SPIN Presents Purplish Rain

SPIN released a nice little tribute for Prince's Purple Rain recently and I just wanted to highlight it reel quick (get what I did there with the word pun? You know, because it was a movie soundtrack too?!). It features some well-knowns like the Twilight Singers and Of Montreal as well as some up-and-comers like Chairlift & Lavender Diamond. Click the image above to go to the site or use this link if you're feeling lazy: here. The password to put in the spot is 'keyboardist' (no quotes). They'll send you a link to confirm your email address and download the album. Check it out!

Wild Beasts - Two Dancers

Wild Beasts are another much-hyped band from the UK looking to break into the yankee market. If you're a fan of Bat for Lashes-esque theatrics or a near poly-sexual vocal style then you'll love Wild Beasts. The music contains more melody than Bat for Lashes and is therefore more pleasing overall, but it is still more of a mood-requiring sound that utilizes sparse instrumentation to create dense and almost primal sounds that contrast nicely with the smooth vocals of Hayden Thorpe. Tracks like "The Fun Powder Pot" or "We Still Got The Taste Dancing On Our Tongues" feature a steady plodding rhythm based background throughout, but some are deeper require more attention than like the first single "Hooting and Howling." While I'm really not a fan, I'd certainly recommend Wild Beasts to someone who is truly interested in more than just a catchy hook.

I kept:

"The Fun Powder Plot"

"Hooting and Howling"

"All the Kings Men"

"We Still Got The Taste Dancing On Our Tongues"

Grade: 5.7

No New EP From Radiohead

It's 2:30am and I just decided to check wallofice.com. To my surprise, the new leaked track (These Are My Twisted Words) has been posted on Radiohead's digital store as a free download. So, the enigmatic message was nothing more than to introduce the bands latest (and free) single. No EP unfortunately, but at least the new track sounds decent enough.

NEW RADIOHEAD EP OUT MONDAY?

So, the code has been cracked and it appears we may have a new Radiohead EP on the horizon (Monday to be exact). On August 12th, the track "THESE ARE MY TWISTED WORDS" was leaked with some cryptic message (see below). Someone figured out a hidden web address based on message and discovered the site: http://www.wallofice.com, which interestingly enough takes you to Radiohead's digital store. Coincidence I think not. Keep your eyes peeled and head over to wallofice.com on Monday morning.

iiiiiiiiiiiiiiiiiiiiiiiiiiiiii
iiiiiiiiii iiiiiiiiiiii
iiiiiii radiohead - these are my twisted words iiiiiii
iiiiiii iiiiiii
iiii artist.......radiohead iiii
iiii title........these are my twisted words iiii
iiii label........?????????? iiii
iiii cat.nr.......????????? iiii
iiii style........'dificult' iiii
iiii nr of tracks.1 iiii
iiii total length..5.32 iiii
iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii
iiiiiiiiiiiiiiiiiiiiiiii
iiii audio source.CD Advance iiii
iiii encoder......LAME 3.93 iiii
iiii quality......320kbps/44.1kHz/Joint Stereo iiii
iiii size.........12,70 MB iiii
iiii ripper.......sca[GG]er iiii
iiii rls.date.....2009-08-17 iiii
iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii
iiiiiiiiiiiiiiiiiiiiiiii
iiii i just wanted to reassure readers iiii
iiii that following representations iiii
iiii seeking confirmation iiii
iiii that before your very eyes iiii
iiii behind the wall of ice iiii
iiii that the box is not under threat iiii
iiii however they are set to remove iiii
iiii other boxes iiii
iiii in fact i have the list in front of me iiii
iiii i went to a briefing on their plans iiii
iiii and challenged them to tell me iiii
iiiii exactly what the cost would be iiiiiii
iiiiii iiiiiiii
iiiiiii they spoke in broad terms iiiiiiiiii
iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii
iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii
iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii
iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii
iiiiiiiiiii we're looking for: talented puppeteers iiiiiiiiiii
iiiiiiiiii worms, disgruntled executives, sacked flies iiiiiiiiii
iiiiiiii genres: doomcore, folktronica, ukf iiiiiiii
iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiii

Flunk - This Is What You Get

The Norwegian pop group Flunk has made a career off of beautiful covers and the fact that their new record's name is taken directly from one of the most popular songs from arguably the greatest band of our era shouldn't come as a surprise. What does surprise is the level of the non-cover tracks on Flunks new record. The late-era electronic feel is oddly comforting in a weird trip-hop reminiscent way. As stagnant as most current era Trip Hop groups are, Flunk has managed to elevate their music to something with a better disposition. The record starts out with the very strong "Dying to See You" and "Common Sense," but achieves nothing more than mediocre until track six "Speedskating." After that, "Karma Police" is the last vestige of brilliance on the record. Ok, unfortunately it's not except for it's novelty. This version is sparse and not too exciting to be fair, but Anja Oyen Vister's voice keeps it interesting in a Nico-ean way. Gone is the smoothness of most of the rest of the record and all of the rough edges seem to be exposed on this track. It's worth one listen, really, as is most of this record.

I kept:

Dying to See You

Common Sense

Speedskating

Grade: 4.4

Jesse Rose - What Do You Do If You Don't?

Jess Rose is a British beat-maker based in Berlin who has a new head-boppin' release made almost specifically for short attention spans. The beats are mostly straight ahead and glitchy, but there are really too many different feels on the record. Ranging from glitchy dance, ala Justin Timberlake, to turntableism style sampling, and even near trance it's a virtual clown car of styles. The collaborations with Hot Chip, "Forgot My Name" & "Day is Done," is worth a name check at least and the understated pushing of the beat in "Pop Your Porn" makes me want to watch my MPG go down as the white lines go by faster. "Miss Taker" features remixer David E. Sugar and is a dance-floor banger. "Night at the Dogs" features an all too familiar jazz sample and "You're All Over My Head" starts off reminiscent of early Aphex works but takes a strange turntableism slant that is truly hokey. For all of the styles in here, I'd have to say Jesse Rose doesn't excel at any really. Maybe a little more focus would make the record more cohesive.

I kept:

Pop Yer Porn

Miss Taker (feat. David E. Sugar)

Grade: 3.8

Pitchfork's #1 album of the 90's

The guys over at Pitchfork have created a very respectable top 100 albums of the 90's. The number one album went to Radiohead's OK Computer. I'm happy to see something besides Nirvana's Nevermind at the top of the list (that's right Spin, I'm talking to you).
Check it here

New Radiohead track

...speaking of Radiohead. I found this new track the other day. It's a tribute to the last living British soldier who fought in World War I. Here's a YouTube video of the song and you can purchase it at their site for 1 quid! Is August going to be Radiohead month?

Radiohead Done With Albums!?

Just when you think we may be getting another great concept album from the mighty Radiohead in the coming years, Thom York has to go and tell the masses they're moving on from that approach stating, "None of us want to go into that creative hoo-ha of a long-play record again. Not straight off." So, then it's true. The CD is officially dead and the one band keeping it alive has abandoned the idea. I suppose this was inevitable but still quite sad considering we may never experience a Radiohead album the same again. At least we'll be seeing a plethora of singles from the band in the upcoming months but damn, I miss the concept album.
You can read the entire article on The Believer's website here

SPIN'S 20 GREATEST ALBUMS OF 2009 ... SO FAR

Below is Spin's top 20 record of '09 (thus far). Its quite the conundrum considering they've left off some obviously good records of '09. Not to mention, we still have five months left to the year. Makes one wonder what Spin's true intentions were for doing this so early. Perhaps they wanted people to see just how irrelevant they truly are. I'm actually surprised Dave Matthews didn't make it on the list personally.

SPIN'S 20 GREATEST ALBUMS OF 2009 ... SO FAR
Ida Maria - Fortress Round My Heart
Peter Bjorn And John - Living Thing
Blk Jks - Mystery
Dirty Projectors - Bitte Orca
Mastodon - Crack The Skye
Amadou & Mariam - Welcome To Mali
Yeah Yeah Yeahs - It's Blitz!
Phoenix - Wolfgang Amadeus Phoenix
Animal Collective - Merriweather Post Pavilion
Regina Spektor - Far
Mos Def - The Ecstatic
Glasvegas - Glasvegas
Jarvis Cocker - Further Complications
Bat For Lashes - Two Sun
Mavado - Mr. Brooks... A Better Tomorrow
Wilco - Wilco (The Album)
Neko Case - Middle Cyclone
Grizzly Bear - Veckatimest
Sa-Ra Creative Partners - The Age Of Love
Antony And The Johnsons - The Crying Light

Here's a few of my favorites so far, but I'm not making any top 20 lists til the end of the year.

Fever Ray - (Self Titled)
Animal Collective - Merriweather Post Pavilion
Yeah Yeah Yeahs - It's Blitz!
Bibio -Ambivalence Avenue
Sunset Rubdown - Dragonslayer
Dinosaur Jr -Farm
Camera Obscura - My Maudlin Career
Dark Was The Night -(Various Artists)
Neko Case - Middle Cyclone
Dntel - Early Works for Me If It Works For You II

La Roux - La Roux

La Roux is a British synth-pop duo that is slowly (not really that slowly) coming your way. The hype that precedes them is actually gargantuan and has that unmistakably corporate taste to it. They're slogan is Synth-Pop: This Time withe Even Less Soul! Ok, not really...

Don't get me wrong because I see the appeal. I love to dance (as my girlfriend can certainly attest) and I love the great upbeat, yet apathetic, feel that is usually present in synth-pop, but La Roux just feels like something hastily thrown together to me. Elly Jackson's voice leaves a lot to be desired as it dips and wavers through the tracks and more often than not she fails to fully show any desparation which is a hallmark of great synth-pop. They may have incredible amounts of emotion coming off the stage, but it does not come accross on record. Surely, there are some gems present, but I don't feel like they have the legs to warrant mention 10 or even 5 years from now.

I kept:
In for the Kill
Quicksand
Bulletproof

Grade: 5.6

Lee Mayfield & the Expressions - My World

It seems like most my music conversations recently have been complaining about how there have been no truly great releases this year. While I wouldn't call My World a great release, it is tolerable enough to where I do not want to turn it off and I can listen to the entire record several times in a row (which is rare). It is a true soul record in a time of souless music and I think that is what appeals to me most about My World.

Nicknamed "the Little J.B." in the 70s, Lee Mayfield has been making music since 1969 (there's another 40-year anniversary for you Apollo Mission!). Turntablists renewed interest over the last several years and Mayfield went into the studio with a new band, the Expressions, consisting of studio musicians who have recorded with everyone from Amy Winehouse to TV on the Radio to record a new record. They have created an organic and deep soul record for the new age. Mostly ballads, the record is full of emotion and genuine feeling. Mayfield's voice is incredible and evokes a time that I, and most of us missed, regrettable missed. It was a true time of Change and cultural revolution. When people said things and backed up their words with action. I think about the movie Dead Presidents or Baadassss! as inspiration.

Thanks to Peanut Butter Wolf and Stonesthrow Records who have unleashed this gem on us.

I kept the whole album, because I want to continue to hear it. I'd recommend "Honey Dove," "My World is Empty Without You," & the title track "My World."

Grade: 8.2

Bibio - Ambivalence Avenue

I'm always keeping tabs on Bibio and his unusual amalgam of Boards of Canada infused Folktronica. He's got great ideas and amazing soundscapes imbedded in his music, yet, for some reason, he's really fallen victim of being a one trick pony over the years, or at least until now. With Ambivalence Avenue, we've got a whole new Bibio. We still hear Stephen Wilkinson's trademark guitar lines and ambience (field recordings/found sounds) buried within, but now we see a much more diverse artist begin to emerge. Infusing elements of glitch-hop, psychedelic folk, and even funk into the mix, we start to see the limitations once hindering this creative soul dissolve. From the opener "Ambivalence Avenue", we're given an upbeat, folk-driven (yet very melodic) psychedelic track that just hints at what's to come. As we get to "Jealous of Roses" we're introduced to the funkier side of Bibio. Border-lining on something you'd hear on a Ween album, this track is definitely one of the more unusual pieces on the record, but honestly it works with its low-fi production and syncopated beat. "All The Flowers" is the next tune and it’s a complete change from the past two. Both short and sweet, this little ditty could almost be confused for a Simon and Garfunkle song. As we approach "Fire Ant", we get a glimpse into Bibio's latest influence, glitch-hop. Perhaps because this is Bibio's Warp Records debut, or perhaps he because he’s just has taken a liking to some of the other artists on the Warp label like Prefuse 73 and Jackson and His Computer Band, we’re hearing a much more upbeat and glitchy record than Bibio’s predecessors. The next track, "Haikuesque (When She Laughs)" is by far my favorite on the record. Both soft and melodic, this track flows beautifully and will leave you craving more by the time its over. As the tracks progress we keep getting new surprises. "Sugarette" has to be one of the more experiemental tracks here with its breakbeat feel and syncopated drum sounds (think Aphex Twin Windowlicker). "Lovers Carvings" is probably my least favorite on the record. It’s a short and sweet folky, guitar ditty that turns into poppy tune about 1:29 into the track. Its decent enough but did little to move me emotionally like many of the other tracks did. On "Abrasion", we hear the Simon and Garfunkle folk sound so prevalent in earlier songs. It's melodic but again nothing fancy. "S'Vive" is another brilliant glitch-laden track with funky bass sounds and vocal samples (I can almost dance to it). By the time we reach the last few tracks we approach "Cry ! Baby !". A mellow, alt rock slow jam that soon becomes quite psychedelic with deep synths driving at the chorus. The last track on the record "Dwrcan", sounds the most reminiscent of Boards of Canada on the album. The track is downtempo, dark and carries a cinematic feel to it. All and all this is a really intruiging piece of work by Bibio. If Ambivalence Avenue is the address to Bibio's newfound creativity let’s hope he doesn’t move for a long, long time.

Standout Tracks: "Haikuesque (When She Laughs)", "Fire Ant", "Sugarette", "S'Vive", "Cry ! Baby !", "Dwrcan"
Grade: 8.2

Most Over-Hyped Album of '09

Dirty Projectors - Bitte Orca
This album has won the praise of both Stereogum and Pitchfork (9.2!). Stereogum has even proclaimed it to be, possibly, the best album of 2009.
The problem: The song structure is often dull and repetitive (the woozy 3 part vocals becomes an easily redundant element in the bands jam-band formula), the guitar riffs are often reoccurring and uninspiring, and the songs themselves lack any real direction. This album is more of a collage of sound than a cohesive album build upon the idea of good songwriting. The hippies may like the looseness of the tracks and the tribal feel of the raw, spare beats but I personal don't wear patchouli.

Jason Lytle - Yours Truly, the Commuter

I remember Grandaddy, do you? Of course you do and if you don't then you were blacked out like Dash Snow was for most of his life. If you're a Loney, Dear or Andrew Bird fan then you're in luck and will have a new favorite singer/songwriter. I really should emphasize the songwriter. That's better. Fans of Earlimart's lighter tunes and heavier Elliott Smith will also rejoice. Lytle's smooth, etheral style is extremely uplifting and is really a breath of fresh air in a, frankly, mediocre summer of schmindie music.

What really elevates Lytle's music is the dramatic changes that take place in his best songs despite that relatively few of the songs seem to really go anywhere. Maybe the climaxes just do pay off enough as the record inevitably does: a song called 'It's the Weekend' Really?

His ability to write great songs and progressions isn't in question or in doubt as Jason Lylte has a true gift. It's more about the execution and the development of that one great theme that is in your head (like Ben Gibbard has done). Every song seems to have that moment of brilliance, but somehow it never really makes up for the low points.

I kept:
Yours Truly, the Commuter
Ghost of My Old Dog
Fürget It

Grade: 5.7

Elizabeth & the Catapults - Taller Children

I heard some grumbling about this band a while back and thought I'd try them out. Mike Mogis produced the record, which is always a great start for me, that was recorded at his home studio in Nebraska where so many other great artists have plied their trade. Elizabeth Ziman's voice is wonderfully pleasing but I don't think the band really pulls it off on this, their major-label debut, record. Her vocals possess a bit of Amanda Palmer's (Dresden Dolls) theatrics, but not near as much cleverness or shocking direction; her lyrics contains a bit of the emotion that made Fiona Apple so appealing as well, but not the edge; and the band's poppiness is sprightly but not as compelling as the Bird and the Bee. The range of styles on the record is the most impressing aspect of the record, but they just aren't there yet. Hey, everyone has to start somewhere. I hope they are given the chance to continue growing.

I kept:

Momma's Boy

Right Next to You

Grade: 4.2

Sunset Rubdown -Chop Suey 06/27/09

Sunset Rubdown (featuring Spencer Krug of Wolf Parade)

I understand the logic behind marketing a not so well known band with a well known front man of another well known band (in this case Wolf Parade) but the thing I can't quite understand is why Wolf Parade is more popular than Sunset Rubdown. Spencer Krug is known for being in a plethora of bands but in my personal opinion Sunset Rubdown is far superior in both songwriting and musicianship compared to his other endeavors. Saturday night at Chop Suey was no exception to the bands obvious potential. Besides being very rehearsed, Spencer's jarring delivery grabbed the attention of every person in the building. The band brought a huge sound to the stage employing just the right instrumentation to recreate their catalogue of dynamic songs, which sounded as good if not better than their actual CD's. Seriously, it would have made an excellent live CD but I imagine all their shows are on the same caliber. This is why I bring up the question as to why Sunset Rubdown isn't the band Wolf Parade is. After a show like this, the only thing I can hope for is that more people go out to see the band for the wrong reasons and come out as new disciples to their unique blend of meticulously crafted indie pop.

Michael Jackson RIP

We here at This Damn Enlightenment just wanted to take a moment to send our deepest condolences the entire Jackson family. Michael Jackson may be as crazy as a coconut but his musical legacy will be one never forgotten and one never repeated. The king of pop has also left the building but his music remains. Michael, I think you've just made your comeback.

Top Albums of the 2000's

Reading through Lineout on the Stranger this morning, David Schmader made a lame attempt at formulating his Top 10 albums of the decade and it got me thinking that I will start on mine as well. I won't re-post his list, but can tell you that he must've not started listening to music until about 2004 and that only a couple records on our lists match.

Now, before you go off readin half-cocked, I'll explain how I came to this list. I'd say 60% of my reasoning goes into how much I think the songs from these albums will be listened to in the future or their staying power. Another 15% into their popularity at the time of release or soon after and another 15% into the quality of the music and songs. The final 10% must come down to personal taste, because it is impossible to make such a list without this influencing the outcome. I'll continue to look at this and maybe even rank them in the coming months.

Without further ballyhoo, here's the beginning of my list with a Top 25 (in alphabetical order at this point):

Arcade Fire - Funeral
Boards of Canada - Geogaddi
Burial - Untrue
Common - Be
Crystal Castles - Crystal Castles
Damien Jurado - I Break Chairs
Death Cab for Cutie - We Have the Facts and We're Voting Yes
the Decemberists - Picaresque
Deltron 3030 - S/T
Dizzee Rascal - Maths & English
the Flaming Lips - Yoshimi Battles the Pink Robots
the Hold Steady - Boys & Girls in America
Interpol - Turn On the Bright Lights
John Vanderslice - Time Travel is Lonely
Mum - Finally We Are No One
PJ Harvey - Stories from the City Stories from the Sea
the Postal Service - Give Up
Radiohead - Kid A
Sigus Ros - Agaetis Byrjun
Silversun Pickups - Carnavas
System of A Down - Toxicity
the Knife - Silent Shout
TV on the Radio - Return to Cookie Mountain
Wilco - A Ghost is Born
Yo La Tengo - And then Nothing Turned Itself Inside Out

Dark Night of The Soul

Most by now have heard the hullabaloo surrounding the release of the Danger Mouse, Sparklehorse (Mark Linkous) and David Lynch collaboration so elegantly titled, Dark Night of The Soul. In a nutshell, Danger Mouse heard some unreleased material by Sparklehorse’s Mark Linkous and wanted to join forces. With the assistance of some highly renowned vocalists including James Mercer of The Shins, Wayne Coyne of the The Flaming Lips, Gruff Rhys of Super Furry Animals, Jason Lytle of Grandaddy, Julian Casablancas of The Strokes, Frank Black of the Pixies, Iggy Pop, Nina Persson of The Cardigans, Suzanne Vega, Vic Chesnutt, David Lynch, and Scott Spillane of Neutral Milk Hotel and The Gerbils, these two music innovators then commissioned David Lynch to create a book of photography to go with the theme (he also sings on two of the tracks!!). Although the concept behind the record sounds incredibly intruiging, I can’t help but feel somewhat disappointed in what we get in terms of the music. Yes, the tracks are produced well and the singers for each are appropriate, but there is still something lacking to really make this as forward-thinking as the title suggest. Perhaps it’s the familiarity of the chord progressions from Sparklehorse’s previous work or the lack of innovation interjected into recreating these older tracks into something brand new. The songs seem a bit fleeting and I only returned to a selected few for repeat listens. Bottom line: it could have been better executed to fit with the theme of Dark Night of The Soul. The music on the album just doesn’t feel very dark or moody. Lyrically, we hear Linkous' trademark prose both surreal and metaphoric and I did enjoy several tracks on the record including "Revenge", "Everytime I'm With You", "Insane Lulluby", and "Dark Night of The Soul" (the last very effectively capturing the hypnotic, eerie, atmospheric feel of Julie Cruise from David Lynch's Twin Peaks days).

Dark Night Of The Soul may never be officially released with the actual music thanks to an ongoing grudge between EMI and Danger Mouse (currently they are shipping the album with artwork and photography book by David Lynch with a blank CD with the intentions of hoping you will just download it from the web) but if you’re a fan of any of the guest vocalists it's definitely worth a listen. Just don’t go into it expecting anything darker that vanilla.
Grade: 7.5