“If the News Makes You Sad, Don’t Watch It,” the first song on Broken Records’ debut EP, is a spot-on Killers interpretation. But the good Killers, not the bad Killers. In other words, the Killers that aspire to be Bruce “Born in the U.S.A.” Springsteen, not the Killers that aspire to be Bruce “Tom Joad” Springsteen. In fact, when I first heard it, I thought it was a leaked track. It’s got everything: It pops immediately, it’s got the slowed down, romantic bridge, crystal clear vocals, power riffs, and crashing drums. It’s a great song, even if it is a bit derivative. But it doesn’t prepare me for “A Good Reason,” a wild, careening, insane Modest Mouse kinda cut, with heavy Scottish sound and a hook that is guaranteed to lock into your skull. From there, the EP has a scant two more songs, and both are wonderful. “Lies” is passioned, with stellar vocals, and “Slow Parade” features a disarming falsetto, evolving into an arena-style ballad.
The big sound here is due in large part to the size of the group: 7 dudes from Edinburgh, Scotland. The core of the group has been playing together for about two years, so it makes sense that they are well-coordinated and fine tuned. There’s nothing raw here, nothing that needs improvement. They’re ready for radio NOW!
Here is a band with a ton of promise. Right now, they’re selling their EP on their MySpace page. It’s the only way to get it, unless you’re lucky enough to catch a show. Support this D.I.Y. indie band, and buy the record. You will not be disappointed.
Posted on 11.30.08 by ekko @ 4:41 am
Posted on 11.29.08 by ekko @ 10:45 am
The EP is an art form by itself. When done correctly, it should introduce a listener to a new band by showing the band’s versatility but, at the same time, the EP should have a “sound,” otherwise it’s just a sampler. Most EPs have a radio-friendly single, a couple uptempo numbers, and close with a ballad. Others are more imaginative. It’s rare that an EP is something a person would actually want to buy; to accomplish that, it must do something an album cannot, by including rare songs, live material, or by taking the artist somewhere where they haven’t gone before. One artist did this better than anyone else this year, and he’s in the number two slot.
THE SIX BEST EPs OF 2008
6. Radars to the Sky-The Big Bang (self released) (review)
5. Let’s Fucking Wrestle-In Loving Memory Of (Stolen) (review). This entry might surprise you: Frat rock!
4. Tulsa-I Was Submerged (Park the Van) (review). True indie rock and roll: Moody, dark and dreamlike.
3. Living Legends-The Gathering (Alternative Distribution Alliance) (review). Murs, the most famous member of the Living Legends collective, has gotten a major label contract, but he wasn’t above being part of this great pass-the-mic EP, showcasing the skills of this most excellent, most underrated underground rap crew. Buy it!
2. Joseph Arthur-Four EPs (artist’s label). One for each season of the year, Joseph Arthur ambitiously preceded a terrific full-length album with four EPs, each of which were wholly unique. There was shoegaze (“Could We Survive”); electronic noiserock (“Crazy Rain”); grimey folk (“Vagabond Skies”); and, finally, “Foreign Girls” (indie rock).
1. MF DOOM and Trunks-Unicron (unknown) (review).
I don’t know if this was ever commercially released, because I can’t find out anything consequential about it. But I do know that it was phenomenal. MF DOOM beats under rhymes by a relative unknown Canadian named Trunks. The content is largely cartoon and superhero, like DOOM’s own best work. Some strange things have happened with the Vaudeville Villain this year, so here’s hoping ‘09 will be better for him. And also, here’s hoping we see more of Trunks
Tagged with: Best of 2008
Posted on 11.29.08 by ekko @ 5:29 am
“Ladies and Gentlemen, Cockneys, Australians . . .” begins The Future of the Left’s live album. And then Andrew Falkous immediately curses the Gods of electricity, who are apparently messing with the band, and then goes after Reverend and the Makers, whose lead singer has a “punchable face,” apparently, which creates “new levels of shit.” After this crude and insulting 2+ minute speech, the band kicks into “Wrigley Scott,” a screaming punk headthrasher easily as good as anything any member of this group has ever performed before.
<a href=http://berkeleyplace.wordpress.com/2008/02/03/the-future-of-the-left-“curses”>Earlier this year</a>, I lamented that I hadn’t discovered Future of the Left’s 2007 debut until this year, so I couldn’t consider it for an album-of-the-year 2008 pick. Then, the band turned around and started selling this live album on their tour. And on top of that, they swung through D.C., where a pal of mine was lucky enough to see them, pick up a copy, and share it with me. Of course, it’s f-in’ great. There’s a lot of banter, some wickedly funny, some too-drunk-to-make-sense, and the constant talking can become distracting. (Who wants to listen to a rap about shoes more than once?) But when they play, they burn, explode, sizzle, fry, and crush everything in their path. And that’s saying something, since this group rose from the ashes of the too-young-to-die Mclusky. (FOTL is basically Mclusky with bassist Jon Chapple replaced by Hywel Evans, and the addition of Kelson Mathias of Jarcrew.)
The tour-de-force is the 9+ minute long punk jam “Cloak and Dagger,” which goes on and on without any sign of stopping until it just deconstructs, bit by bit, until all that’s left is a moan on an overmodulated mike and some audience clapping. It’s exactly what live albums should sound like: Different from what you’d get in the studio, with the band interacting and reacting to the audience, so that the audience becomes integral.
If you’re lucky enough to get this at a show, or smart enough to buy it via the internet, you’ll find yourself in the proud possession of one of the best albums of 2008. Congrats!
BONUS!:
Posted on 11.28.08 by ekko @ 11:41 pm
If any of you are trying to figure out what to get me for Christmas, this is what I need.
Posted on 11.28.08 by ekko @ 4:42 pm
Maybe it’s because The Killers are releasing a new album soon, but my inbox seems to be flooded of late with powerpop fronted by guys who sing a little better than 1980s Europopstars. I’m only noting this, wondering aloud. I’m not complaining, especially when it comes to Modern Boys, Modern Girls’ debut album, “I Might As Well Break It,” which is at the top of the pile in this genre. It’s startling how well-produced, crisp, tight and polished the album is, for an indie release and considering that this is the band’s first time out of the box. There’s not a lot of variety on the record, but it’s perfect for parties or long drives, because it’s full of energy and never stops moving forward.
This puts the album in direct contrast to the latest release from world music veterans the Duhks, whose “Fast Paced World” combines Scottish jigs, tradition folk and folk pop, elements of throaty alt-blues, Americana, country, and just about every other style you can think of to create an album that keeps you guessing from song to song. Where MBMG create a singular vision rockNpop, with driving beats and arena-rock vocals straight out the late ‘80s, The Duhks have multiple vocalists and a wide variety of instruments including the banjo and the fiddle, drawing on traditional and classic influences.
My Baby Says Boy, Don’t You Ever Go-Modern Boys Modern Girls
Posted on 11.27.08 by ekko @ 4:26 am
The Clash, Tribal Stomp Festival, Monterey 1979
Time for a Clash fix.
I wish this were better quality, but take what you can get.
I’m So Bored With The USA
Complete Control
London Calling
Jail Guitar Doors
White Man In Hammersmith Palais
Drug Stabbing Time
Police And Thieves
Stay Free
Capital Radio
Clash City Rockers
What’s My Name
Janie Jones
Garageland
Armagideon Time
Career Opportunities
I Keep My Fingernails Long (with Joe Ely)
White Riot.
