirtier songs, it fits in perfectly. Here, it just sticks out like Kanye West at a hockey game (“sore thumb” just doesn’t suit me). Fortunately, the band cranks things back up for their page’s final tune, “Otaku Blues,” a catchy and undeniably impressive song that features what is arguably the best vocal performance on the site (complete with gentle female vocals complementing all the surrounding madness).

Conclusion
Overall, I’m pretty impressed with what I’ve heard so far. The band definitely does an amazing job of recreating the sound of indie music in the early 90s, and bands like Sonic Youth, Pavement, or Sebadoh (all cited as influences, mind you) would be proud. The fact that I have found it to be rather enjoyable surprises the hell out of me, due to the fact that I really do loathe a lot of those same artists. For that reason alone, I can’t help but recommend that you check out Projekt A-Ko and decide for yourself. The band also has a limited edition split 7″ record with another band named Horowitz that releases today. It features 2 songs from each band (sadly, none of the ones mentioned here though). What’re ya’ gonna do?

Links
Projekt A-Ko’s myspace Page
“Nothing Works Twice” Fan Video
“Otaku Blue” Download
Horowitz’ myspace Page
Buy Projekt A-Ko/Horowitz Split 7″ Vinyl