Ringside's RINGSIDE

In 2005 Ringside debuted its self-titled album to minor buzz, but quickly faded out of the limelight. They promised another album in 2007 to arrive the following year, but that never came to fruition. Their debut is a low-fi indie album with an emphasis on clever pop in the vein of a less experimental Eels. It's a largely undiscovered gem aside from two singles which received modest play in commercials and such, but it's easy listening for those of us who are suckers for well-crafted pop.

The album opens with "Struggle," arguably the catchiest song on the whole thing, and a laid-back version of Eels meets Grand National. It's a very polished piece of light-weight, smooth pop; if you get anything from this album, get this smoky, cool, seductive song. "Cold on Me" flirts with a jazz/blues background, while "Trixie" is a solid if forgettable album addition. "Miss You" is as downer as the album gets, and while the lyrics are far from sophisticated, the tune carries the song (this is the case for much of the album), and it's almost reminiscent of Coldplay without the lush sound. "Dreambat 730" is a pleasant surprise and one of the album's strongest offerings, though the rhyming walks the fine line between immature and intelligent. It does proffer the album's most provocative lyrics if only for their nonsensical qualities, particularly in the second verse where Scott Thomas tackles masochistic love: "I think I need my spine cracked/break my back/come on, baby, take me back/pinch me, lynch me, hang me from old hickory/sing your sings of peace and love/come on, baby, beat me up/oh, now, don't worry/I like it when you hurt me."
"Sleep Well, Jeff" is catchy enough, while "Talk to Me" is probably the sleekest, smoothest track on the album. "Raining Next Door" is another song with subpar lyrics but with a solid enough hook to make it another quality track. "Criminal" demonstrates that Ringside should probably stick to the catchy, shallow indie beats instead of ballads-turned-cheesy like this one. One moment it pulls at the heartstrings and the next it's easy to be scornful at Thomas' attempted soul-baring.
"Jackie" is a better effort than the earlier, sounding even a bit Mellencampy aside from the synth effects. Unfortunately, all the titles on the album tracks are abysmal.
Ultimately, the electronica keeps the listener at arm's length, but you're still gonna be admiring across the distance. This isn't the best thing since sliced bread, but in spite of its lyrical mediocrity and lack of experimentation, smart melodies and insanely addictive electronic production make it a diamond in the rough. For lovers of Eels, Grand National, Hard-Fi, and RJD2.

Verdict: Unimaginative on the lyrical end, Ringside's negative aspects are outweighed by catchy beats and immaculate production.

-elln

Dr. Dog's FATE

Philadelphia natives (and yes, I have seen them live), Dr. Dog have slowly and steadily been making a reputation with mellow, lo-fi "indie" rock for years. Well, it might be labeled as indie rock but that's just because it's too complicated to say they're psychedelic blues rock meets classic '60's pop. "The Breeze" isn't the most overwhelming album opener, but it sets the mellow tone the album will maintain and uses some interesting flute instrumentation near the end. "Hang On" introduces the bluesy tone and smattering of country which will dominate the album, including some well-placed harmonica work and gospel vocals. It also sports some of the best content lyrically: "and what you thought was a hurricane was just the rustling of the wind/why do you think we need amazing grace just to tell it like it is?/ oh I don't need no doctor to tear me all apart/I just need you to mend my heart."

"Old Days" is another album highlight, with snare drums layered over by far-off vocals, shakers, and other strange percussion, supplemented by a piano hook in a fuzzy psychedlic folk fusion. It's astounding how much they achieve without traditional instrumentation. "Army of Ancients" is for the true blues-lover tinged with some NRBQ-esque jazz. "The Rabbit, the Bat, and the Reindeer" is the catchiest song on the album, a piece of excellent piano-driven druggie pop, while "The Ark" is a close second and the darkest song on the album in tone. It opens with mean, driving guitars which demand your attention, and again that military snare; the lyrics are also some of the best of the album: "God, he called for rain/so I built an ark but no rain came/I was ashamed...Love, she asked for more/but what I gave only made her poor." This is the only real rock on the album, but it shines beautifully and it's much rawer than the other tracks.

"From" is a relaxed, trippy love ballad, appreciable for its slow build and rooted in folklore lyrics. Lyrically the album is superior as it strays from the beaten path to express love and friendship in unconventional ways, works with random images like trains and trees, and delves into folklore, large thematic concepts, and even biblical references. This strength is particularly evident in "100 Years," which explores mortality and slavery in a tall tale manner: "About 100 years from now I'm going to marry you out of common sense/and get out from behind this plow."

"Uncovering the Old" is a solid album contribution, but not particularly remarkable compared to earlier tracks. "The Beach" comes closest to the sharp guitars and attitude of "The [brilliant] Ark," and sports the lyrics from which came the album title. Album closer "My Friend" cleverly weaves together the whole album, starting with a country-tinged opener and using themes from all the songs, or refering lyrics from the other tracks. It ends perfectly with the sound of a train pulling away. This is an album which took a while to grow on me, but it will stay with me the rest of my life. Highly recommended for all ages.

-elln

The Kooks' INSIDE IN/INSIDE OUT

It's ironic that the Kooks took their name from a David Bowie song considering how little they have in common with glam rock aside from occasional yowling vocals. No, these English indie rockers have a unique spin on the acoustic and alternative scene which renders their sound distinguishable from the beginning. Inside In/Inside Out is a gem of a first album, and starts out unconventionally with one of the catchiest and lo-fi tunes on the album, "Seaside." A soulful acoustic piece, "Seaside" lasts one minute and forty seconds, and is followed by the song one would think would be the opener, "See the World." The second track is when we first hear the upbeat, buzzy, piercing guitars which are the Kooks' signature from here on out, and while it's not the strongest song on the album, it's a solid start.
"Sofa Song" was released as a single before the album, and sports Luke Pritchard singing in a lower register than we've heard yet before launching into more yowling--albeit controlled yowling. What makes the Kooks so interesting is their raw garage-rock style smoothed over and polished into cystallized indie rock and tight chords. "Sofa Song" starts a slew of singles, and next up is the short and sweet "Eddie's Gun," highlighting the masterful use of harmony which is another Kooks trademark.
"Ooh La" is an album highlight where the Kooks back off on the unrelenting suniness of previous tracks and melancholy pervades this still-catchy, still-commercial song. It's not like the Kooks' subject matter is original, but the way it's written is brilliant enough and relatable enough that, sticking to their style, they really can't go wrong.
There's not much to say about "You Don't Love Me" other than that it's another solid, if not particularly strong, addition to the album. "She Moves in Her Own Way," however, is a nice relief from power-driven guitar hooks and lets the listener breathe at the perfect time with its laid-back approach to a loving relationship and lazy, sunny days.
"Matchbox" marks a lyrical change in the album to the more sophisticated, and shifts musical themes pleasurably, becoming one of the surprise album highlights, especially the catchy refrain. "Naive" is yet another album highlight in the vein of the slightly less raw, more polished second half of the album, while "I Want You Back" returns to direct, less-pleasing lyrics and misses a catchy hook by a hair's breadth. "If Only" is a punk take on alt-rock, short with simple guitar chords but a surprisingly upbeat chorus; "Jackie Big Tits" is a testament to the band's immaturity. The song itself is good, and is a return to the mellow sound of some early tracks, in particular "She Moves"; however, the title (and chorus) is unfortunate and prevents the song from being taken seriously.

"Time Awaits" opens with a markedly bluesy acoustic guitar before launching into traditional Kooks sound--at this point what the album lacks markedly is greater variety in sound; on the other hand, the Kooks have such an enigmatic sound going that the begged question is whether or not experimentation will deliver for fans on following albums. The Kooks end their album quietly, just as they began it. "Got No Love" is as close as the Kooks get to reflective, and it works. For such a fiery first album, the choice to open and close with melancholy tracks is interesting, but it does offer a sense of closure.

-elln

Elln's Top Ten July '09

Well, it was tough this week because Dashboard's The Shade of Poison Trees cover is very pleasing to the eye. But I think The Thrill's Teenager cover is so classic, I couldn't resist. So there it is in all its honest, hormone-crazed glory.


1. "Modern Love"/David Bowie-Admittedly, I've never been a huge Bowie fan, but I've been listening to the Adventureland soundtrack a lot lately. His glam rock is powerfully addictive and sort of commercial, while also being musically clever, respectable, and viable. He also incorporates jazz into his rock, evidenced by the saxophones. His lyrics are nonsensical, but somehow make sense. So what I'm saying is that he's essentially a walking, singing paradox. Yeah, I dig those.

2. "Ain't No Rest for the Wicked"/Cage the Elephant-Ah, thank you, something straight-forward. While Cage the Elephant betrays southern roots here with a little country and folk twang, this song is purely mesmerizing rock and roll. The saga-like story-telling lyrics are all folk, but the acoustic guitar hook is 100% clever, polished rock.

3. "Don't Dream It's Over"/Crowded House-Another gem from the Adventureland soundtrack, Crowded House sounds like a band that was an '80's one-hit-wonder, though they actually went platinum in their native Australia for the release of their fifth album, Time on Earth. The song is relaxed with an undeniably mellow, catchy hook, and a sort of melancholy main-stream appeal--like a pared-down, much shallower version of a Smiths song. Which doesn't make it any less good.

4. "The Midnight Choir"/The Thrills-Teenager, Dublin rockers The Thrills' third album, signifies a break from their usual California-inspired classic surfer music love affair to more morose, carefully crafted alternative stuff. While the California guitars are still there, the vocals have become significantly more stylized. "The Midnight Choir" is surprisingly fast-paced for a song playing with nostalgic sadness, but the odd combination works in interesting ways.

5. "Gold Lion"/Yeah Yeah Yeahs-I'll be the first to admit I've never understood the buzz around the Yeah Yeah Yeahs. Perhaps with time my opinion will differ, but for now "Gold Lion" remains my favorite offering of their range of spare garage rock revival offerings. The rawness of Karen O's vocals and the meanness and simplicity of the guitars make the beat of the song easily accessible so that it becomes, almost against the listener's will, addictive.

6. "Our Lips Are Sealed"/The Go-Go's-Another band I'm not such a fan of, the Go-Go's are undeniably one of the quintessential bands of the '80's, and "Our Lips Are Sealed" makes it apparent why. Using clever and direct arrangement and instrumentation, the Go-Go's power-pop sound is well-honed and well-crafted for easy listening.

7. "Swollen Summer"/The Bravery-Okay, it's one of the dumbest songs ever from an album which is stunningly mediocre. But I still love it. I can't really justify it, except that those siren-like guitars and the lyrics "looks like a swollen summer/what if I'm getting dumber?" have wormed their way into my heart over the years. Hey, I'm allowed a guilty pleasure, aren't I? Besides, it's a perfect summer song to obnoxiously blare out the car windows.

8. "Moment"/Gran Bel Fisher-You have to at least give him credit for not singing about love, drugs, depression, or surfing. Instead, GBF sings about being in the moment, and music. So yeah, not terribly original, but not generic, either. This is pretty standard college rock, but it helps that his voice is smoky and rather sexy, and it has a nice southerny tinge to it.

9. "Diamond Hoo Ha Man"/Supergrass-Supergrass is kind of an interesting band; they're classified as alternative, though they kind of steal superficial genre styles from all over the place. Anyway, this strange gem is a catchy song about a thief...who is either personifying his diamonds in an extended metaphor ("I gotta get you in my suitcase"), or is a serial killer putting women in his suitcase after he "love[s] [them] all night long." What I was talking about with the superficiality is that though the guitars are unnaturally heavy and low in the song, the song itself isn't particularly weighty.

10. "Fever Dreams"/Dashboard Confessional-Ah, why can't you put out more delightfully compact pop songs like this, Dashboard? Why do you have to walk the fine line of emodome all the time? This is one of the rare Dashboard songs I actually like, probably because it stays on the acoustic side of things, Chris Carraba manages to sing mostly from the chest and not the nose, and the lyrics are sweet and honest.

-elln

Danger Mouse and Sparklehorse Present: Dark Night of the Soul

Don't go looking for this in stores, kids. It's not legal yet due to a dispute between Brian Burton and record company EMI, so instead Burton & co. have been selling the 100+ page photography narrative done by David Lynch as well as a CD case with a blank CD--subtly encouraging legally questionable downloading of the album.

And what an album it is. I hope they work the deal out because I can't remember the last time I so fell in love with an album. Danger Mouse of Gorillaz and Gnarls Barkley fame has teamed up with lesser-known electro-rocker Sparklehorse and multiple musical powerhouses to create an absolute gem of an album.

We start with "Revenge" featuring The Flaming Lips, and if you've heard anything by the Flaming Lips the bell in the opener of this song gives them away in a second. The song is dark and moody but also laid-back. It's absolutely gorgeous, floating along on a psychadelic wave, building up to smooth and painful choruses and then cresting gently down. "Just War" features Gruff Rhys of Super Furry Animals, with whose work I'm unfamililar. While electronic elements are certainly present, there's a little country thrown in with the rock. Much of the album overall is tough to classify, something I consider to be a true triumph. This is a song which grows on you because of the hook, especially the hard-hitting keyboard; it continues the mellow tone of the album as a whole. "Jaykub" is an odd little animal. It features Jason Lytle of Grandaddy and sports a distinctly folksy sound over the experimental noises in the background.

The cool and collected tone of the album continues with the next track, one of the crowning jewels of the album entitled "Little Girl" and featuring Julian Casablancas of the Strokes. While Casablancas' influence is certainly present, the subject matter is much darker and more sohpisticated than the Strokes' usual fare, which only serves to illustrate the power of the collaboration. I don't know what else to say except that it couldn't really be a more perfect song.

The mellow atmosphere of the album breaks when we get to Black Francis' guest vocals on "Angel's Harp." Again, though, the album seems to have toned things down as the song doesn't really have the same rawness of Pixies songs, nor are Francis' vocals particularly screechy. It's a weird song and will probably please fans but not necessarily the unconverted. In fact, I'd say this song and the next track, "Pain" featuring Iggy Pop, are album weak points. Since it's hard rock and not tightly crafted pop or purist punk, it's a lot tougher to get away with repetitiveness.

David Lynch (who is normally an avant-garde director) holds his own vocally as Danger Mouse and Sparklehorse return to psychedelic meandering dream pop with "Star Eyes (I Can't Catch It)." Jason Lytle returns to sing in the eerie, haunting, regretful "Every Time I'm With You," which is completely different from his earlier appearance on the album. The driving force of the song is a sort of muffled distorted circus tune in the background layered behind a quiet piano and other synth effects. "Insane Lullaby" has an even stranger array of synth, electronic, and occasional orchestral noises. However it features one of my personal favorite guests, James Mercer of The Shins. Unfortunately, no matter how strangely compelling the song is, I'm not sure the music complements his voice quite.

The album goes out of experimental mode and back into a some country swing with Nina Persson of The Cardigan's vocals unobtrusively crooning in the background. "Daddy's Gone" is a sweet, relaxed tune, but not a particularly strong one for the album. "Daddy's Gone" is followed by another of the album's subtly power-packed highlights, "The Man Who Played God." Suzanne Vega sings beautifully for this mellow treat, supported by pretty acoustic guitars. In "Grim Augury" the off-kilter, mournful circus/showtune returns in the background; the vocals are by Vic Chesnutt, another solo artist whose work I'm unfamiliar with. The lyrics are sad and blues-like, and the modernized blues continue in the final track, "Dark Night of the Soul," which sounds like something one of my favorite artists might concoct. The album ends on a lingering, eerie, and distinctly electronic combined with blues/soul note.

This album is short, sweet, low-key, and magnificent.

-elln

Elln's Top Ten June '09

Hands down Death in Vegas' Scorpio Rising cover wins this month.

1. "Amber"/311-Can't say I'm a big fan of the punk-reggae-crossover 311 usually is (which means they failed as a Ska band) but damn this song is real pretty for stoner music. It has an addictive, luscious beat and chill lyrics, if you get my drift. They're also strangely poetic.
2. "There's No Other Way"/Blur-Yay, more '90's British grunge rock, although I often hesitate to put these guys in with Oasis since they're generally more upbeat than the gritty Gallagher brothers. "There's No Other Way" is mellow and laid-back and perfect for summer driving.
3. "Girl"/Beck-Another perfect summer song with Beck's usually cryptic lyrics although the gist of this song is actually understandable-the guy in Beck's song has his eye on a girl and he knows he's going to nail her. This is a pretty classic summer song, low-key and relaxed (when is Beck not low-key and relaxed?).
4. "So You Say You Lost Your Baby"/Death in Vegas-DiV has got to be one of the most eclectic bands I've ever heard, ranging from rootsy rock to weird electronica to grunge rock. "So You Say" is pretty standard rock fare with lyrics and vocals reminiscent of Southern roots rock or even country. It's also mellow summer music-fans of, say, Kings of Leon would probably enjoy this song.
5. "Ramble On"/Led Zeppelin-Before now, I really haven't put much stock in Led Zeppelin. I viewed them as a less talented, less musical version of the Grateful Dead. Plus they technically started the Heavy Metal movement (although if Heavy Metal had stayed the way they played it, I'd have less to complain about). Listening now, though, I can see why they're so addictive. The music has such a wide range of influence and the simple melodies end up pulling you in. I maintain that they're probably more fun to play than to listen to, but I'm thoroughly impressed with the Lord of the Rings references in this song.
6. "Sun Children"/Nickodemus-They're classified as alternative when they really should be world, but Nickodemus produces a solid effort here. "Sun Children" is addictive with a distinct latin flair and actually good rapping.
7. "Karma Police"/Radiohead-This isn't a summer song, but it's still damn good. Reminiscent of a darker, more spare Coldplay, Radiohead will never share Coldplay's widespread commerical success but I think I like them better than Coldplay. It's slow but it doesn't plod in any way, and the piano is the real powerhouse of the song.
8. "Lovers in Japan (Osaka Sun Remix)"/Coldplay-Did I just say something bad about Coldplay? I take it back. "Lovers in Japan," at least this remix, proves once again that they are the masters of universally sweeping, beautiful confections. And don't get the original, get the remix.
9. "Jerk It Out"/The Caesars-Despite the questionable subject matter, the catchiness of this song is unquestionable. The fast tempo in this undeniably alternative, light-weight tune has been featured in numerous commercials.
10. "The Guitar Man"/Cake-A long-time favorite of mine, Cake rarely, if ever, gets this serious. This song is a perfect laid-back melody for summer, complete with light-as-a-feather guitars and infused with melancholy. The best part of the song is the wistful lyrics which are both clever and poignant.

Well that's it for this month. I'll try to keep it a little more upbeat and summery next month.

-elln

Doves' LAST BROADCAST

You can't really ask for a sophomore album better than The Last Broadcast; in fact, it's my favorite Doves album to date. Doves are newprog rock simply because their range of influence and sound is so huge, they don't really fit anywhere else. They experiment with the synth and electronic effects of space and psychadelic rock, yet other songs hum with folk or alt rock influence.

We open with a Verve-esque intro, and then go straight into "Words" which is one of the only comfortably rock songs on the album, albeit echoing lovely lush wall-of-sound rock. I mean, talk about a way to start an album; you know those songs that try to be all epic and fail? This isn't one of them. "Words" screams epic, and throws off the melancholia that will blanket the rest of the album. "There Goes the Fear" fits in the category of alt rock, with a surprisingly sunny guitar line and the typically progrock shying away from pop song format (verse bridge chorus repeat). "M62 Song" shows the diversity of the group as it delves into some beautiful, beautiful acoustic/folk. "Where We're Calling From" is a nice little experimental instrumentation, and adds to the ambience of the concept album (though I'm generally unappreciative in this area and prefer full-fledged songs).

What it really should have been is part of one of the album's highlights, "N.Y." a track that opens with mean in-your-face buzzing grunge guitars, and then slides into much prettier strumming guitars. The song is so carefree and optimistic (I sometimes wonder if it isn't a direct answer to Bono's version on All That You Can't Leave Behind, but that's just very far-fetched personal speculation.) Anyway, the song is frickin' catchy and cleverly crafted, and you can just eat up those buzzing guitars. "Satellites" is next, opening with women singing spirituals over synth and clapping; here we have the quintissential example of why prog rock is so awesome--spirituals and blues are seamlessly layered over echoing indie rock. "Friday's Dust" kicks into ballad gear, opening with the lyrics "Friday's dust turning into a Saturday's." The orchestral arrangements such as the tremeloing violins really add here, as do the strange cave-like echoes.

"Pounding" is an absolutely brilliant song; it starts out sounding like Coldplay for the first 3 minutes with Jimi Goodwin sounding substantially like Chris Martin (they are actually sort of contemporaries), and deemphasizing the guitars in exchange for synth effects and a literally pounding drumbeat; then at 2:54 Jez Williams' awesome guitar line makes its entrance. The finished effect is stunning. No offense, Coldplay, but you've been outmaneuvered. The title track is actually fairly subdued compared to earlier tunes, but for all its seemingly lo-fi atmosphere, it actually moves at a pretty fast pace, lending it an air of quiet freneticism to "Last Broadcast"; the track embodies Tragic Gloom, especially thanks to the echoing vocals.

One of my album favorites is penultimate song "The Sulphur Man" which has some of the most direct and best lyrics on the album: "fate brought you next to ghosts/they talk in code looking for a way out/I hope you want to live a day and learn to cope/I hope you find what matters/through the streets and on your own/almost lost and almost home/we'll be looking all we can/we'll be looking for the sulphur man." It begins with a dark orchestral segment, and then transitions to echoing aggrandized alt rock; the melody dips in and out of minor key, leaving the listener unsure as to where its going, but still enjoying the ride.

"Caught By the River" is probably the most commercially viable song on the album, which doesn't make it any less good; it's a nice closer. The lyrics start out folksy, and then transition to a much more general message. The song is simple, layering harmonies and acoustic guitar with the synth and effects we've learned to expect by now. The song isn't complicated, but it's infectious as Doves do what they do best--build the song. They end with crashing waves of sound reminiscent of Oasis or the Verve.

This is definitely one of my favorite albums of all-time, and it's damn near flawless.


-elln

Lonely Island's INCREDIBAD

Incredibad proves a suspicion I have long been harboring in the back of my mind: Andy Samberg is not likely to ever win a Nobel Prize for Literature. If he was on your short list, take him off. I’d recommend reconsidering that bet you were thinking of making in Vegas. Especially in this economy. It’s just not in the cards for him.

Of course, Incredibad also proves the other suspicion I’ve been harboring: Andy Samberg is, in fact, nothing short of a genius of comedy that seems incredibly dumb but actually turns out to be just mostly dumb. The debut CD from Samberg, Akiva Schaffer, and Jorma Taccone is chock full of gems that trigger even the biggest downer’s laugh-out-loud impulse.

I say debut CD because many of the songs on Incredibad have been around for a while. Aficionados of Saturday Night Live or YouTube are likely to recognize “Lazy Sunday,” “I’m on a Boat,” "D*ck in a Box," and "Like a Boss"; and we’ve all heard “J*zz in My Pants” at least once.

We’ve heard the songs, yes–and therein lies the beauty of The Lonely Island’s comedy. We want to hear them again. There is a double test that any comedy number must go through to be successful: it must be novel enough to leave a lasting impression the first time, yet clever enough to reward us for listening more than once. These songs pass the test with flying colors.

For instance, take the real winner on Incredibad: “Punch You in the Jeans,” which is two and a half minutes of three guys mock-rapping about, you guessed it, punching people in the jeans. The lyrics are a mix of the numbingly childish and the genuinely witty: "I'll punch your jeans, I said it before, best believe this is not a metaphor," the chorus advises, and Samberg later snarls that he'll "beat your jeans so bad that they wish they were shorts." Even the music, a nod to real hip-hop beats on legit hip-hop tracks that borders on legit itself, contributes to the juxtaposition, which contributes to the overall comedy.

And while I'd love to divulge some more of this album's gems, I won't. It is the nature of comedy–and especially of this brand of comedy–that the first time is always the funniest. For that reason, I will leave the rest of the album for you to discover yourself.

So don’t listen to Incredibad if you’re expecting to become enlightened and discover the secret to world peace. But do listen to it if you’re looking for a good time.

The Verdict: Worth its salt.

-himlaec

Shows to find new music

So these are some of the best places to find new music.

Chuck:

Premise:

A witty, action- comedy starring Zachary Levi as Chuck a sweet, awkward computer nerd working at the local Buy More with his childhood best friend Morgan (Joshua Gomez) and several other socially awkward misfits. Chuck lives with his sister Ellie (Sarah Lancaster)who spends a good deal of her time involving herself in aiding Chuck's declining social life and her fiance Devon or "Captain Awesome" (Ryan McPartlin). On the night of his birthday, Chuck receives an email from a college friend that contains a copy of all of the secrets of the CIA, called the intersect and is encoded into his brain. The CIA and NSA both send agents to retrieve the data, Casey, (Adam Baldwin) the staunch, angry, emotionally-distant, republican type (for lack of a better description) and Sarah (Yvonne Strahovaki) who is presented as much more compassionate but still is an extremely capable agent. Sarah and Chuck's roles are a reversal of typical action film gender roles; Sarah being the protector and Chuck being the brain or protected. Sarah and Casey are ordered by the CIA to protect Chuck from the Fulcrum (the bad guys) agents who will be after the intersect, or what has been imprinted in Chuck's brain.

The music:

This show knows it's music, ranging through every genre. Loud guitar and drum vengeance anthems for action sequences ("Bite Hard"- Franz Ferdinand), epic, sunshine-bright, songs that force your shoulders back and your chin up for victories ("Around The Bend"- The Asteroids Galaxy Tour), and creamy, heart-breaking, love ballads for the tender moments ("The Earth Has Lost it's Hold"- Calhoun). Although there are some misses ("Toxic" - Britney Spears) the soundtrack is a great place to find new music.

Some good songs from the show:

"Blood Bank"- Bon Iver

"Around the bend"- The Asteroids Galaxy Tour

"Signs"- Bloc Party

"God and Suicide"- Blitzen Trapper

"Buildings and Mountains"- The Republic Tigers

"Fake Empire"- The National

"Lake Michigan"- Rouge Wave

Don't You Evah" - Spoon

"See the World"- Gomez

"Foux Du Fafa"- Flight of The Conchords

"Wild Girl"- Matt Pond PA

"Looking at the Sun"- Gramercy Arms

"Shopping for Blood"- Franz Ferdinand

Theme song:

"Short Skirt/ Long Jacket"- Cake

Scrubs:

Premise:

A comedy-drama that follows the lives of 4 employees at Sacred Heart, a teaching hospital. The show is primarily seen through the eyes of J.D. (Zach Braff) a warm and effeminate attending physician. He works with his best friend, Dr. Christopher Turk (Donald Faison) or simply Turk and his wife Carla (Judy Reyes) and also, his close friend Elliot (Sarah Chalke). Each character struggles with their relationships and general troubles of life within the crazy schedule of hospital life, which is dispersed by slapstick humor in the daydreams of J.D. and the almost irritatingly constant optimism of J.D.'s voice over which links all the events of the show together.

Music:

Music has a large role in Scrubs, it acts as an emotional compass for the audience, allowing for a more intense experience and even the most emotionally turtled person to feel empathy for the characters. A wide variety of artists are played on the soundtrack and essential has something for most everyone (rap and country fans aside).

Some good songs from the show:

"Please Forgive me"- David Gray

"Good Time"- Leroy

"Dracula From Houston"- Butthole Surfers

"Camera One"- Josh Joplin

"Have It all" -Jeremy Kay

"Something's Always wrong"- Toad the Wet Sprocket

"Come Around"- Rhett Miler

"Bad Day"- R.E.M

"A Murder of One"- Counting Crows

"Winter"- Joshua Radin

"Lost Cause"- Beck

"Blue Eyes"- Cary Brothers

"Learn to Fly"- Foo Fighters

"Half"- G Tom Mac

"Sooner or Later"- Michael Tolcher

"Sideways"- Citizen Cope

"Alive with the Glory"- Say Anything

"The Man"- Pete Yorn

"Missed The Boat"- Modest Mouse

Theme song:

"Superman"- Lazlo Bane

House:

Do I even have to talk about the premise of the show? I absolutely love this show so much.

Premise:

House is a medical drama revolving around Dr. Gregory House (Hugh Laurie) a medical genius who leads a team of diagnosticians at Princeton-Plainsboro Teaching Hospital. House is most easily paralleled with Sherlock Holmes. Both were geniuses, musicians drug addicts and for the most part friendless. House suffered an infarction in his quadriceps muscle and now uses Vicodin to control the pain which is a large part of the show. But House with his cynical yet lovable personality manages to figure out a diagnosis every time regardless of whether the patient lives or dies.

Music:

There is a diverse musical background for House but thats all music is in this show, background. Although music plays a much smaller part in the show than in others the quality of the music is still fantastic.

Some good songs from the show:

"Happiness"- Grant Lee Buffalo

" It's Okay to Think About Ending"- Earlimart

"Beautiful"- Elvis Costello

"Delicate"- Damien Rice

"Crystalline Green"- Goldfrapp

"Desire"- Ryan Adams

"In the Waiting Line"- Zero 7

"Ain't No Reason"- Brett Dennen

"Into Dust"- Mazzy Star

"One Big Holiday"- My Morning Jacket

"Slide Away" - The Verve

"Passing Afternoon"- Iron and Wine

"I'm In Love With a Girl"- Big Star

"Lose You"- Pete Yorn

Theme song:

"Teardrop"- Massive Attack

Bones:

Premise:

This drama stars Emily Deschanel as doctor Temperance ("Bones") Brennan, a brilliant yet (as per stereotype) fairly socially handicapped forensic anthropologist who, with the help of her foil Agent Seeley Booth played by David Boreanaz, solve murders. Though the main characters have the almost conventional partnership where only opposites can be a brilliant team, the dark humor and unique visual effects separate this from Law and Order.

Music:

For the most part, Bones gives it's music over to the genre of a sort of techno-y alt. rock. Which feels very right with the concept of the show.

Some good songs from the show:

"Miles from Monterey" - West Indian Girl

"Precious"-Depeche Mode

"Ooh La La" -Goldfrapp

"Feel it Now"- Black Rebel Motorcycle Club

"Born"- Over the Rhine

"Cannonball"- Damien Rice

"Running Up the Hill"- Placebo

"A Light On a Hill"- Margot & the Nuclear So and So's

"Be Here Now"- Ray LaMontagne

theme song:

"Bones Theme song" -The Crystal Method

Veronica Mars:

Premise:

Simply, Veronica Mars is a mystery drama about a high school student named Veronica Mars (Kristen Bell) who goes to college while moonlighting as a private investigator.

Music:

The music is a jumble of lovable 90s-esque indie tunes and electrifying techno-y songs, all of which is impossible to not enjoy.

Some good songs form the show:

"Insincere Because I"- The Dandy Warhols

"Edge of the Ocean"- Ivy

"What are You Afraid of?"- West Indian Girl

"All that we Perceive"- Thievery Corporation

"The New Kid"- Old 97's

"Slow Hands"- Interpol

"Tulips"- Bloc Party

"Momentary Thing"- Something Happens

"Marc"- Louis XIV

"Long Time Coming"- Delays

"On Your Porch"- The Format

"Where Is my Mind?"- The Pixies

"Nth Degree"- Morningwood

"Oh My"- Mellowdrone

"Lost and Found"- Adrienne Peirce

"Hold on, Hold on"- Neko Case

"Right here, Right Now"- Fatboy Slim

"Rally"- Phoenix

"It Never Rains in Southern California"- Albert Hammond

Theme song:

"We Used to be Friends"- The Dandy Warhols

Buffy:

Yes, yes, I was a HUGE Buffy geek when I was younger. I was absolutely in love with the 90s, the music and Buffy, herself. Part of it was that she was a strong female in the media regardless of the fact that she is fictitious. Either way, music from this soundtrack fill my i-pod today, still.

Premise:

A supernatural action-comedy following Buffy Summers (Sarah Michelle Gellar) who is "The Slayer", a young woman who was chosen by fate to protect the world against the forces of darkness. Buffy struggles to maintain her life as a teenage girl while battling demons. Most of the early episodes are metaphors for real issues and have real life applications but as the series continued the value and humor was lost in the drama of the later episodes.

Music:

There is a mix of 90s indie, rock and pop which I have found to have had mixed results with many people. Over all this shows music is one of the major facets of my musical taste.

Some good songs from the show:

"Believe"- Sprung Monkey

"Strong"- Velvet Chain

"Pain"- Four Star Mary

"Never an Easy Way"- Morcheeba

"Blue Sun"- Darling Violetta

"Going to Hell"- The Brian Jonestown Massacre

"Fire Escape"- Fastball

"The Good Life"- Cracker

"Praise You"- Fatboy Slim

"Wild Horses"- The Sundays

"Bodyrock"- Moby

"Vivian"- Nerf Herder

"Ok Nightmare"- Caviar

"Tears Are In Your Eyes"- Yo La Tango

"Bohemian Like You"- The Dandy Warhols

"Play It by Ear"- Summercamp

"Even If"- Lift

"I Know"- Tresspassers William

"Out of this World"- Bush

"New Slang"- The Shins

Theme song:

"Buffy The Vampire Slayer Theme"- Nerf Herder

Skins:

Premise:

A British teen-drama following the lives of 10 (not to be redundant) British teens. Tony (Nicholas Hoult), his sister Effy (Kaya Scodelario), his girlfriend Michelle (April Pearson), his best friend Sid (Mike Bailey), and other friends, Cassie(Hannah Murray), Chris (Joe Dempsie), Anwar (Dev Patel (the guy from Slumdog Millionaire)), Jal (Larissa Wilson), Sketch (Aimee-Ffion Edwards) and Maxxie (Mitch Hewer). Each character has episodes devoted to their lives and points of view within the group of friends. The drama and parties just make you want to live one day the way these kids live their lives.

Music:

The music is a huge variety of alternative music that adds another dimension to the story and also is just really enjoyable to listen to I honestly can't think of a song off this soundtrack I don't like.

Some good songs from the show:

"Positive Tension"- Bloc Party

"No Pun Intended"- The Hives

"Limit to your love"- Feist

"You look Great When I'm Fucked up"- The Brian Jonestown Massacre

"Wild World"- Cat Stevens

"New York, I Love you, But you're Bringing me Down"- LCD Soundsystem

"Spread your Love"- Black Rebel Motorcycle Club

"Come Pick me up"- Ryan Adams

"Carrot Rope"- Pavement

"Keep the the Car Running"- Arcade Fire

"House on the Hill"- Beach House

"The Information"- Beck

"Shakin"- Dandy Warhols

"Nude"- Radiohead

"23"- Blonde Redhead

"Walcott"- Vampire Weekend

"I Feel You"- Depeche Mode

"K Rhythm Part 2"- Holy Fuck

Theme song:

"Skins Theme"- Fat Segal

-alene

The Kings of Leon's ONLY BY THE NIGHT

It’s true the Kings of Leon have come a long way since the deep Southern rock of debut album Youth and Young Manhood in 2003, and fourth album Only by the Night, released September 2008, showcases all of those changes. The three Followill brothers and their cousin grew up musically sheltered, and have only recently discovered post-punk, arena rock, and alternative rock. These influences live and breathe in Only by the Night.
Opening “Closer” sports an electronic synthesizer reminiscent of psychedelic rock and dream pop, weaving in and out of post-punk inspired guitars. Caleb’s wounded vocals and aimless, melancholy tone come straight from indie rock. It’s also clear that Caleb’s lyricism has become more sophisticated and moved away from Youth and Young Manhood’s raw sexuality and focus on—in a word—women.
“Crawl” comes from the school of British grunge such as Oasis and Blur, with the buzzing guitars of alternative garage rock and an equally swaggering bass line. “Sex on Fire” is pure, polished rock, and the album’s most successful single. “Use Somebody” is possibly the best song on the album, and Caleb’s layered, echoing voice is taken straight from Bono and the arena rockers. “Manhattan” is laid back rock, with a particularly sunny, stirring bass line.
“Revelry” is a true return to Southern rock roots and country, and certainly an album highlight. “17” and “Notion” are continuations of this trend, though less country and more rock with some nice bells added at the opening. “I Want You” returns to alternative sound, placing much less emphasis on guitars and relying much more heavily on drums and bass. “Be Somebody” is a strange little experimental creature, and we finish off with the almost-indie ballad “Cold Desert,” a lyrical masterpiece whose words read like poetry.
One can easily identify the Kings’ influences, but it’s tough to label them like anyone else. They create a masterful blend of rock taken to new places in an era when no one thought it possible.
If rock is going in any direction, this is it.

-elln

Elln's Top Ten Songs for March '09

So since I buy music like an addict, I decided to do my top ten of every month, which will probably be an eclectic compilation of everything indie, alternative, electronic, etc. The picture I choose will be of my favorite cover of all the selections.


1. "How Soon Is Now?"/The Smiths: whoa, poetry much? I can understand now why they were so revolutionary. The Smiths took melancholic, poetic, and deep and meaningful lyrics and made them accessible and (marginally) commercial and oddly satisfying. Honestly, they're so famous I feel stupid saying anything else.

2. "Float On"/Modest Mouse: Interestingly, guitarist Marr of the Smiths guested We Were Dead Before the Ship Even Sank, which probably explains the best part of the song: the freakin' guitar. Just listen to that thing, it's so addictive and laid-back yet amazing at the same time. Coupled with the lyrics and unmistakable vocals by Isaac Brock, it's one of the catchiest things I've heard all year. Seriously, I don't know why I was so resistant to Modest Mouse for so long.

3. "We Can No Longer Cheat You"/The Cribs: Wait, Johnny Marr's in The Cribs, too? He's everywhere, he's like God, I swear I didn't know Marr was clairvoyant and all-powerful until I started this review.

Okay, it's now time to acknowledge Johnny Marr's Omnipotence.








Obviously my personal preference becomes obvious when I pick three random bands and they all have a guitarist in common. Anyway, onto the song.

50% of the time, The Cribs sound like Franz Ferdinand-wannabes, and the other 50% they strike it rich with a nice sound that lands between lush and tight garage rock. They have respectable, catchy tunes without being meaningless (Franz) or deep and pretentiously apathetic (The Strokes). I particularly enjoy the tight harmonies of the chorus, and the often-trod but still compelling subject matter. Really, just a good solid melody.



4. "Do the Right Thing"/The Dudes: What a heart-felt little gem; I must say I hadn't heard of the The Dudes before now so I don't have a wide frame of reference, but this is a smart piece of indie rock infused with pop sensibility. It really shines on the production end, and the lyrics are endearing and smart. Also gotta hand it to Dan Vacon for having a truly wonderful voice; you can hear him pushing himself, especially on the chorus, and yet there's no breaking and it sounds smooth as honey.

And how can you not love these purely slam opening lines?

my bedroom's worse than the Catholic Church, I let anyone in
and now my carnal sins have gotten to be so boring.
my heart's wide open, I sure was hoping you could close it down,
now it seems I'm finding out that loving you girl can be so frightening,
you strike me, like gas and lightning, love me, don't just spend the night,
you can count on me to do the right thing
You steal my nerve and you strike me
Love like lightning

5. "Northwestern Girls"/Say Hi: Well, after a disappointing name change, Say Hi to Your Mom has matured significantly since I listened to '06's Impeccable Blahs. That EP suffered from lyrical content (it was basically all very creepy songs about vampires), and I'm glad to say that if, at least not terribly sophisticated, "Northern Girls" is at least about a neutral and tolerable subject (that is, the female gender in reference to geographic positions, ala Beach Boys). It's catchy, low-key indie with appropriately wounded lyrics and a pounding drum and bassline; they're busy finding their sound, and making good progress along the way (I haven't had a chance to listen to Oohs & Ahhs yet). One thing they do need to learn is how to let the guitar rip; the last thirty seconds of the song have had such a buildup, and then they rely on percussion and bass and it doesn't do their vision justice, I can tell. I'm looking forward to how Say Hi (LAME name change) is going to mature.

6. "About to Walk"/Throw Me the Statue-Throw Me the Statue has certainly grabbed attention with Moonbeams; they're mainly impressive because of such a wide range of instruments and experimental sounds, put together into melodies that are both aesthetically pleasing and catchy. It's no wonder, then that they've opened for Cake, a band both plagued and renowned for a funkiness that never seems to evolve at all. Throw Me the Statue has already proved their worth beyond a band like Cake by demonstrating a creative versatility, poetic lyracism, and talent for mixed melodies.

Oh yeah, the song? I enjoy the ukulele-like sound that plays. I said everything else up ^ there

7. "No You Girls"/Franz Ferdinand: Yay, another solid effort from my favorite party-boy bisexual junkies! Franz Ferdinand just knows how to rock them melodies; if I ever hear any type of serious effort from them on the part of lyrics, I'll fall over in surprise, and I probably won't be impressed. The whole point of Franz is utter cockiness combined with a tinge of insecurity- and of course where would they be without their incessant party-worshipping?. It's the same buzzy guitars, the late nights where you forget yourself and then wake up and feel your youth sapping away and then go out to party again to forget that fact, and jarring and clever tempo-changes we've come to know and love. "No You Girls" is a seriously catchy effort from their newest album.

8. "Elevation"/Television: More early punk movement, except listening to this song is like listening to a more sophisticated, decommercialized version of the Eagles. Reminsicent of Echo & the Bunnymen, "Elevation" is a haunting effort in guitar line melody changes, and for the better. For all that the song seems to lack a pattern, it's less punk more rock as the guitars are skillfully layered on, and it's captivating. There's no shiny, spiffy production- this sound is raw and satisfying.

9. "Summer Romance"/The Redwalls: Guilty pleasure of the month, this song's simplicity reeled me in. I'm a sucker for well-done romantic confessions, and that's exactly what cutie-pie Logan Baren does as he yells out, "Darling, please don't let me say goodbye!"

Yes, they're shameless whores for '60's and '70's rock, but hey they started as a cover band of that exact time period (as British invasion specialists). Just because they're recycled material doesn't mean they're not good. I like recycling if it's done with some talent. Besides, I have a feeling that they're branching out slowly, slowly into their own territory.

10. "Confines of Gravity"/PlayRadioPlay!: Yup, another semi-guilty pleasure. But it's been a while since I've heard such a good drug song (and such an obvious one-jeez, it practically hammers you over the head), and in this case the analogy actually works and turns out to be sufficiently disorienting and powerful at the same time.

I wanna be an astronaut and get high
break the barriers of sound into the sky
Just wanna be free
from the confines of gravity

Daniel Hunter's voice walks the fine line between soothing and grating, but I think it comes out for the better, especially layered over his synth/electronic beats that are both inviting and clever. There's talent in this simplicity, and the basic message comes through unhindered and with clarity.


Well, that's it. Have a good month. And remember:

JOHNNY MARR IS WATCHING YOU

-elln

Animal Collective: Merriweather Post Pavillion

Animal Collective has always been a study in contrasts. On one hand, there is Noah Lennox, alias Panda Bear, whose similarities to Brian Wilson go past his uncanny vocal impression; he has the same knack for sweet pop and gorgeous simplicity as his forbearer. On the other, there is the brittle, spastic, and astonishingly creative David Pornter, alias Avey Tare, a leaner and much more insecure songwriter than his big fuzzy partner.

As a result, their catalogue is riddled with explosions of hyperactive glee juxtaposed with languid excess, the intentionally bizarre mixed with the amiable and the mundane. They were always melodic, but never accessible. They were always rhythmic, but never danceable.

But on “Merriweather Post Pavilion,” their ninth LP, Animal Collective is a lot less animal and a lot more collective. There is no tortured yowling, no twelve-minute chord-and-a-half hibernations, no nonsensical lyrics or tribal percussion. Instead, there is permeating synthesis between this creative odd couple. Their union has rendered the wild clutter that defined their previous albums unnecessary. “Merriweather” has been melted down to the point where it is defined not by its sounds, but by its songs.

And what songs they are. With Avey’s yelping and Panda’s droning eliminated, this is a sparkling pop album. Everything that Animal Collective has done so well in the past has been shaped and simplified, leaving the end product textured and joyous; the style remains distinct but the tension among the band and the listener has evaporated. The band has also seems to have ended up somewhere closer Panda’s side of the equation, with a several songs sounding like modern remixes of old sixties pop groups. The reverb-soaked “Also Frightened” has all the melodic twists, hazy wordless harmonies and vaguely haunting lyrics (“No one should call you a dreamer”) of The Beatles circa “Magical Mystery Tour,” complete with a slight hint of Indian flavor. “Bluish” has all the sleepy sugar of a slow Beach Boys outtake—check out the hint of Carl Wilson in Avey Tare’s impressively restrained lead vocal—despite its “When you claw me like a cat, I’m beaming” lyrical turn. On some of these songs, Animal Collective outdoes their predecessors completely; “Guys Eyes,” one of the best songs on the album, has a phenomenal vocal arrangement that’s executed with such style that the Beach Boys could only dream of pulling off.

But “Merriweather” hits its true peaks when Animal Collective uses their synergy and newfound contentment to just let go. The absolute best songs on the album feature a deep, intoxicating beat that is right at home even on the modern radio. Avey’s “Summertime Clothes,” his best song on the album, features handclaps, jubilant sliding vocals, thumping bass drums and an African-style bridge, all combined with remarkable ease and simplicity. The chorus of “I want to walk around with you” becomes something irresistible. The album’s closer, Panda’s superb Euro-Afro-techno-who-cares rave “Brother Sport,” has enough hooks to snag even the biggest dance floor deadweight (certainly enough of them are already Animal Collective fans).

And then there is “My Girls.” Already hailed by some as one of the best songs of the millennium, “My Girls” is an idyllic portrait of the American family, with Panda Bear singing with his trademark unpretentious poetry about his need to provide for his wife and daughter: “I don’t mean/ to seem like I care about material things,/like my social status/I just want/four walls and adobe slabs for my girls.” Its shimmery introduction transitions into its simple melody, then builds as Avey starts singing counter to Panda, then doubles the tempo, then launches into a blissful call-and-response bridge showered with stunning sun-drenched harmonies that Panda used so effectively on his 2007 solo effort Person Pitch. The hook that carries the song out is as blissful and simple as anything Animal Collective has written, and it deserves to be an instant classic. When Animal Collective’s songwriters show they are capable of writing like this, their comparative missteps—the tepid “No More Runnin’” and the mundane, appropriately titled “Daily Routine”—are immaterial. They’ve gotten too good to let those mistakes define them anymore.

With Merriweather Post Pavilion charting #3 on the top-selling albums on iTunes, Animal Collective has a genuine hit on their hands. And I want more, no matter how strange it is. As Avey Tare puts it in “Lion in a Coma,” “This wilderness needs to get out of my clothes and get into my bedroom!” Whatever he's talking about, he's right.

-Radelby