np: "Sleepyhead" - Passion Pit

Okay, this song is a little old now, but it just snuck up on me this afternoon and revealed itself as one hell of a great little tune. I found Manners, the debut full-length by Boston's Passion Pit, to be fairly spotty on initial listen. It seemed like the type of bedroom synth-pop being done by lots of other bands in more exciting ways. Spinning it again after some time off I'm finding it a little stronger, none as much as this particular track. Swirling, joyous, and whimsical - a hard combination to pull off without sounding too twee, Passion Pit nails it though. A great beat and a solid hook, but its the tinny chipmunk thing winding throughout that seals the deal for me.

np: Muse - "Unnatural Selection"

I'm beginning to wonder if I'm one of the last non-diehard fans to "get" Muse. I keep reading review after review of the new album, The Resistance, ridiculing the band for taking themselves too seriously and for lacking a sense of humor. Really? I mean, are these critics listening to the same band? I'm thinking the critics are the ones lacking a sense of humor, since they seem to be the ones completely unable to "get" this band. Of course Muse are over the top. Of course the lyrics are ridiculous sci-fi hysteria paranoid technobabble. That's entirely the point. I firmly believe that Matt Bellamy and the boys are perfectly aware of how ridiculous they are. That's what makes them so damned lovable. They aren't a great band, no. But they fill that stadium-packing niche that Billy Corgan abandoned nine years ago to go... well, whatever the hell it is he decided to go. Muse don't play rock shows, they put on spectacles. And in an era of record label cutbacks and shrinking budgets, what could be more antiestablishment than wanting to perform rock music laced with clarinet solos (clarinets for god's sake!) while dancers hang from helicopters skids? That's awesome. Embrace the ridiculousness.

np: "The Ego's Last Stand" - The Flaming Lips

I've known for a couple weeks now that Embryonic is a pretty great record. What I discovered last night, however, is that it is also a great record for walking around in the crisp October air contemplating the curveballs that life throws us. See, yesterday I found out that I was going to become yet another statistic in this stagnant American economy. I was laid off from my job yesterday afternoon with very little notice and tossed into the uncertain freefall that is unemployment. After a few hours of letting things sink in and talking things over with my wife and family, I decided I needed to get a little air and went for a walk. I instinctively reached for my iPod and threw it into my pocket on the way out the door. After tying my shoes, I popped the earbuds in and started scrolling through the 'Artists' tags... and... well, shit. Now what. What do I want to listen to? An old favorite? Something uplifting? Something soothing? Distracting? Eventually I settled mainly on the last option and figured this would do the trick. Did it ever. It was almost (I say almost, because I don't know that I could EVER pick the perfect song for the perfect moment even if I had years to plan it) the perfect thing to listen to as I walked around the neighborhood. And not just because Wayne was singing "see the leaves / they're dying again" as I kicked my way through piles of them. The whole air of uncertainty and confusion resonated very deeply within me, particularly these lyrics to the third track, "Evil":

I wish I could go back / go back in time
But no one ever really can go back in time / go back in time
Oh I would have shown you / those people are evil
And they'll hurt you if they can
I never understand

Not so much the "people are evil" part (although, yes, there was a little of this too), but more the "I never understand" lament. I didn't understand, hell I still don't. It was one of those moments during which music helped me to gain a deeper insight into what I was feeling, even if I hadn't had time to explore those feelings fully myself. I won't say The Flaming Lips made me feel better about my situation, of course they didn't. But they didn't really make me feel any worse either. They just made me feel, and that felt pretty important in the moment. And really, how much more can we expect from music?

np: "Spank-A-Lee" - Herbie Hancock

Two updates in one evening, wow! Actually I just wanted to do a little plug for a very good friend of mine, Dan over at Cubicle Dad. This very brave soul has decided to tackle the 2010 Chicago Marathon for a variety of reasons and I suggest you head over to his site to follow his journey. Here's wishing Dan nothing but encouragement and success as he embarks on this year-long quest, I certainly have tons of respect for anyone strong enough to tackle a marathon. Hell, the thought of driving 26 miles in downtown Chicago gives me pause - let alone running them! Good luck Dan!

np: "Butterfly" - Herbie Hancock

Rumors of this blog's death are completely untrue! Please ignore if you hear any of them. As I was pretty much expecting, studying for my ARE is eating up nearly every non-working, non-sleeping minute I have and something had to fall by the wayside - and I decided updating a blog that hardly anyone reads would be the least painful cut. Anyway, the ARE is progressing well and I'm hoping to be wrapped up by next March. Hopefully that doesn't mean that via//chicago will sit unloved in the corner, I plan on trying to squeeze in an update or two because I certainly haven't slowed down on my intake of great music. 2009 has unleashed some wonderful things that I hope to delve into on this very page. So consider this a promise of things to come. For now, I'm back to studying.

Best Albums of 2009... so far, so good... so what!

Now that we've reached and subsequently passed the halfway point in 2009, time to sit back and take stock of the best music January through June had to offer.

1. Mastodon - Crack the Skye (Reprise)
Another winner from the best American metal band going right now. Prog in all the right ways, surprisingly melodic and still fierce as hell.

2. Sunn O))) - Monoliths & Dimensions (Southern Lord)
The dark drone metal masters create an album that defies easy categorization, incorporating everything from acid jazz to choral music to conch shells (no really).

3. Animal Collective - Merriweather Post Pavilion (Domino)
By sharpening their songcraft and absorbing lots of dance rhythms has allowed the Collective to give us one of their most listenable and blissful albums yet.

4. Dinosaur Jr - Farm (Jagjaguwar)
The reunion rolls on, with an album that just might even surpass the original trilogy that gave these guys their killer reputation. Every nook and cranny is packed with hooks and crunchy Crazy Horse solos.

5. Wilco - Wilco (the album) (Nonesuch)
It doesn't break any new ground for the band, but serves as a terrific summary of everything they do well - from Tweedy's intimate lyrics to sonic playfulness that reveals boundless depth in these seemingly simple pop songs.

6. Dirty Projectors - Bitte Orca (Domino)
One of the most pleasant surprises of 2009, this is one of those albums that sneaks up on you and demands your attention. "Stillness is the Move" might just be single of the year.

7. Coalesce - Ox (Relapse)
Nothing better than having the veterans kick back with an album a decade later than positively obliterates the countless imitators the band has spawned.

8. Sonic Youth - The Eternal (Matador)
Much like the new Wilco, this album serves as more of a band sampler than a dipping of toes in a new pool. Still, Sonic Youth reflecting is leaps and bounds above most bands half their age.

9. The Pains of Being Pure at Heart - The Pains of Being Pure at Heart (Slumberland)
Endlessly derivative, but still the some of the best thirty-five minutes of pop pleasure this year has blessed us with.

10. Yeah Yeah Yeahs - It's Blitz! (Interscope)
For a band that built its early reputation on skronk and intensity, its somewhat surprising that their best album yet nods more to the dancefloor than the dark corners of post-punk.

11. Kylesa - Static Tensions (Prosthetic)
Thanks to two fantastic drummers, this is one of the heaviest and most intense sounding metal albums of the year. Just when I thought sludge had little new to offer...

12. Phoenix - Wolfgang Amadeus Phoenix (V2)
After a stunning SNL performance that turned heads, Phoenix finally shows the masses what tuned in fans have known for years - namely, these guys got hooks upon hooks. "Listzomania" and "1901" are both pure pop magic.

13. Nomo - Invisible Cities (Ubiquity)
Who knew some of the grooviest Afro-beat in the 21st Century would come from Ann Arbor, Michigan? Well, those of that have been following these kids through four fantastic albums knew.

14. Handsome Furs - Face Control (Sub Pop)
I was a big supporter of this duo's first album, but I'm glad to see that an even better follow-up has led to some much deserved attention. I've had at least seven of these songs stuck in my head at one point or another this year.

15. Isis - Wavering Radiant (Ipecac)
Ever wonder why critics still refer to all young post-metal bands as NeurIsis? Because these guys helped set the template and are still marking out territory all their own.

16. The Decemberists - The Hazards of Love (Capitol)
Stripped down to basics, this is a sweeping concept album about love, magic and forest animals. In no way should it be one of the most engaging albums of the year, but it is. Kudos guys.

17. Wooden Shjips - Dos (Holy Mountain)
Detractors call these guys repetitive and boring, but they're missing the point. They may be a one note band, but when it comes to kraut-infused psych, its a great effing note.

18. Tombs - Winter Hours (Relapse)
Climactic bombast without the slow build, these guys are like the Michael Bay of post-metal. And I mean that in the most positive way possible.

19. Sunset Rubdown - Dragonslayer (Jagjaguwar)
Another great album for fans of quirky pop infused with lots and lots of prog rock, these guys continue to surprise.

20. Grizzly Bear - Veckatimest (Warp)
The best easy-listening album of 2009! Really, its a compliment. A breezy listen that hits all the right pleasure centers.

21. Black Lips - 200 Million Thousand (Vice)
For all the talk about these guys' wild stage shows, people tend to forget just how tuneful and melodic they can get in the studio. Of course it gets drenched with a fine layer of sleaze, but still.

22. K'naan - Troubadour (A&M)
Really confused as to why this dude isn't mega right now. Too thought-provoking for those still figuring out what the hell Lady Gaga is singing about? To me, this lives up to all the hype Wyclef never delivered, mixing world music, hip-hop, and intelligent, thoughtful lyrics in a compelling manner.

23. Lindstrom & Prins Thomas - II (Eskimo)
Tempting to call this the best electronic record of the year, but that would be about like calling Mastodon the best classical album of the year. This is fuzzed out psychedelia at its peak.

24. The-Dream - Love vs. Money (Radio Killa/Def Jam)
Another entrant in the "should really be massive by now" sweepstakes. Terius Nash is on fire right now, living up to his promise as the Prince of the '00s.

25. Bat For Lashes - Two Suns (Astralwerks)
Who knew we needed a new Kate Bush? Stunningly produced, gauzy pop that winds its way into your head and lodges itself their for weeks on end.

The Honorable Mentions:
Franz Ferdinand - Tonight: Franz Ferdinand (Domino)
Cobalt - Gin (Profound Lore)
Glasvegas - Glasvegas (Columbia)
Conor Oberst and the Mystic Valley Band - Outer South (Merge)
Obits - I Blame You (Sub Pop)
Morrissey - Years of Refusal (Attack/Lost Highway)
Fever Ray - Fever Ray (Rabid)
Mos Def - The Ecstatic (Downtown)
Silversun Pickups - Swoon (Dangerbird)
Neko Case - Middle Cyclone (ANTI-)
Dan Deacon - Bromst (Carpark)

np: "Rocket USA (Peel Session)" - Loop

Given the less than two weeks remaining until taking my next section of the ARE, studying has ramped up to a furious pace and the ol' blog has fallen by the wayside. I know you've been disappointed to click on a link and seeing the Wilco album cover again and again and again (especially if you don't like Wilco), so I figured I'd brighten up your time wasting session by dropping another list on you. Enjoy. Oh yeah, be on the lookout for a special feature for via//chicago post #500!

Songs that have been enthralling me lately:
"Straight To Your Heart (Peel Session)" - Loop (found on 2-disc Heaven's End reissue)
Just an absolutely killer version of an already killer song by a band that has become somewhat of an obsession for me in the past several months. I highly recommend tracking down all four of the reissues of this band's catalog.

"Sing Swan Song" - Can (found on Ege Bamyasi)
Been on a bit of a Can kick this week after discovering some great new (to me) jams from the band's latter days and solo projects thanks to one of my favorite blogs, Musicophilia. Anyway, this is a classic track that never does me wrong.

"Folk Wisdom" - Oneida (found on Rated O)
One of the many highlights from this band's latest triple(!!)-disc release. This album is sure to place high in my end of year rankings.

"Unbreakable" - Michael Jackson (found on Invincible)
Seriously. I'd never even heard this entire album before now, but its not awful! The ballad heavy second-half is a bit of a slog, but the first half is filled with some stellar production from the turn of the century.

"I Want You To Know" - Dinosaur Jr (found on Farm)
Oh Lou and J, so glad you patched things up. This has been one hell of a comeback!

"Sleestak Lightning" - Clutch (found on Strange Cousins From the West)
Such a great, energetic rock tune. You don't even need to appreciate the band to dig this song.

np: "Country Disappeared" - Wilco

This band Wilco, I tell ya. They've got my number. They really do. With each new album that comes out, I fully expect it to finally be the one that feels lackluster or starts to make the band feel a little less essential. I won't be concerned when this happens, its just one of those things that happens to just about anybody who has ever had a favorite band with a career that stretches out a decade plus. Honestly, I've been expecting Wilco to let me down ever since A Ghost is Born was on the verge of release. Really, they were never going to top that 1-2 punch of Summerteeth and Yankee Hotel Foxtrot. Both very very different albums, but ones that totally succeeded in what they were trying to accomplish. The former being a modern day pop album that belied any attempts to dump it into the various subgenres people were itching to file Wilco in and the latter, well, I'm still not entirely sure but it certainly does a hell of a job exorcising that post 9/11 anxiety and dread (yes, I'm well aware of when it was recorded... but, still, wow, a very prescient pop culture artifact). So AGIB didn't have a chance. And it didn't top either of the previous two masterpieces, but it really didn't need to. It didn't even try, presenting an artistic left turn that found the band delving deeper into texture and krautrock without sacrificing the gentle beauty of Tweedy's lyricism or losing the pop knack. It was another resounding success. Really, in what world can any album containing "Spiders (Kidsmoke)", "Handshake Drugs", "Wishful Thinking" and "The Late Greats" NOT be considered a success? Masterpiece? No. Fantastic album? Yes. Sky Blue Sky followed three years later, scaling back a little and sounding like a lost singer-songwriter album from the 1970s. While certainly one of the more single-minded releases of the latter portion of Wilco's career, it is far from the boring trip the detractors will claim. Just listen to Nels Cline's life-affirming guitar solo on "Impossible Germany" again. Point being, it was another success. Not my favorite Wilco, but in generous moments I certainly could argue for it placing in the top three.

Which brings us to the cheekily titled Wilco (the album). I'm just wrapping up my second full listen and I'm thinking this will be yet another in their string of winners. It isn't better than YHF or Summerteeth (hell, not even Sky Blue Sky), but god-damn if the thing isn't eminently listenable. All the elements of Wilco's career is on display here, from Cline's fiery fretwork to Tweedy's confessional moments to the band's willingness to just play with sound intermixed with some great pop hooks. There's even an (arguable) alt-country song that wouldn't sound out of place on A.M. ("I'll Fight")!

This won't stand up over time as one of the pillars of the band's discography, but as a collection of great tunes well worth spending some time with - Wilco (the album) is an unqualified success. And in my book, any band with a run of albums like this is making a strong case of being the most vital rock band in America right now.

np: "Rock With You" - Michael Jackson

The rumors, allegations and (let's face it) batshit behavior over the last 20 plus years may have tarnished the image, but let's not sit here and pretend that Michael Jackson wasn't the biggest and brightest thing in the world at one point. Like any red-blooded American male of my age (even if they won't admit it), I spent many an hour practicing the Moonwalk in my bedroom while listening to Thriller, pushing the sleeves up on my red and tan two-tone jacket and pretending that the winter glove on my hand was white and sequined. The world certainly hasn't seen a bona fide international superstar like him since, nor are we likely to in this increasingly fractured world of entertainment. Britney? N*Sync? Please. MJ was frickin' worshipped around the world. They didn't call him the King of Pop for nothing.

He certainly battled his fair share of demons over the years and he was never someone I'd trust to babysit, but I'll choose to remember MJ as the larger than life icon he was. The glove. The zippered jacket. Thriller. The Moonwalk.

Pop music has lost one of its brightest lights today and as long as bar jukeboxes continue to blast "Billie Jean" and wedding receptions spontaneously break out into zombie dance parties his influence will still be felt.

RIP Michael

np: "Gibbon" - This Town Needs Guns

Decided to really dive into the promo pile sitting here on my desk, they've been looking at me so very longingly for several months now. So I thought maybe I'd jot down a thought or two as I tear through these albums, partially to let you know what might be worth your time but also to remind myself what might deserve more attention further down the road.

This Town Needs Guns - Animals (Sargent House)
I think the cutesy animal artwork put me off this, expecting more of the tuneless indie rock that I've grown ever so tired of lately. And it IS indie rock, but indie rock that is pretty much right up my alley - all chimey and math-y, it isn't surprising to learn they've shared the stage with another via//chicago favorite, Joan of Arc. The twisting, unadorned guitar lines are mesmerizing, making up for the times when the vocals get a little listless. Not a bad start to the day.

Red Fang - Red Fang (Sargent House)
And we're two for two so far. The influences for this one are all over the heavy music map (and fairly obvious) - Melvins, Sabbath, Motorhead - but things gel enough to make for a pretty cohesive listen. Some chunky riffs and driving tempos, but my favorite is probably "Humans Remain Human Remains", a six and a half minute barnburner complete with organ. Nothing groundbreaking here, but this kind of rock never gets old.

Beat Strings - Fang In Rain (XOXO Records)
Well, we didn't quite make it three for three, although this isn't necessarily a bad album. Its just that this whole Springsteen worship thing is getting a little played out by this point and these kids aren't bringing anything new to the table to make it worth hearing the formula again (unlike, say, The Gaslight Antham, who I think does a much better job of the aching nostalgia thing). Actually they sorta remind me of Marah at times, which, again not a bad thing, just isn't the sort of thing I need in my life at this point. Revisiting this some distant day removed from the indie Springsteen lovefest might allow me to enjoy it with fresh ears. If you can't get enough of this sound though, it is pretty well crafted.

And that's it for today... more to follow soon.

Tuesday Night Shuffle Seven

In which you get another peek into my iTunes collection - seven random tracks plucked out of the detritus by the shuffle feature, warts and all. (by the way, I figured that running a Google Image Search for 'shuffle' would give me lots of hits for the iPod, but why all the vaguely creepy anime?)

Yo La Tengo - "Nowhere Near" (Painful)
Ben Harper & Relentless7 - "Why Must You Always Dress in Black?" (White Lies For Dark Times)
Vaka - "Somersaults" (Kappa Delta Phi)
The Mars Volta - "Metatron" (The Bedlam in Goliath)
Black Moth Super Rainbow - "Raspberry Dawn" (Start A People)
The Smiths - "Stretch Out and Wait" (Louder Than Bombs)
Judas Priest - "Blood Red Skies" (Ram It Down)

np: "Ballroom" - Gui Boratto

With just over a week until my first in the series of seven ARE sections, my priorities have been realigned slightly and blogging has taken a necessary backseat. But since I've wrapped up all I wanted to accomplish study-wide this evening (read three chapters in the review book and practiced the building section vignette), I thought I might try to toss up a bit of a post. And, being distracted as I am, this one will take the form of the post from over two weeks ago - namely a round-up of some thoughts on recent album releases.

Sonic Youth - The Eternal (Matador)
I wasn't sure what to expect with the latest release from, undoubtedly, one of my all time top ten favorite bands. Early signs indicated that perhaps the band would be looking to reinvigorate their sounds with a fresh label (Matador!) and a fresh bassist (Mark Ibold!), always good signs for a creative rejuvenation in my eyes. That certainly wasn't the case here, however, as The Eternal is front-to-back a signature Sonic Youth album that could be mistaken for none other. And, you know, I think that's what makes this such a frickin' great album. Rather than stretching out for the unknown (and I know this is what bugs a lot of the album's detractors), the band reached back and incorporated the elements from previous eras that define them today. Its sorta like a greatest hits with all new material. Some fantastic guitar work, surprising pop melodies, jams that don't wear out their welcome, Gordon's throaty snarl, and two of the best Lee Ranaldo songs I've heard in a long time. Haters may whine that they aren't "growing", but damned if that matters when you let these songs wash over you.

The Answer - Everyday Demons (The End)
These Irish kids have managed to cause quite stir with those who dig their rock classic and their ballads soulful. In just three years they've become worldwide sensations, landing a much coveted spot opening for AC/DC and garnering comparisons to everyone from Led Zeppelin to Thin Lizzy (among may others). They've been making an impact in Europe, but it wasn't until this year that America finally got the chance to absorb The Answer in full-length form. So how well do they stack up against their forefathers? Tough question to answer. No doubt they've got chops in spades and a certain swagger that ticks off the Page and Plant checklist, but there just aren't enough times where they open up and just RIP like you wish they would. Everyday Demons is immaculately produced and expertly played, but perhaps that's part of the problem, there just aren't any rough edges to give them the character that defined their obvious inspiration. Still, tracks like "Demon Eyes" and "Evil Man" are undeniable arena-ready stompers that should please the fist-pumping, lighter-waving set. There is bucketloads of potential here, maybe next time they'll have the confidence to cut loose and let the rough edges through. A few less ballads might help as well.

Kasabian - West Ryder Pauper Lunatic Asylum (RCA)
Granted, I've only listened to this once so far and haven't really invested a whole lot of time parsing the lyrics or delving into its subtleties, but this has got to be one of the thinnest, most meaningless records I've heard all year. Nothing, and I mean nothing, grabbed me. No hooks, no big beats, absolutely nothing that made me want to listen to it ever again. "Vlad the Impaler" makes a valiant effort at salvaging the album late in the game, but it ultimately reveals itself to be a third-generation clone of the better singles from album number one. Maybe my fault for expecting something out of the cool album cover that makes it look like a lost psych-rock masterpiece from the late sixties, or the supposed concept that found the band staying in and gathering inspiration from the titular locale, but I'm honestly kinda surprised that an album this limp was released on a major label in 2009. Then again, it went number one in the UK, so there might be something I'm just not getting. But I don't think so.

np: "Heavy Metal (is the Law)" - Helloween

Today's now playing has nothing to do with the rest of the post, just what I'm spinning right now - trying to shake off a gloomy Monday on which my allergies decided to rise up against my sinuses with a furious vengeance. I've spent more time sneezing and sniffling than anything else today, tearing through box after box of tissue. Not fun. Anyway, as part of my vague promise to post more regularly, I thought I would chime in with some thoughts on a few recent albums I've heard.

Sunn O))) - Monoliths & Dimensions (Southern Lord)
Absolutely gorgeous, a stunning achievement. And really, hard to say much more than that. This is the Sunn O))) we've come to know and love, but so much more. You've got the expected bits - doom-y drones, Oren Ambarchi on effects, guest vocals from Attila Csiahr, etc - but also so much more. I've only been able to give it one really good listen (i.e. distraction free on the good headphones) and I know I've only scratched the surface, always a great sign. At points this is as lovely as Black One was horrifying, particularly the closing track "Alice". Highly recommended, not just for metal fans, but for anyone with an ear for experimental music.

Apostle of Hustle - Eats Darkness (arts&crafts)
Basically the complete opposite of the reaction I had to the Sunn O))) album. In other words, and absolute chore to sit through with basically nothing striking me as worth hearing ever again - and I've always really liked Andrew Whiteman's stuff. Gone is much of the Spanish influence that colored the previous two AoH full-lengths, replaced with lackluster tunes and way too many dialogue clips of people like Burroughs and Brakhage talking about war and destruction. I'm pretty sure this is supposed to be some sort of concept album, but I'd be shocked if anyone cared to wade through all the crap to figure it out. These experiments might have been tolerable had there been some strong songs to back them up, but Whiteman just seems to be misfiring throughout. "Soul Unwind", however, is one shining exception - a lovely tune that builds to a shimmering crescendo and would have fit nicely on any of the Broken Social Scene proper discs. Do yourself a favor, download that one and skip the rest.

White Rabbits - It's Frightening (TBD)
I think this will end up being one of those albums that either clicks with me on a random day a couple months from now or just completely falls through the cracks. So far I'm leaning towards the latter. Thing is, it sounds fantastic. Getting Spoon's Britt Daniel to produce the album was a brilliant idea, his sonic fingerprints are all over this and the band has never sounded more engaging. There is a wonderful depth to the recording and I kept losing myself in the space between instruments. But that's the thing, I couldn't be bothered to care about the songs themselves. I don't think I could recall a single vocal melody of lyric 30 seconds after finishing the disc. Maybe this will click for me someday, but as for now it seems only worth hearing for Daniel's touch.

Green Day - 21st Century Breakdown (Reprise)
I've always been a huge Green Day supporter (Insomniac and Warning are two hugely underrated albums, btw), but even I had lower that usual expectations for what was set up to be American Idiot Part 2. And, really, it is. It's another hugely ambitious, vaguely political epic that explores a fairly loose concept centered around a couple of misfits in love making their way in a world gone to pot. But despite the "been there done that" vibe and a weak choice for first single ("Know Your Enemy", a song with like 4 words total), this thing actually works pretty well. It does run a little long and some of the ballads weigh things down a bit, but I'm looking at the tracklist now and damned if there isn't at least five tracks I want to listen to right now - "Before the Lobotomy", "Last Night On Earth", "Last of the American Girls", "Restless Heart Syndrome", and "21 Guns" (a much better second single).

Eminem - Relapse (Aftermath/Interscope)
There really isn't much I can say other than toss off some comment on how far the mighty have fallen. Yes, it really is as bad as you've probably heard. Disappointing beats from Dre, Em rapping in those stupid accents he's been so fond of since The Eminem Show, and shock lyrics that even Marilyn Manson would leave in the recycle bin. I'm all for shocking Slim Shady, but it was much more tolerable when had a little wit and heart to go along with it. Such a waste.

np: "Crying" - Yngwie J. Malmsteen

Yeah, hell yeah, Yngwie. The Swedish maestro himself is currently tossing fiery licks and riffs into my pleased eardrums. How can you resist something with a cover as awesome as that pictured above? I mean, facing down that three-headed dragon with only a guitar and a frighteningly flexible squat? Balls of steel man. I had planned to spend part of this weekend diving into the rapidly growing pile of demos sitting next to me, but the pile of ultra-cheap vinyl I picked up last night is instead sending me straight into a world of eighties metal - the previously mentioned Yngwie, Krokus (Headhunter), Metal Church (The Dark), Helloween (Walls of Jericho), and Judas Priest (Unleashed in the East)! I also picked up the second album from gothers Bauhaus, but I'm saving that one for later. Don't want dour Mr. Murphy ruining the buzz from Malmsteen's tasty licks.

The blog has been on another long hiatus, I apologize for that, but things have been hairy between work and preparing for my ARE (first exam June 24th, wish me luck!) - so I promise to try and update this thing at least a couple times of week. Hopefully I'll also have some exciting news about a new writing outlet, but more on that as it materializes.

np: "Pound It Out" - Booker T

Booker T. is gosh darn national treasure. Just for the pivotal instrumental track "Green Onions" (which even if you don't think you've ever heard - you've heard) alone, not to mention all that fantastic session work he produced for the Stax musicians along with his buddies The M.G.'s. Which is why it shames me a little to admit that they only reason I bothered to check out his latest release, Potato Hole, is because his backing band this go-round is the only Southern rock band that matters right now - Alabama's own Drive-By Truckers. But, hey, the hook worked and I picked up an album I might have otherwise (wrongfully) ignored. And I'm really glad I gave it a chance, this might be one of the downright funkiest and most rocking album I've ever heard. The DBTs' growling three-axe attack is a perfect fit for Booker's grimy organ sound, givng every single track a loose and organic feel that never sounds over-thought or under-emoted. It sounds like everyone is having one hell of a time in the studio, especially when they break into the covers of Outkast's "Hey Ya" and Tom Waits' "Get Behind the Mule". Toss in an instrumental re-working of the Truckers' own "Space City", some extra fretwork from Mr. Neil Young himself and you've got a great little rock record that shouldn't be overlooked.

np: "Kind of a Girl" - Tinted Windows

The mere existence of this band is definitely one of 2009's most WTF musical moments so far. I was tempted to type something about "supergroup" in that sentence, but I think that would be stretching the definition of "super" to the thinnest of extents. It certainly is a group though, quite a group of random musicians. On guitars you've got James Iha, a dude who was smart enough to stay way the hell away from Corgan's shitstorm of a Pumpkins reunion. Then, on bass, you've got Adam Schlesinger of power-poppers extraordinaire, Fountains of Wayne. The connection between the two makes tons of sense since the pair of them, along with wayward former Pumpkins bassist D'arcy, established indie label Scratchie Records back in 1995. Now this is where things get a little weird. The drummer for Tinted Windows is none other than Bun E. Carlos. Yes, THAT Bun E. Carlos, him of Cheap Trick. Some strange cross-generation pollination going on here, but the Pumpkins played with Cheap Trick a couple times and they have that whole Chicago connection going on - so I can get with that. But what throws me for a loop is the vocalist these guys selected... Taylor Hanson. Yessir, the middle Hanson brother. Do the syllables "Mmm" and "Bop" ring any bells? WTF, right?

The bigger WTF, after hearing the self-titled debut album, is that they actually crank out some better than decent power pop. Unsurprisingly, as much as I love Fountains of Wayne, the songs written by Schlesinger (especially the opening run of tracks 1-4) are among my favorites on first blush. They fare much better when they stay away from the gloopy mid-tempo tracks, but Tinted Windows is a successful, breezy summer sun pop album. And you can never have too many of those. Check out the lead single...

np: "The Comedian in Question" - Coalesce

That's right, brand spankin' new Coalesce. This evening I've been enjoying the perks of being a music critic, namely listening to a highly anticipated album months before the thing is due to be unleashed on the world. The band's latest album and first in nearly a decade, OX finds the band in stellar prove and should prove to be well worth the wait for fans. I've only made it once through, but I'm hearing everything I'd expect and a few curveballs throw in to maximize the impact of the band cutting loose full-force. Get excited and be sure to grab it from Relapse when it hits the streets on June 9th. In the meantime, you can check out "Wild Ox Moan" on the band's MySpace page linked above.

np: "Airstream Driver" - Gomez

Really, how does a band go from winning the Mercury Prize to being one of the most bland purveyors of mid-tempo ballads around? Gomez has had such a disappointing career arc. This British band bust onto the scene with a refreshing debut album that artfully mixed the of-the-moment Britpop with American roots music, lovingly crafted with a pop sensibility inherited from the greats (it wasn't weird to see the Beatles used when referring to the band). Bring It On won the 1998 Mercury Music Prize over such worthy runners-up as Massive Attack's Mezzanine and The Verve's Urban Hymns. Liquid Skin and In Our Gun followed the formula and expanded upon the band's sound to interesting results. Not every song worked, but when they did ("Rhythm & Blues Alibi", for example) - they were fantastic. Two more middling albums, an interesting B-sides collection, and a surprisingly rocking live album followed. Thanks to the crossover appeal of breezy hit "See the World" the band finally latched onto the American mainstream, but it seemed to come at the expense of some of the more engaging approach of their early career.

So here we come to 2009 and their latest album, A New Tide, and the downward spiral continues. Seems the band loves the new audience brought to them by "See the World", as they've decided to exclusively pander to that side of their sound. The disc is packed with mid-tempo ballads that sacrifice any of the experimental, playful nature they've displayed in the past. Which, you know, whatever, but hardly any of these songs are half as good as "See the World". In fact, except for a few exceptions ("Airstream Driver" being my favorite) the tunes are far more bland, sliding right in one ear and out the other.

Such a shame to see a band squander away potential like these guys.

2009 Quarter 1 Highlights

Sure, it is a little early in the year to start thinking about year-end lists and filing everything away in neat little boxes, but I also feel like the end of March is a good time to catch up on what great music has been released so far. With that in mind, here are twenty albums (presented in alphabetical order) and ten singles (roughly in order of enjoyment) that have made 2009 worth it so far.

Albums
Animal Collective - Merriweather Post Pavilion (Domino)
Antony & The Johnsons - The Crying Light (Secretly Canadian)
Black Lips - 200 Million Thousand (VICE)
Cannibal Corpse - Evisceration Plague (Metal Blade)
Cobalt - Gin (Profound Lore)
The Decemberists - The Hazards of Love (Capitol)
The-Dream - Love vs. Money (Def Jam)
Franz Ferdinand - Tonight: Franz Ferdinand (Domino)
Glasvegas - Glasvegas (Sony)
Handsome Furs - Face Control (Sub Pop)
K'naan - Troubadour (A&M)
Kylesa - Static Tensions (Prosthetic)
Mastodon - Crack the Skye (Reprise)
Morrissey - Years of Refusal (Lost Highway)
Neko Case - Middle Cyclone (ANTI-)
Obscura - Cosmogenesis (Relapse)
The Pains of Being Pure at Heart - The Pains of Being Pure at Heart (Slumberland)
P.O.S. - Never Better (Rhymesayers)
Satyricon - The Age of Nero (Koch)
Tombs - Winterhours (Relapse)

Tracks
"My Girls" - Animal Collective
"Wavin' Flag" - K'naan
"My Life Would Suck Without You" - Kelly Clarkson
"Walkin' on the Moon" - The-Dream f. Kanye West
"The Fear" - Lily Allen
"My Love" - The-Dream f. Mariah Carey
"I'm Confused" - Handsome Furs
"The Rake's Song" - The Decemberists
"Divinations" - Mastodon
"I Do Not Hook Up" - Kelly Clarkson

Diligo Sonitus

Two reasons why things have been quiet on the via//chicago front:

1. I took my LEED AP exam earlier this month and the studying for such had reached a fever pitch. I am happy to report that I passed!

2. I've begun work on a second blog, one dedicated to appreciating music on a smaller scale, song-by song. Please hop on over to Diligo Sonitus to check it out!