Everything Is Boring and Everyone Is A Fucking Liar Double-Post

Maryland hip-hop duo Spank Rock are back with forty-one minutes of coool sounds on their slickest, most danceable album yet Everything Is Boring and Everyone Is A Fucking Liar (Bad Blood Records, 2011).





If you like what you've heard, stream the entire new album at Rolling Stone's website.

Lou Reed and Metallica - "The View"

Lou Reed and Metallica are releasing a fully collaborative album called Lulu on October 31. The first full track they’ve released is called “The View.” I’ve never cared for Metallica, and I haven’t really cared for Lou Reed since Transformer (RCA Records, 1972), but despite my doubts about Lulu, I think “The View” is pretty fucking awesome. I'll definitely be checking out Lulu now.

More and More, I Think Talking Heads Are the Greatest Band Ever.

And David Byrne is the greatest frontman ever. This video is just fucking awesome in every way possible:



How does someone come up with those jerky, robotic and marionette-like body movements or have the innate sense to move like that? Or like this:





David Byrne's energy and stamina in those two videos alone (both from Talking Heads' 1984 concert film Stop Making Sense) just astounds me, especially assuming he was always that expressive live. I NEED to watch Stop Making Sense NOW.

Marnie Stern on Music Criticism

"I think the feeling right now with criticism and reviews is that it's rare that someone is actually critical. It seems more about discovering it, and you judge for yourself whether you like it or not. Before, you used to have to spend seventeen bucks on a CD so you wanted someone to tell you if it was good or not. Now, you don't need a review, you just download it and throw it away."

I never thought about that before. She may be correct about the weight most readers (myself included) give reviews nowadays, but I disagree about reviews rarely being critical anymore. Pitchfork is notorious for its pretentiously critical reviews (see their staggeringly low score of 1.2/10 for the Dandy Warhols' Odditorium Or Warlords of Mars), often to the point that readers may wonder, "Why do they even review X album or Y artist in general?" And for a more recent example, check out Tiny Mix-Tapes' review of Blondie's latest album.

I could pick and choose negative reviews from various publications all day, but I know Marnie isn't saying critical reviews don't exist at all anymore. My point is just that maybe it's just the reviews I happen to read, or maybe I just have "bad" or unpopular taste in music (although much of my taste consists of some of the highest-selling artists of all time, so the latter isn't the case), but reviewers definitely aren't afraid to voice their criticisms, however unnecessary those reviewers' voices may have become in the digital age.

Click below to watch the video for Marnie Stern's "Transformer":

Where Has This Song Been All My Life?

This Is More Like It

I expressed my disappointment regarding "Nodding Off," the latest collaboration between Wavves and fellow Californian pot-pop-rockers Best Coast, from Wavves upcoming Life Sux EP. Before releasing "Nodding Off," Wavves unveiled another track from Life Sux called "I Wanna Meet Dave Grohl." Also a bit disappointing, I thought.

Yesterday, Wavves released yet another track from Life Sux. This time, it was "Destroy" featuring Toronto concept-punk-rockers Fucked Up, and I have to say, this track gets it right. Unlike "Nodding Off," "Destroy" is pretty much what I expected from a collaboration between the artists involved. I expected no less from Wavves/Fucked Up than a catchy yet guttural, energy-intensive song that one can jump around and puke to, not unlike the best Andrew W.K. cuts. I just love the sound of those opening drums, how they roll in for only a couple of seconds before the bands launch full tilt with an almost Frank Black-like shriek into a riptide of sloppy, head-banging guitars.

Edit: "I Wanna Meet Dave Grohl" is pretty good.

Battles Live at the Rickshaw Theatre

July 23, 2011
The Rickshaw Theatre
Vancouver, British Columbia

And then there were Battles: the last show of my four-night concert-bender back in July.

I've been front-and-dead-centre countless times, but I don't think I've ever had a better view at a show than I did at Battles. There was nothing as epic as my view, especially with drummer John Stanier towering over me, one of his cymbals extended probably six feet above my head and even less feet in front of me. There was nothing like the feeling of anticipation during the slow, sterile, futuristic droning intro/build-up of Gloss Drop opener "Africastle" to kick off the set as the screen behind the band emanated vivid lava-coloured light through the faint smoke (dry ice). The first simultaneous hard note of keys, drums and guitars appropriately came like an eruption against that wall of solid colour. Every second my eyes were opened, I felt as if I was looking at a moving flip-book of the greatest band pictures ever.

Taken from pretty much my vantage point (by the person beside me).

Unfortunately, Battles experienced obvious technical problems throughout the night. Guitarist/bassist Dave Konopka was visibly frustrated that some of his gear didn't always work. His technical difficulties were made all the more noticeable by the other two members' extended jamming. Additionally, keyboardist/guitarist Ian Williams also fidgeted with his keyboard stands pretty frequently.

Speaking of Ian, minor technical operations weren't the only things that seemed to have been off that night. John's drumming was tight as fuck - probably the most furious, most precise drumming I'd ever seen, maybe besides John McEntire of the Sea and Cake - and Dave's guitaring was at times sharp and at other times chunky, but while Ian's keys were the clearest I'd ever heard (I always find keyboards blend into everything), his timing often sounded juuust a little off compared to the rest of the band's. And Ian's soloing/improvisation sometimes sounded a little questionable to me. Ah, hell, his soloing/improvisation sometimes just didn't sound very good to me.

I can't say much about particular songs other than they were all pretty straightforward - great for sure but not outstanding by any means. I will say I was disappointed that Battles ended "Tonto," possibly my favourite song of theirs, prematurely. They never reached its manic breakdown guitar solo. Instead, they segued into, if I remember correctly, "Ice Cream" - a good song but certainly no "Tonto." All of that notwithstanding, the band was a total delight to watch (see: again, John's drumming).

I'd wondered how Battles were going to perform the vocal parts sung by former member Tyondai Braxton and Gloss Drop guests Gary Numan, Kazu Makino (Blonde Redhead), Yamantaka Eye (Boredoms) and Matias Aguayo. I was not disappointed to see that Battles didn't skip those parts entirely but rather played pre-recorded videos of each of those vocalists (except Braxton) singing or at least lip-synching their respective parts, even if the pre-recorded vocals were a little quiet.

Battles' crowd rocked harder than I'd expected it to. I would have joined in more, but I was still feeling the effects from Les Savy Fav the night before. The guy behind me kept propping himself on my and the guy beside me's shoulders to jump up and down. I had to take off my jacket and throw it on a speaker up front so he didn't tear my jacket. He still gave my shoulder a good twisting though. He also felt the need to clarify after the show that he was "just having a good time" and was "not hitting on [me] or anything."

All in all, like I said, Battles were a great show for sure, and they were quite a marvel to watch live (mostly for their technical skills), but they were pretty straightforward and had a few bugs in their system that night at the Rickshaw. Regardless, I hardly blame the band for its bugs, and, especially for a mere twenty dollars, I would see Battles again in a frigging heartbeat.

Click here for more photos of Battles live at the Rickshaw Theatre, and click below to watch Battles perform "Ice Cream." Video and partial photo credits go to Claire Hellblaue who took the video and photos from right beside me:

An Awesome Cover of My Newest Favourite Walkmen Song

Florence + the Machine, whom I actually don't like, have also done an awesome Walkmen cover. I wish a longer version was available:

Bows + Arrows + Headbutts

September 5, 2011
The Venue
Vancouver, British Columbia

I realize I'm behind on concert recaps (I'm calling them "recaps" instead of "reviews" now, because "recap" sounds far less critical), but I'm going to do my best to catch up, starting with the Walkmen show at the Venue three nights ago.

I never thought one of the weirdest shows I'd go to would have been the Walkmen, but once again, I stood to have been surprised. It wasn't how they played or acted that made the show weird though; it was the audience.

First of all, I was completely blown away by the number of bros at the Walkmen. I never thought the Walkmen's sentimental croon-rock would have appealed to thick-headed, beer-swillin' beefcakes who like to yell obnoxious comments such as, "GET THE FUCK ON STAGE, HAMILTON!!!!!" (referring to lead-singer Hamilton Leithauser), but I guess I sold them short. And while I can talk endlessly about the fucking wasted jackass who was hitting on every girl he saw all night and whose dance moves(?) included sticking his beer bottle in his shirt to resemble a dick (or something), I'll stop myself there.

Within minutes, security busted one of said bros for lighting up a joint in the front row. Genius. Security continued patrolling the middle of the crowd that night, often signalling for a spotlight on certain parts of the crowd where they suspected "nefarious" activities.

The most serious incident of the night occurred when a mosher HEADBUTTED someone. That's right: people moshed - at the Walkmen. I think guy two, the non-mosher, politely asked guy one to calm down a bit after guy one knocked around guy two's girlfriend a bit. Some words were definitely exchanged, and then WHAM!!! The mosher fucking threw his head forward a few feet as he lunged in for the blow. I never thought the Walkmen would have been the first time I saw someone headbutt someone else at a show, let alone see a fight at a show.

After security gave the mosher some words, and the other guy tried to enjoy the show as best as he could with a quickly blackening eye, the two of them almost went at it again. This time, a security guard separated them and stood between them for a while as the show continued. That was the extent of anything I saw between the two guys for the rest of the night.

Enough about the unruly, mixed-bag audience and security guards though. The Walkmen themselves were sharp as fuck - every bit as tight and clear as I'd always imagined. Hamilton Leithauser's voice is just incredible live. He can totally take over a room and have every person in it hanging onto his every word/note. Unfortunately, I could hardly see drummer Matt Barrick for most of the night. He is just amazing to watch. Just ask the broski who, when Matt took the stage, yelled, "THAT'S THE DRUMMER!!!!! THAT'S THE DRUMMER, BRO!!!!!"). I caught good, long enough glimpses of Matt later in the night when I moved around though.

Also great was the fact that the Walkmen played all but one song I wanted to hear including "Juveniles," "Angela Surf City," "Woe Is Me," "My Old Man," "The Rat" and "Little House of Savages." The only song I wanted to hear that they didn't play was "We've Been Had." "The Rat" and "Savages" were definitely the best rock-out moments of the night.

Lastly, I was really surprised by the small size of the Venue. Maybe I was more surprised by the fact that the Walkmen would play such a small venue. I thought they could have easily sold out the much larger Commodore Ballroom which holds at least three, maybe even four, times as many people. The venue's small size may have had one particular advantage though: it may have amplified the audience's voices. I've been to a lot of shows where everyone has sung along to almost every word (most notably the White Stripes and Broken Social Scene), but the roar of the crowd when it sang along with the Walkmen was just astounding. Sometimes, I couldn't even hear Hamilton over everyone else.

I was extremely disappointed that I missed the Walkmen when they played with the fucking National at the Malkin Bowl last summer (the ultimate double-bill in my mind), so I was glad I caught the Walkmen this time around. I always wondered how anyone could dislike the Walkmen. Seeing them live made me question subjective taste more than ever.

Disappointed

But still pleased. Just as I was getting into Wavves - I mean really getting into Wavves - they put out an only-decent collaborative track with frontman Nathan Williams' girlfriend's band Best Coast. I guess I read "collaboration with Best Coast" and naturally assumed it'd feature Bethany Cosentino singing more. I'm also disappointed because the last (first) time Wavves and Best Coast worked together, their song was catchy as fuck:

Sunny-Day Music: Apostle of Hustle and Arcade Fire Edition

These two songs always remind me of driving to the Cape George Lighthouse on a sunny day back in Antigonish:

Maybe It's Time I Reconsider Beyoncé

'Cause this song is goood.