For those among us who lament the cookie-cutter direction folk-tinged Americana has taken in the current decade’s “pop folk” era — that of the Lumineers or Mumford’s Babel – you may now rejoice in that which is The Muse. The fourth album from Boulder’s the Wood Brothers revels in everything blues, jazz, gospel and, yes, folk. The opener, “Wastin’ My Mind,” will stun fans of the Band who are likely to marvel that this song wasn’t produced forty years ago, and from there it’s a great ride through track after track of genre-bending songs which prove to be more than folk revivalism or obsessive attempts at recreation.
Any album with the one-two-three punch of “Wastin’ My Mind,” “Neon Tombstone” and “Sing About It” is already worth a listen. But the album’s boozy, horn-soaked finale “Firewater” wins the day, that slow-burn melancholy certain to fuel many a full-album restart or furious clicks to repeat the track itself. The rest of the album more than lives up to the gauntlet the band has thrown down, proof that there’s still room in today’s musical landscape for albums which challenge the listener. With three months to go, the Wood Brothers have produced this year’s best Americana album by far.
“I’M YOUR 911!” — Mumiy Troll’s “Swimming With Sharks” expands band’s hook-filled legacy, strongest English-language single yet
Read the “Hear! Hear!” interview with Ilya Lagutenko from last May.
It is fitting that Mumiy Troll’s latest single, “Swimming With Sharks,” builds its hook upon a surf-rock infused bass melody and a hook which catches you off guard with its insistent groove. Ilya Lagutenko’s giddy sense of pop-rock fun is catchy and makes this one of the band’s strongest singles yet, and their best by far in the English language. The video itself is pitch-perfect, proof of the band’s talent as Russia’s greatest pop export and more than enough reason to check them out if you’ve yet to take the plunge. Swimming with these sharks is all the more dangerous because there’s blood in the water, but what fun is there in always playing it safe?
Keep an eye out for the band’s 11th full-length, which they’re recording in English and Russian in between dates on their relentless touring schedule.
LET ME SHOW YOU WHAT A HERO DOES: DNA’s “Stonewall Jackson” breathes life into pop music with epic mythmaking
Saw these guys in Tell City, Indiana during their Schweitzer Fest performance the night before they laid down this spectacular live version of “Stonewall Jackson” at a show in Illinois. I had never heard the band prior to seeing their exceptional live show, yet I was singing along with this one instantly, the kind of thing which heralds a hit hands-down.
“Make ‘Stonewall Jackson’ the single and make station managers play it at knife-point,” I wrote in a quick email to the band after the set. “They’ll thank you for it later.” A month later I still agree. From the slow-burn guitar and keyboards opening to the frenzied chorus, the song’s got everything you need for a repeatable, ear-catching hook. And the rest of their songs fully live up to the hype, as fully laid bare on the band’s debut full-length Plenty of Thoughts.
There’s definitely plenty of room in the pop scene for a group of guys from St. Louis who have this much songwriting sense and the willingness to get out there and build a fan-base from the ground up. If you haven’t heard DNA, give the songa listen and then head over to their Facebook page. Then sit back and let your ears thank you.
All The Love You Got: Diane Birch returns with single that proves she’s more than just a great pop throwback
After more than four years left waiting, wondering if she was a one-trick artist capable of only that one perfect album, word arrives that Diane Birch has a follow-up planned to the addictive debut Bible Belt which earned her so much praise. We still must wait another six weeks for Speak A Little Louder, which drops on S-Curve October 15, but Birch recently released her single “All The Love You Got”, which is eerily addictive, an immediately ear-catching melody which bodes well for the remainder of the album.
Birch’s first album, as good as it was, suffered somewhat from all the comparisons to the artists who clearly inspired each song’s creation. This lead her to be pigeonholed as something of a throwback artist to seventies AM pop in the same way Amy Winehouse revived interest in sixties girl group r&b / soul. The new single, while it would easily please the songwriting palate of a Stevie Nicks any day, still showcases the artistic growth Birch has undertaken during the four-year hiatus. A great deal more of her own personality shows through the strong melody, as her powerful voice arrives instantly to destroy the competition in a single stroke. Look for this album to be the talk of Indie circles nationwide when it arrives, because this is pop music as it needs to be heard.
Pennsylvania rapper Dubby (a.k.a. Caleb Joyce) is set to put Gettysburg on the map as more than just a Civil War mecca. The kid’s got serious flow, as illustrated by his video for “Game of Thrones,” a track which reminds me rhythmically of Brother Ali, and his ability to speed up and slow down his delivery while maintaining a steady flow. “Collapse the diaphragm / This is a test / Breathe / Stretch / Shake / Mace / Puff / Pass / Rough / Patch / Sandpaper shit / That’s a must have / Pick people for my team who can buff that!”
Collapse the diaphragm
This is a test
That’s a must have
Pick people for my team that can buff that!
You picked a dude that can jump and that runs fast
That overlaps the one runner who comes last just to run laps
But I’ma pick the dude that was humbled
By having defeated his demon
Look for the heart and never the pride
Sure, the things he says take some mental gymnastics to decipher at times, but the hook is there behind the concept. “Game of Thrones” showcases Dubby as a guy on the way up, looking to build his team from other hungry rappers of his ilk, and once he gets that throne, there’s no one going to take it from him. “I’m just waiting for my kingdom to come,” he sings on the chorus, and by the end of the track you’ll believe — even if just for a moment — that success will eventually find this kid. That kingdom’s gonna come and you heard him here first!
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AKA & The Heart Hurt Goods – “Dotted Line”
(f. Double B / Nathalie Elam)
AKA & The Heart Hurt Goods – “Put On Blocks”
(f. Nathalie Elam / Andrew White / Nicatine of Free Whiskey)
AKA & The Heart Hurt Goods – “Supersonic Love”
(f. Nathalie Elam)
AKA & The Heart Hurt Goods – “Last Call”
(f. Nicatine of Free Whiskey)
From the land of the mighty Pacific Northwest comes the rumbling of a burgeoning hip hop community, that is uniting all things hip hop. Graffiti, Djing, B-Boying, Emceeing and a growing battle rap scene.
Matthew Lindblad definitely has plenty of experience as part of the Orange County music scene. A multi-instrumentalist, singer and songwriter, Lindblad played guitar with the band New Years Day, which gave him a taste of mainstream success including Warped Tour experience. Now he’s teamed up with Gus Flaig (drums) and Chris Chavez (guitars, vocals) to form Rebel Revive, a band which is able to draw on Lindblad’s experiences with rock influences both old and new, to create a sound they can call their own.
The result is XI, a hybrid of pop, rock and punk influences named for the eleven years Lindblad has spent performing his music in the area. “The Voices,” the EP’s standout single, features a fresh musical backdrop which reminds this critic of Blink 182 or Cartel if they were filtered through the Slip (must hear: “Even Rats”), with the band singing a chorus of “whooooah-oh-oh!”s as Lindblad claims they have the voices, silent for too long, which will now speak for a generation. While that may be an overreaching statement, the chorus itself is incredibly ear-catching and repeatable.
The rest of the EP builds on that hook to create songs which are memorable and instantly accessible. With “Better Days” and “Stars” standing out as potential future singles, there’s no reason to expect this album to fade away anytime soon. If anything, expect your appetite to be barely whetted. You’ll have to settle for repeating the six songs and hoping it won’t be too long before the band puts together the epic full-length this hints lies just over the horizon.
XI officially drops tomorrow, but if you’re ready to go for a musical ride, “Hear! Hear!” has the entire album streaming exclusively today! So strap on your headphones and press play, then make sure you share this music with everyone you know with good taste. You may have heard it first, but they’ll all want to ride your coattails.
Texas-based songwriter Lucas Jack has made no bones about his desire to bring back the glory days of the piano-pop songwriter, whether that singer be Billy Joel or Elton John. But his attempt to reinvent that tradition, while maintaining the familiar beats listeners will have come to expect, does a surprisingly solid job expanding it as well.
Sun City, a concept album which follows a couple through their journey toward the American Dream, though the detours are numerous and their success rarely assured. These songs are often Joel’s Brenda and Eddie from “Scenes From An Italian Restaurant,” as they travel through the darker edges of modern suburban life. Midway through the album, “Hope” takes on a darker view of Joel’s “She’s Always A Woman,” in particular:
There’s a distance in her eyes
Every time she starts to lie
And she’s far away tonight
And she always offers hope
That she wraps around your throat
Like a hangman selling rope
The war is only words you never say
The score you keep just counting down the days
Keep singing with the chorus in the bar
To blacken out the dark
And keep on coming back just as you are
But it’s not just an exercise in cheap misogyny like Joel’s hit, taking cheap shots. The song illustrates the buying of time which takes place in a marriage collapsing despite everything both spouses try to do. Both sides want to keep things together, so she lies and he accepts the hope she provides, even as he lies by saying the marriage still has a chance and that he’s not strangling against the metaphorical noose. The song’s haunting tone echoes the futility both must feel in the situation, with little they can do but keep living lie after bitter lie.
We witness the same couple earlier in the album on “Paralyzed,” as the husband debates just walking away from everything, even though he knows he never will. Lyrically this is where Lucas Jack shines, laying everything on the line in brutally cutting prose as his piano echoes the hopeful tone which will obviously keep this man in the marriage past its breaking point.
Once a month with our t-shirts on
That’s how far our love has gone
Our friends all tell us we should both move on
But we’re tangled up too tight
We’re paralyzed in our separate ways
We’ve both got kids of our own these days
And they’re making it harder to walk away
But we’re both long gone inside
How’d we get so old at 35?
I don’t want to give you the perspective that this album is nothing but bitter pills to swallow, backed by sunny piano pop which belies the devastation within. Lucas Jack is a talented songwriter who echoes Billy Joel in his delivery as often as he does solo-era Ben Folds and (on “Don’t Get Carried Away” in particular) even a touch of contemporary Randy Newman. These are songs crafted from the ground up to focus on all angles of the song, and it makes for an album full of vignettes which each deserve to be single candidates.
“You Belong To The City Now” stands tall as the album’s best individual track, and it’s rightly been named as the album’s lead single. It opens with piano, bass and guitar as Jack’s vocals sing of “living it up until it’s way too late to live it down,” his characters’ first glimpse of the city life which, while it eventually will consume them, still holds an alluring aura. I was reminded immediately of “Bonfire of the Vanities,” the Tom Hanks character who thinks he’s the master of the universe, making loads of money so he can live what he thinks is the perfect life, but we know he’s just a few steps away from being destroyed by that lifestyle. On the fourteen songs which follow this introduction, these two characters will take a serious beating — by the end, will they still believe in that dream? Does that upward mobility to the middle class mean anything, or are we all struggling to get past the moments which in the end would really matter the most?
In the end, Sun City is a remarkably astute debut from a songwriter who has crafted a song suite which plays well from the first hit, building in intensity as we listen more and more, sifting through all the lyrical details. It’s like watching a film where we’ve known these characters in varied forms all our lives, so we’re invested in seeing that they come out in the end with at least a semblance of dignity. This is modern American life, and like the troubadours he so admires, Lucas Jack has potential here to have produced a contemporary pop classic. For fans of the genre, missing this album would be a misstep you don’t want to make.
Brazilian singer / cellist Dom La Nina’s “Sambinha” brings out the smiles, requires further review of debut Ela
If this doesn’t bring a smile to your face when you wake yourself up this morning, I don’t think anything will.
Over a plucked cello melody and guitar backdrop, the talented young songwriter lays down a layer of sweetly catchy vocals, creating one of those to-the-point singles bands like Sergio Mendez and Brasil 66 used to put out back when this music had its brief heyday in America.
It’s a song worth checking out, and it makes me want to dig deeper into her debut LP Ela, out since January on the Six Degrees label. Some have likened this sound to what Cat Power might manage if produced by the likes of Brian Wilson. I’ll leave the comparisons up to you, because I only have half an hour before work and I need to hear the song at least five more times first.
Dom has been featured on WNYC’s Soundcheck Blog, KCRW’s Morning Becomes Eclectic, and NPR’s Weekend Edition and Studio 360. She made her US performance debut at the Make Music Pasadena festival and Hotel Cafe last weekend in Los Angeles, and returns to North America in early July, including a New York City date at Joe’s Pub. Hopefully she’ll do well and they’ll announce more dates for those of us stuck in the midwest. Until then, the recordings will have to suffice.
For the old-school fan of classic rock who isn’t afraid to mix plenty of Humble Pie and Jeff Beck into their listening schedule, Blades of Grass by Dirty Streets should be an album on your immediate listening list when it hits shelves on July 9th. Until then, get your fix with a few repeats of “Stay Thirsty” to keep your pump primed, a track which the Memphis-by-way-of-Mississippi power trio recorded at the legendary Ardent Studio with production help from sound engineer Adam Hill, with added power provided by Lucero’s Rick Steff on keyboards. With two full-lengths already to their name along with an extensive touring history, expect big things from these guys in the coming months. To learn more, check them out on Facebook!
“Tell Me When You See Something Worth Saving” — Why you should immediately become familiar with the work of Darrin Bradbury
Darrin Bradbury tells things as he sees them, which makes this four-track single release, A Casual Conversation With Superman, a stunningly repeatable listen. “True love’s gonna make you lose your teeth,” he sings on the track “True Love,” which equates a broken-down love affair to the decay of an addiction to methamphetamine: “How I wish I could get back to when love was just a toke of something green like your eyes and gold like your hair,” he mourns, before suggesting that true love burns fast, sweet and then becomes suffocating and destructive. That’s much like the take on the Superman trope on the first track, which really is the standout. “Tell me when you see something worth saving,” Superman snarks at the songwriter while standing outside a telephone booth. “Flying will hurt your back and the spandex makes you itch … sometimes this world just ain’t worth saving.” That and saving the world repeatedly still doesn’t get you laid enough, what with Superman’s kryptonite sperm and all.
Trust me, this songwriter from West Virginia brings the goods. This EP’s only the starting point — get hooked on it, then move on to the harder drugs of The Quiet Side of Hell, which really gives you the goods on what Bradbury has to offer. This is Steve Earle meets Drive-By Truckers, with the sharp lyrical edges of John Prine and the strong folk melodic flair of Danny Schmidt. In other words, listen and you won’t be disappointed.
Doing all she can to show us pop love, Naia Kete’s “Crazy Glue” sticks to the skull like the best ear candy
Back in October we premiered the single “Cherry Love” by Natania Lalwani. If you fell instantly in love with that slice of perfect pop candy, you’ll be just as enamored with what Naia Kete offers on her latest single “Crazy Glue,” which fits right into that vein of enthusiastic addictive surrender to the art of love. She gets positively high over the touch of a hand and vows to stick to her lover like glue, melding the message via sing-song vocals to a backdrop of guitars, pianos and light percussion, crafting a generous singable hook which is the perfect complement to the endlessly repeatable “Cherry Love.”
Kete, who now lives in LA, was a contestant on The Voice‘s second season and is set to play the Bonnaroo Festival in Manchester, Tennessee this June, at which point she’ll release her third EP, followed by an appearance at Outside Lands Festival in San Francisco this August. If the material on the new EP continues in the vein of “Crazy Glue,” expect the hooks to bounce around the confines of your skull like the best summer songs pop music has to offer.
“These Diamonds In Our Hands” — Cris Cab’s “When We Were Young” melds Dave Matthews, Rob Thomas for robust single
This single by Miami-based singer-songwriter Cris Cab caught me by surprise this afternoon, a refreshing blend of Dave Matthews instrumentation with vocals which blend echoes of Rob Thomas with hints of reggae in the hook. The overall backdrop, when played on repeat, keeps drawing me back to Paul Simon’s Graceland, particularly when the horns come in strong at the 2:35 mark. This is a sunshine-soaked pop hit-in-the-making which should easily warrant proper headphone treatment followed by a proper blasting from your car’s speakers as you cruise down the highway.
If you dig the single as much as I have, check out his Red Road mix-tape, which arrives ahead of Cab’s upcoming debut album due this fall. The mix features collaborations with Hip Hop artists Mike Posner and Wyclef Jean, and can be streamed via SoundCloud.
First off, watch the video below then “Like” the band as quickly as possible:
Done that? Good … bring on the 90s nostalgia!
Afew repeats and I’m wanting to dig out my copy of the Blue Album along with my other favorites from the era, including some Marcy Playground, Harvey Danger and … nah, I’ll just go to Bandcamp and rock out to the rest of Unmacho, which includes the blisteringly good two-minute track “Van Man,” which deserves a video as ridiculously cool as the one they’ve made for the title track. That and the album’s opener, “Bonehead,” which showcases there’s more under the hood than just aping Rivers Cuomo. A quick stream suggests there’s not a dud in the bunch, which is more than a good reason to like them on Facebook and then buy a copy to blast with your windows down all summer.
Blindly soldiering on, Josh Krajcik produces a solid post X-Factor album with Blindly, Lonely, Lovely
He finished second in a reality show, but let’s face the facts: Josh Krajcik has talent which didn’t need a Simon Cowell-led talent show to showcase it. So it doesn’t come as a surprise to hear Blindly, Lonely, Lovely showcasing his blues-tinged growl over larger-than-life arrangements which accentuate his ability to merge blues, rock and pop, all within a slick package.
“Back Where We Belong” brings “big” to the forefront, with its massive arrangement of piano, thundering drums and Krajcik’s lung-deflating vocals, and at times the song itself becomes overwhelmed by that top-heavy heft. Sometimes less is more, which “Nothing” illustrates as the album’s opener. That’s the song which needs to be spread around the internet as the reason this guy needs to be heard. That or the southern-blues keeper “The Remedy,” which could have fitted itself nicely into any Ray Lamontagne album yet released, or at the least as a John Mayer Continuum b-side. Steep yourself in those vocals at the chorus, along with that rising tide of horns, and try not to get swept up in the mood.
This isn’t an album he’ll be able to build a whole career on, but clearly reality success didn’t spoil him — he’s used the time in the Fox spotlight to build an audience and then released an album perfectly in line with what those fans wanted to hear, free from obsessive studio interference. With album tracks like “Don’t Make Me Hopeful” and the album-closing stunner “Let Me Hold You” anchoring this mix, there’s plenty to hope for in this songwriter’s future. If you weren’t already sucked in by the solid craft illuminated by his first two independent albums (try “Atavistic” on for size if you don’t believe me), I can’t think of a better mainstream introduction to his sound than what Blindly, Lonely, Lovely delivers.
Kacey Musgraves catches lightning in a bottle — “Same Trailer Different Park” is country’s best album of the year so far
If you ain’t got two kids by 21
You’re probably gonna die alone
At least that’s what tradition told you
And it don’t matter if you don’t believe
Come Sunday morning you best be there
In the front row like you’re supposed to
Same hurt in every heart
Same trailer different park
Mama’s hooked on Mary Kay
Brother’s hooked on Mary Jane
And daddy’s hooked on Mary two doors down
Mary, Mary, quite contrary
We get bored so we get married
And just like dust we settle in this town
On this broken merry-go-
Round and round and round we go
Where it stops nobody knows
And it ain’t slowing down
Talk about a shot to the gut. This is one of those songs which could apply to just about everyone I’ve known in small-town Indiana at some point in our lives. It’s a touch of downwardly mobile Americana as we settle for less than we’re worth because we don’t believe we deserve anything better than just a chance at treading water.
Kacey Musgraves doesn’t have the thundering “shoot for the high notes” vocals of a Carrie Underwood, and though she could out-hustle Taylor Swift in any songwriting competition, you’ll be unlikely to find her drawing the same kind of frantic, obsessed crowd. All the better, because we can take in the wonderful songwriting on Same Trailer Different Park, 2013′s first flat-out fantastic country album, without having to worry she’ll be overexposed by September.
“Merry Go Round” may be the strongest introduction to her sound, but “Dandelion”, “Stupid” and “It Is What It Is” reiterate that this young woman is Nashville’s best lyrical hope, suggesting that country can mean a hell of a lot more than just by-the-numbers button pushing. This is the real America … it is what is is ’til it ain’t anymore. Here’s hoping listeners aren’t too stubborn to give her the chance she so richly deserves, because there’s nowhere better you could be than listening to this album a few times through.
As great as P.O.S.’s We Don’t Even Live Here is, the album’s been overshadowed by the rapper’s inability to properly tour to promote it, so it’s great to hear he’s getting the chance to go out and do a few dates this spring, including Sasquatch Fest in Washington state this May. With his otherwise well-documented health issues keeping him off the road for the last few months, I suspected he might have something to say to fans about the album and his collaborative spirit, which has seen him working with everyone from Doomtree to Building Better Bombs and Marijuana Deathsquads. Sure enough, there was enough great discussion fodder in a few minutes to fuel hours of conversation, had there been the opportunity.
- – - – -
I’ve been really impressed with the collaborative spirit of Minneapolis hip-hop over the last decade. What would you hope the mainstream contributors to the genre would take from that?
I don’t know, I guess I really think that you’re starting to see that more anyway without someone having to get out there and say anything. I think having a band behind you is pretty fun, but it’s more about finding people who are good at something and working with them. Really thinking about everything as more of a project.
I’d noticed with the new album that, on tracks like “Fuck Your Stuff,” it seemed you were talking about getting people to get up off their asses to do something constructive rather than just bragging, hyping and buying stuff.
Yeah, it’s not just about musicians, but more everybody.
Have your fans taken that message and run with it?
I don’t know! I think some of them have, but I don’t know if all of them go beyond the music. The problem with talking about some of the stuff I talk about on this record is that we still live in the world that we live in, you know? It’s still all about the money you have and what you can afford and brag about. Whether I rap about trying to find a better way or a different way, that’s still where people’s lives are. They have to work and get money, whether they care about money or not.
Do you feel you have a responsibility since you have that “voice” through hip-hop, to push that Occupy message as far as it’ll go?
Sort of. I don’t know if it’s an Occupy message, but more of a general “if we live in a capitalist society, that’s where we live” mentality. There may not be anything you can do about it, but that doesn’t mean we all just have to take being wage-slaves and being treated like that’s what we want to do. I don’t know anyone who wants to be a wage-slave.
You got your start in the realm of punk music. Comparing that genre to hip-hop, do you think there’s really much of a difference between hip-hop’s lyricism and punk’s more furious roots?
No. I really don’t. I think that when I was first getting into Wu Tang Clan I was definitely very aware as a fan of music of how really punk-rock it was. I think at the very roots you can go all the way down and they both have their fun, they both have their carefree side, but at the most fundamental level they’re about doing something constructive with your life, looking at things from a different angle.
Listening to your music, you’ve covered all the different angles, with four solo albums, your work with Doomtree, and then you’ve been part of Building Better Bombs and Marijuana Deathsquads. How do you keep challenging yourself to maintain that level of work?
Well, I think the point is to make things that are challenging. I don’t know that it’s a matter of “how do I keep challenging,” it’s a matter of making songs that are interesting to me. If it feels that it’s not interesting for me then I can’t roll with it, you know? I never really think about it in terms of “how am I gonna outdo myself?” It’s a matter of making more music.
Do you feel that you have to have multiple things going on to keep yourself inspired?
Yeah. Definitely, if I was only rapping I’d be bored out of my mind.
Looking at Minneapolis in particular, in the 90s it was a flourishing punk and alternative scene, and now it’s been hip-hop since Rhymesayers really took force.
Right, but in all that time there’s still been that rock influence. Everything that’s happened, there’s not a lot of ska bands, since ska kind of just “went away,” but as far as different styles of music you can always find it. This is a very unique and interesting music city.
What makes a city build a good scene?
I think it’s because there are no major labels, just small labels big enough to handle the music local bands collaborate on. I think there’s a tradition here. I definitely wasn’t born when the music scene started here, but by the time I was old enough to listen to music, there were already bands like Husker Du and the Replacements, all these awesome bands that had worked the scene here. So I think if you’re a musician, if you’re just starting out it feels impossible to break through, but you only have to make a little bit of headway to realize just how wide open it is.
Artists often get pigeonholed into the same conversation over and over again. What do you wish someone would ask you but they never do?
Honestly? On my last record I was more annoyed. The questions this time around have been really good because people are starting to pay attention to the subject-matter of the songs. And I think culturally people are a little more awake than they may have ever been, if you take the Internet into consideration not just for music but for information. You can have an opinion and a set of ideals that maybe you didn’t have a few years back even. Things can happen so fast, it’s just a matter of taking the time to actually read things past the headline.
Is there something you wish no one would ever ask you again?
There are always the standard questions about “what are your favorite bands,” and stuff like that. I never mind sharing, but it’s always like “you could probably just read another interview.”
I’m always more interested in what artists are currently inspired by. Are there groups or solo writers coming up who you think we should be more aware of?
Yeah … I think that there’s a rapper named Haleek Maul who people are kind of sleeping on right now. But there’s always so many rappers, there are a million people. I’m really super-inspired by podcasts and current events. Musically I’m still into my favorites and I’m always listening to new stuff.
Do you think artists have a mandate to keep pushing people to think more deeply about the world?
No. I don’t at all. I think there’s always a place for stupid love songs, a place for completely mindless songs. I think there’s room for everybody. There’s a common thought in underground rap that mainstream rap is stupid. Underground punk bands think mainstream bands are stupid, since people who grew up loving Green Day hate Green Day now. I think there’s room for everybody to do pretty much whatever they want, there’s enough people out there to be successful. If you believe in the music that you’re putting out, you should stand behind it. When I was younger I was really mad at the direction hip-hop culture drives people, and there’s always going to be anger and ignorance, whether it’s rap or anything. But that’s me. Part of my personality is that I want to talk about things that affect my life, the world around me. It doesn’t mean everybody needs to do that.
If you’re going to write silly love songs, at least be willing to stand up for that.
Exactly, but there are people who – think about the Queers or bands like that – part of their charm is that they make silly stupid songs. Some are good, some are bad, but they all have that bent to them. For someone like me, I love Minor Threat because they talked about things which mattered to them, but I also liked the Vandals, where every song just seemed to make fun of something. There’s room for everything.
No such thing as a guilty pleasure then?
Not for me, at least not since I was 25. At that point I decided fuck it. If I like it, I like it.
I know you’re scheduled to play at Sasquatch Fest this spring. What should we expect to hear from you guys in the coming year? Are you working on any new material or are you just excited to get out there and promote the current album now?
I’m getting excited to promote the current album, but with all the health stuff sidelining the tour, I’d be bored if I wasn’t making something. It’s still been tough, I haven’t gotten my transplant yet and I’m booking shows on faith that I’ll be able to get out there. My docket’s still pretty open at this point.
If you had one album through which you could introduce the world to hip-hop or rap, which would be your “most essential” pick?
Oh man, there’s a lot of albums I personally like. I guess just because you’re asking me today and I’m thinking about it today, I’d say My Ghetto Report Card by E-40. It’s a really good record, because he’s one of those guys who is a true innovator and he’s not always dumb. There’s enough party, enough bullshit and enough smart stuff, and the beats all knock. And nobody sounds like E-40.
All night awake
In the moonlight I’m with you
In the moonlight I’m with you
Brighter than gold
They’ve owned my ears since I first heard their Cuban-fueled masterpiece Two Shoes nearly a decade ago, and since that moment I’ve never ceased to be surprised at the levels to which they take their obsessively catchy blend of global pop. This latest single, a bright exercise in full body enrichment, sets your speakers afire with horn soaked exuberance, as Felix Riebl lets loose his distinctive Aussie vocals and the band holds sway over us all. In this musical empire the only reason the sun ever sets is so we can blast off with music like this under the moonlight. And with American pop music lacking any distinct edge, something this good is worth ten times its weight in gold. Their yet-untitled sixth album, due in May, can’t come nearly soon enough to sate my appetite for more as I, stuck awake way into the night, continue to press play. “Oh la aye!” indeed.
Casey Abrams’ new “Get Out!” video puts a humorous spin on obsessive crushes with an unforgettable hook
Memo to Casey Abrams. As much as we all love your songs and want you to succeed, it’s dangerous to film a video where you’re seen stalking a hot chick wearing her best “I Love NY” t-shirt, leering behind her like Seattle’s latest serial-killer-in-waiting. That, and telling a girl “you got me like a bug bite and now you’re under my skin” while your eyes bug out eerily might not quite come off as “sexy” as you’re hoping. This time it gets you punched in the face. Next time she might cut you, and we’d hate to see you get hurt, with so much great pop songwriting yet for you to do!
All kidding aside, this video perfectly sums up what made Casey so damned likeable when he was on American Idol back in 2010. If this hook doesn’t win you over, and you don’t find something to champion via this interview I conducted with him for PopMatters, I then officially excuse you. Please now safely give up pop music for life, you’re just not going to be in the right frame of mind for music which doesn’t take itself so seriously.
Lately I’ve been going crazy looking for a juicy pop hit to champion as we head toward spring. Well, folks, this is the one … roll those windows down and crank it full-volume, make sure the whole neighborhood hears. Represent for happy-go-lucky bearded weirdos everywhere, because with a hook this good, if this can’t be a hit I don’t want to listen anymore.
“We Don’t Even Live Here” — P.O.S. and his “Weird Friends” showcase just how far ahead they remain of mainstream hip-hop via new video
I’ve been a champion of P.O.S.’s magnificent hip-hop effort We Don’t Even Live Here since it came out late last year, but the rapper continues to find ways to mine that album for gold as the new year gets going, proving he leads the genre’s vanguard by a wide distance. Reset your opinions of hip-hop by giving these lyrical anarchists a listen or ten. They won’t be beat, and any chance to dig deeper into their catalog is worth the effort. Their tour was cancelled last year due to P.O.S.’s imminent need for a kidney transplant, but they will be playing Sasquatch! Fest with Mumford and Sons, Arctic Monkeys, Vampire Weekend, the XX and an astonishing number of other cutting edge alternative artists, when the festival takes over George, Washington on May 27, 2013. Based on everything I’ve heard about his live shows, this won’t be one to miss.
Check out the video below! It definitely deserves a shot at wider mainstream acknowledgement, even as the band refuses to give up an ounce of their indie credibility to get it.
Let it all be a reminder of how surely David Draiman rocks — Device’s self-titled debut delivers, “Vilify” leading the charge
There’s something about David Draiman’s inspired take on hard rock, tinged with all which is both invigorating and frustrating about the millennial hybrid fusion of rap and metal, that simply can’t be purged from my ears. For many of the same reasons I can’t stop listening to new Meatloaf records despite the fact that for every genius hook there’s an equally disappointing plummet, I find myself salivating whenever I hear any new track with that distinctive sing-song growl. “Arrrrrrrrrraughhhhhh!” It must be a product of my frenetic rock upbringing throughout the nineties which simply destroys all denial.
Draiman’s latest outlet, Device, has a self-titled debut coming out April 9th via the Warner label, and it arrives at once as addictive as anything Disturbed’s yet released, yet with more of an 80′s-inspired twist, particularly the incredible duet with Lizzy Hale on Device’s brilliant cover of Ozzy Osborne and Lita Ford’s 1988 “Close My Eyes Forever” which manages to blend pop hooks with Draiman’s typically uncompromising vocal energy. More on that in a moment.
First things first, however, as “You Think You Know” opens the album with typical Draimanesque bluster, including classic lines like “Get off me, you don’t know where I’ve been,” sung before he abruptly calls the mystery female a whore while referring to the monsters inside him. He’s like the opposite of Meat Loaf’s usual protagonist, the one constantly in arrested-development teenage lust, searching for desperate sexual release. Instead, Draiman’s songs come from that utterly opposite position where it’s all about living on a razor’s edge between fear, lust and ultimate insanity, a world rotting to its core.
You think you know, but it’s all in your mind. The sickness is everywhere, and we’re losing the battle.
What’s great about Device is the band’s willingness to twist the knife even as they merge Disturbed’s typical hard rock pastiche with backdrops built on layer after layer of Nine Inch Nails industrial and New Order inspired pop gloss. The opening triptych that is “You Think You Know,” ‘Penance” and the album’s first single, “Vilify,” unite everything fans will have come to expect from Draiman and Disturbed, but the new band seems more willing to play with those conventional expectations. “You’ve never had control from the onset,” he tells us. “Go find another lapdog, fucker!” He’s got this roiling tide of bile, distrust and confusion about the past, present and future, and the only way to get anywhere is to subvert every demand placed on the music.
Fuck you all!
Let every minute be a reminder
Of how it all came crashing down
Can’t believe this is happening
Don’t want to start over again!
How can this all keep happening
Over and over and over again?”
At that moment we finally come to a fork in the road — that aforementioned incredible cover of “Close My Eyes Forever” which should be the next single and the album’s ultimate mainstream breakthrough. Call it “Draiman Unchained” — apart from our demands for repeated past glories, the singer becomes a man willing to finally take the album to a new level. “If I close my eyes forever will it all remain unchanged?” Draiman and Hale sing back and forth, and while the answer in the end has to be “no,” we understand where they’re coming from.
It is easy to understand why Draiman has gone to such trouble to tell fans this isn’t an outlet to replace Disturbed — clearly he’s after a chance to redefine what’s come before, look toward the future and rediscover why he’s here to rock in the first place. The remainder of the album continues Device’s experimentation with hard rock and industrial, proving to be way more than a vanity side project while Disturbed takes a hiatus. “Out Of Line,” “Hunted” and “War Of Lies” won’t win over everyone who may have left Disturbed and David Draiman behind them a decade ago, but these songs (and in particular the album’s first four tracks) showcase a performer who knows his voice and is ready to get out there and dominate yet again, blending elements of the last three decades of hard rock into something perfectly shaped for our modern alternative landscape.
It’s not indispensable, but there’s something refreshingly invigorating about this album. Let it all be a reminder of how surely David Draiman rocks, and why we all could stand to take ourselves a little less seriously.
With their album released at long last this week, check out the visionary hip-hop outfit ready to set the game on its ear as we head deeper into 2013.