I heard a lot of rumblings this week about a new LCD Soundsystem album, but DiS and Mojo were able to summarize everything pretty well.
It seems that all signs are pointing to a spring release of a stellar record. And even if the album’s a dud (why would it be?), we can still all marvel in the creative process he’s employed so far.
“We’ve been recording in a mansion. It sleeps 10 and there’s an amazing pool and it felt pretty amazing. We decided, let’s make Los Angeles an imaginary Los Angeles of the soul from 1973. Everyone had to wear white all the time, so it’s like some sort of creepy fucking cult and we’d go to parties, 10 people in a mini-van all in white, and we’d have enough of an impact on how Los Angels operated.”
Wickedly excited for this one. Sound of Silver was one of my top albums of 2007 and he’s yet to do any wrong in my eyes.
[VIDEO] Grizzly Bear + Victoria Legrand do new song “Slow Life” in Chicago (video snippet)
One thing I miss about the years it’s been since I started You Ain’t No Picasso is that I don’t really get as fanatically devoted to groups as I used to. Five years ago it’d be nothing for me to spend an hour on the internet looking for new songs by groups that I don’t even listen to any more. Maybe it’s because I listen to a lot more music now, but it’s hard to muster up that kind of devotion these days. There are, however, a few noteworthy exceptions — first and foremost being anything by Grizzly Bear.
Grizzly Bear and Victoria Legrand (of Beach House) have a new song coming out on the New Moon soundtrack that I’ve been dying to hear. Yesterday a kind commenter dropped word on YANP that they’d debuted it the night before in Chicago. So after a bit of youtubing and message-boarding, I found a clip that’s a minute and a half long. Now, I brought up my enthusiasm for Grizzly Bear to point out that some of you might not want to waste your time with a minute and a half of a new song, but those of you like me will be thrilled to know that it seems to be as fantastic as we’d hoped. The only problem is that it cuts off at what seems to be a pretty crucial moment in the song. But I promise I’ll post any better video of it that I can run across.
I only knew a handful of Neon Indian songs going in to their show at Monolith (pretty much just whatever GvB had posted), but I knew that I had to see their show. In what is completely unusual for me (what with living in Lexington and all) I got to catch a rising act during one of their first shows. In fact, it was only the group’s third live show ever — their first was just a few days prior in Denton.
I don’t really know if it’s surprising or not, but Neon Indian were fantastic. It should have been surprising, considering that they only had two shows under their collective belt; however, it really wasn’t that surprising, considering that songs like “Deadbeat Summer” already sound like they’d be a jam live. Maybe the surprising part is just how well everything came together live. The sound was fantastic and just about as clearly layered as the recordings. Great, great show.
[VIDEO] new Dirty Projectors: “When the World Comes to an End” on Jimmy Fallon
A few hours before the Dirty Projectors played their new song on Late Night with Jimmy Fallon, ?uestlove posted a video of them playing their new song in a dressing room. Apparently someone had asked if they were doing the vocal work live or sampling and they decided just to show them. That got my appetite roaring for performance later that night.
Now that I’ve been able to play it a few times over, I can say that I’m a huge fan of the verses… but the chorus doesn’t really do it for me. But even so, the overall effect of the song is really fantastic. It’s one of the few songs that doesn’t feel like it was written, it feels composed. Naturally the real hook here is Haley, Amber and Angel’s vocal work. I’m just as amazed as the Roots were in that backstage video. In fact, as Stereogum points out it sounds like the Roots invited them to play that song that their show this Thursday…
While at Monolith I bumped into Caitlin Rose in the media area. We chatted for a minute thanks to mutual friends before I realized that she was the same Caitlin that I’d been getting press emails about and meaning to listen to. She handed me a copy of her album, told me she sang much better now and said I should check out her show. Unfortunately I had a conflict with another band ont he schedule and didn’t get to see her, but this new song from her Myspace is pretty top notch.
MP3:Caitlin Rose – Song for Rabbits
“Song for Rabbits” is actually not a song for rabbits at all. Surprise, it’s a song for people! In specific, it seems like it’s a song for people who are in unfulfilling relationships. But unlike most other songs in that sub-genre, Caitlin ultimately declares that sticking with a person who you aren’t always glad to be with is “better than spending all your nights alone.” Interesting as is, but the more interesting part is that I’m not entirely sure she means it.
For a lot of people, one of the bigger attractions at Lexington’s Boomslang festival is Deerhunter frontman Bradford Cox’s solo project Atlas Sound. He’ll be pairing up with Casino vs Japan (my co-worker, Erik) to play an afterparty on the Friday of Boomslang. After you’re done rocking out to Faust and Mission of Burma, your night is far from over.
Atlas Sound w/Casino vs Japan
Buster’s (899 Manchester St.)
Friday, October 10
Bands start at 12:45
Update: I have just been informed that this has been changed do that it’s just a part of the Mission of Burma/Faust show now and there’s no additional charge. Good news!
Casino vs Japan goes on around 12:45 and Atlas Sound is on at 1:30. Afterparty tickets are only available at the door, so my suggestion is to snag a festival pass and then grab a ticket to Atlas Sound after Faust is done.
While I was waiting for the Features (who I wound up skipping so that I didn’t have to make a trip down and up the soul-shatteringly high stairs of Red Rocks) I chatted for a bit with some people in the media tent and ate a breakfast of celery and ranch. These United States’ publicist Erin is a Denver native and told me that I might do better to watch the Colorado group The Knew perform a mere 50 feet from the celery tray. It was a hard sell, but I’m glad I managed to tear myself away from the ranch.
The Knew were so great at ROCKNROLL that I didn’t feel too bad about missing the Features (who, though a bit better, I’d seen half a dozen times). I really don’t know how to describe them in any way other than they’re one of the few groups I feel confident saying they play “rock ‘n roll” with no other adjectives, prepositions or qualifiers attached. These guys grab guitars, sing and shred with the sole objective of making you dance and enjoy yourself. So while I doubt anyone will ever be writing volumes on their works, who would really want them to? So hit up their Myspace and relax just like I did in Denver.
For some reason the Grates’ show at Monolith wasn’t as fantastic as when I caught them at SXSW. They were on a higher, more removed platform which could have been part of the problem. At SXSW, Patience jumped down into the crowd, swirled her ribbon and even shared her microphone with the audience. But at Monolith we had to watch from afar. Granted, it was only like five feet, but apparently that makes all the difference in the world.
Even so, the Grates sounded top notch. The new songs were nice, as was everything from Gravity Won’t Get You High, including my favorite live song of theirs, “19 20 20.” If you aren’t opposed to any fun and frivolity, please see the Grates as soon as possible. There’s a reason I’ve misspelled their name the Greates twice while writing this short post — it’s a Freudian slip in the best possible way.
This makes twice now that I’ve only sen the Yeah Yeah Yeah for four to five songs. The first time was at Bonnaroo when I had to leave and photograph other bands; now Monolith gets added in because I finally got so cold and wet in the rain that I had to head indoors to warm up. And even though those combined sets add up to about a full show, I still feel like I haven’t really “seen” the Yeah Yeah Yeah.
Karen O is a fantastic frontwoman who is fronted by a fantastic band (who were unfortunately missing David Pajo this time around). In fact, she’s so entrancing and energetic that she creates an atmosphere on stage that makes the audience question why WE aren’t on the same level of excitement that she is. She loves performing and that night at Monolith she had a crowd of thousands of rain soaked fans who loved it too.