Please join me (and Caribou) in wishing our dear blogger Jess a Happy 23rd Birthday today! <3
Caribou - Every Time She Turns 'Round It's Her Birthday.mp3
Estoy apesadumbrada si mi español es incorrecto:
VK tiene muchos lectores alrededor del mundo que hablan muchas idiomas. Lo apreciamos. Esta historia viene a nosotros de Daily Swarm. Jess vio esta historia y nosotros de las noticias pensamos que sería apropiado compartirla con usted:
(For you English speakers, the gist here is that Mexican mobs are beating up emo kids.)
Jess dijo: "On the one hand, it's not cool to persecute people for their beliefs, but on the other hand it's exterminating all the emo kids!"
El tablero de mensaje de Brooklyn Vegan dijo: "If we can only have this movement here, and include hipsters as well."
Mientras que no convengo necesariamente, es siempre un recordatorio fascinate de la energía y de la influencia que la música tiene en cultura de la juventud.
Cut Copy put on a truly awesome live show. These guys make perfect late night dance music, combining contemporary electronica with an 80s new wave sensibility. Plus, they get extra-cute bonus points for being Australian.
Many thanks to Amy for the fantastic photos. Also check out her most recent podcast which features a track by Cut Copy and several other great artists.
Hearts On Fire - Cut Copy
Far Away - Cut Copy
We've written quite thoroughly about the Mountain Goats' live shows in the past (just check out June's past two posts). However their Brooklyn show was different - no, not just different -special. Because for about five brief seconds during the second encore John Darnielle reached his hands out into the audience, placed them on *MY* head and personally serenaded yours truly during "Houseguest". It was rapturous. Four days later, I'm still speaking in tongues. Check out the video evidence (you can blurrily make out the back of my head, a messy brunette ponytail), which is probably more notable for John's manically awesome dance solo towards the end. Many thanks to Bill for the video.
But that's not all that made the show stand out. JD opened with a 9 song solo set filled with more obscure songs and covers that I never thought I'd ever have the pleasure of hearing live, including "The Recognition Scene" "One Fine Day" and "Going to Port Washington". As much as I enjoy the full band set-up, there was a palpable intimacy present, which was lacking from past five times I'd seen them. And then of course Peter Hughes and Jon Wurster came out and they launched into full Heretic Pride mode. An overall outstanding show.
The Recognition Scene - the Mountain Goats (Live at Music Hall of Williamsburg, Brooklyn NY March 19, 2008)
(Please note the brutally honest stage banter prior to the song.)
Going to Port Washington - the Mountain Goats (Live at the Music Hall of Williamsburg, Brooklyn, NY March 19, 2008)
So, so exhausted. I've been to 3 concerts in the last 5 days, which basically means going to bed by 2 earliest and awake at 7:30 latest ('cause some of us have jobs that sadly do not entail blogging). Anyways lots of photos, setlists and of course songs are on there way, so look for them over the next few days. But for now I need to recuperate from the past few awesome nights and thus I'm only sleeping.
I'm Only Sleeping - Elliott Smith (Beatles cover)
This is a weird little song. Sweden's Lykke Li makes the kind of minimal electro-pop music for people who feel completely estranged with scenes that generally thrive on electro-pop music. If you've ever felt alienated on the dance floor, you've lived in this song. So much girly angst. I love it.
Everybody But Me - Lykke Li
Prior to checking out Black Lips free in-store at Other Music I had heard very little of their music, but of the very little I had heard, I liked it a lot - or at least enough to wait on line for over 40 minutes outside on a chilly early March evening for a set that would last only half as long. Was it worth it the wait? Hells yeah!
For those unfamiliar with the band, Black Lips play fast, brash, ramshackle indie rawk. Their scrappy aesthetic is busting with energy. Just listen to "Bad Kids" with its call-and-response vocals, playful fuck-all lyrics and elastic-y bassline it's the sonic equivalent of a superball manically bouncing off the walls before erupting through the ceiling. Every song sounds equally effortless, as if crafted from the ether with agile drunken ease.
Being one of the last people in the tiny 100-person capacity venue, as well as being incredibly short, I didn't actually see much of their quickie performance. (Note the above photo of the video camera taping their set - if you squint and look at the screen you can see the band, that was essentially my view.) But boy did they sound great.
Brooklyn Vegan did nab some amazing pics though:
Bad Kids - Black Lips Off last year's Good Bad Not Evil
Not A Problem - Black Lips
You need to work some magic. I feel like I just got broken up with, and we weren't even dating. Steve sat me down VERY nicely and wanted to clarify with me that he doesn't return the feelings I so clearly and artlessly display for him on a regular basis. I am a mess. I feel broadsided. He was WONDERFUL about it which sucks because if he was an asshole, I would be angry and bitchy and feel justified in hating him. As it is, his actions were carefully and deliberately designed to preserve our friendship, which he hopes, sincerely, will last forever.
And it probably will.
But I still feel like I just got run over by a dump truck. And I'm angry at myself because oh shit have I been here before; I'm walking in relational circles.
So, here's my request. I would like for the mix masters of VK to make for me and my stupid wounded heart a playlist with the theme, "I just got broken up with and we weren't even dating."
If you all don't have time, by all means I understand. But I think it would make for an excellent theme, and a good challenge, anyway.
Wow, apparently it took till 2008 for me to hear the best pop song of 2007. But boy I'm glad I finally did. This might seem like a hyperbolic statement, however Maia Hirasawa's "And I Found This Boy" is truly masterful. Overflowing with brassy bombast and orchestral theatrics and lyrics that are at once vulnerable and defiant, I want to give this song a giant hug and then dance through the streets Broadway style and then drink and cry alone. It's just that overwhelming. When Maia sings "And don't say I'm desperate, I'm not!" with her Japanese-Swede pixie vocals (sort of akin to Bjork except elventy bazillion times more girly and thus awesome) you know EXACTLY what's she's feeling -the simultaneous liberation and discomfort of denial.
And I Found This Boy - Maia Hirasawa
I wish I hadn't been here before
Two recent cover/collaborations involving umbrellas, eh.
All the Umbrellas in London - Arcade Fire (Magnetic Fields cover)
This version features a graceful poignancy lacking in the original. It's hauntingly restrained, which is refreshing coming from a band that is usually anything but.
Umbrella - Rhianna and The Klaxons
The R&B princess joins forces with Britain's leading rave-rockers for a spacey take on last year's massive summer jam. All together now: Ella, ella, eh, eh. (It never gets old)
You know how there are some bands where all you have to do is listen to a 30 second snippet of any of their songs and you know exactly what that band is about, like they are just that sonically and aesthetically consistent and cohesive? Well Beach House is most definitely one of those bands. Much has been said about the Baltimore-based duo's gauzy dream-pop sound. Languid shoe-gazy guitar, droning organ loops and of course Victoria Legrand's rich Nico-esque vocals make for some reliably haunting music. Their recently released sophomore album Devotion doesn't stray far from their self-titled debut. And in this case, that is most definitely a good thing.
Heart of Chambers - Beach House
Gila - Beach House
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