Album Review: "151a" by Kishi Bashi

I recently had the opportunity to see Kishi Bashi live, and was instantly enraptured by his music. 151a is a collection of almost hauntingly beautiful songs in a vein that could be compared to Andrew Bird or Jónsi.

151a kicks off with "Intro/Pathos, Pathos," a brilliant combination of traditional orchestral sounds and electronic/synthesized sounds. "Manchester" continues the feel and features the gorgeous line: "My favorite part's when I die//in your arms like a movie." Although "Manchester" is just over four minutes long, it feels like it could go on longer. The tempo picks up in "Brighter Whites," a song which is catchier and slightly less ethereal than the preceding songs.

The strongest track in my opinion is "It All Began With A Burst," which is memorable and musical. The pace slows down again with "Wonder Woman, Wonder Me," only to pick back up on "Chester's Burst Over The Hamptons." "Chester's Burst Over The Hamptons" uses more synths than the rest of the album, almost sounding like a 70s science fiction show at the close.

Another particularly strong track is "I Am The Antichrist To You." "I Am The Antichrist To You" is soft, flowing, and gorgeous. The album closes with "Beat The Bright Out Of Me," the longest and most ethereal track on the album, and quite a flowing piece in its own right.

There are no weak spots in 151a. Each track has a wonderful sound and overall build. The instruments are present and absent at exactly the right moments. 151a may not turn out to be my favorite album of the year, but it is certainly a work of art.

Kishi Bashi is K Ishisbashi's solo project. K Ishibashi has worked with of Montreal and Regina 

Spektor. 151a is his debut full-length album.

151a is out April 10th and can be purchased here.

Concert Review: Of Montreal in Cleveland, OH

Seldom have I seen a crowd so geared up for the performance they are awaiting as the audience at the Beachland Ballroom on Thursday.

Kishi Bashi took the stage alone at around 8:30, and began to play a set that instantly entranced the crowd. Bashi used his violin and live samples to play some of the most incredible and musically sound pieces I've heard live in a long time. His mastery of both pizzicato and conventional violin bowing were incredible to hear and observe visually.

Kishi Bashi

Kishi Bashi surrendered the stage to Loney Dear, a Swedish duo that were received with much less enthusiasm. 

Loney Dear

Loney Dear put on a reasonably good set, but the crowd was too energized for their soft, calm songs. It didn't help that, after Kishi Bashi, their music seemed a lot less impressive.

There was a long wait in between Loney Dear and Of Montreal. Lots of light adjustments happened, each time stirring the crowd into a frenzy. When the band finally took the stage, they launched instantly into an almost non-stop set of songs from their last four albums. Each song seemed to bring a new level of excitement to the crowd. 

The set was lively and energetic and just loud enough not to be too loud. The crowd danced and sang along to every song. The band ended their set and it was almost immediately clear that there would be an encore. Two people dressed as pigs returned to the stage and welcomed the band back out after a few minutes. Of Montreal then launched into a ton of songs, one right after the other, mostly from Hissing Fauna, Are You the Destroyer? and Skeletal Lamping.

There was not a lot of talking or pausing during the band's set or encore set, it was mainly just song after glorious song.

After the show, as we headed back to our vehicle, we noticed that lead singer Kevin Barnes was surrounded by a small crowd at the exit door. He was very sweet about signing things for people and taking pictures with fans.

Seeing Of Montreal isn't just a good show, it's a great experience.

Concert Review: The Modern Art Tour in Cleveland, Ohio

It’s always a pleasure to see multiple bands I enjoy in the same setting, so I was excited to learn that SPEAK would be an opening act for Miniature Tigers during the local leg of the Modern Art Tour. Also performing were The Chain Gang of 1974 and Geographer.

The venue, Grog Shop, is a small and intimate place, with the stage leading directly into the audience. When we entered the room, SPEAK were still doing their warm-ups. They wrapped up quickly and we were left to wait. All of the bands mingled freely in the crowd, before, during, and after the show.

SPEAK took the stage at just after 8 and performed a crowd-pleasing set for a crowd to which they were mostly unknown. 

SPEAK

The high-energy songs from their album were joined by a couple of songs I didn’t recognize from the album as well as a cover of Simple Minds’ “Don’t You (Forget About Me).” As with the SPEAK covers I've experienced in the past, the band added their own accents to the cover, speeding it up, and making it their own. They closed their set with “Stand By Us” and “Carrie.”

Up next was The Chain Gang of 1974, a group which didn't really sit well with me. Their very 80s synths became tolerable and almost good toward the end of the set, but the vocals and general attitude of the band didn't suit my tastes at all. 

The Chain Gang of 1974

Co-headliner Geographer took the stage and it was immediately clear that many patrons were there to see Geographer specifically. Lead singer Michael Deni performed beautifully, with a voice that was admittedly better than any other singer that evening. Geographer's lineup features drums, synths, and an electric cello (played by Nathan Blaz), which seems an interesting choice for a rock group.

Geographer

Finally, Miniature Tigers came on around 11 o'clock. Miniature Tigers were quite lively. Lead singer Charlie Brand did a great job of engaging the crowd, competing with several now insanely drunk members of the crowd and the two guys from The Chain Gang of 1974 who were creating a ruckus in the audience. 

 

Miniature Tigers

 Photos by Gareth Sedam

Miniature Tigers performed most of the songs off of Mia Pharaoh, with a few songs from Fortress and "Cannibal Queen" thrown in. I think the near absence of songs from Tell It To The Volcano was a slight disappointment to some, but the set was impressive just as it was. Miniature Tigers closed their set at just after midnight and hung around to sign autographs and talk to fans. 

Album Review: Mia Pharaoh by Miniature Tigers

Miniature Tigers have taken a sharp turn for the 70s in their new album Mia Pharaoh. Mia Pharaoh features a higher level of refined production and several songs with dance beats. These new sounds are not unpleasant, but slightly jarring for those familiar with their first two albums.

A new sound is evident from the very opening of "Sex On The Regular." "Female Doctor" keeps up the 70s feel, with the same retro synths, disco beats and falsetto vocals. On both "Sex On The Regular" and "Female Doctor," Charlie Brand seems to be channeling at least a little Kevin Barnes circa 2006-2008. "Cleopatra" starts to feel more like a song from an earlier album, both musically and due to the mystical concepts that Tell it to the Volcano and Fortress edged around. "Cleopatra" also features a mention of "your Fortress," which may or may not be a reference to the preceding album.

By track 4, "Afternoons with David Hockney," the traditional Miniature Tigers sound is very audible. "Afternoons with David Hockney" seems to borrow slightly from 1970s Paul Simon. David Hockney is an English artist who seems to be an influence on the designs for Miniature Tigers album art.

The sentiments in "Easy as All That" and "Flower Door" are beautiful and poetic. "Flower Door" features one of the many clever turns of phrase on the album, "to see through your disguise//you have worn so long it started wearing you."

"Boomerang" proves to be the most catchy and poppy song on the album. It was released as a single many months prior to the album release. "Boomerang" serves as the most effective mesh of Miniature Tigers' old sound with the new 70s influences.

The final three tracks slip deeply into a dream pop sound. "Ugly Needs" features vocals much like the earlier albums, and sweet lyrics. "Angel Bath" toys with Barry White style vocals. Mia Pharaoh closes up with "Husbands & Wives," the slow, floating vocals of which are a far cry from the dance beats found at the beginning of the album.

As a whole, the album flows smoothly from one song and tempo to another. I'm not sure that the clean production of this album is an improvement for the band.What they've lost isn't the ability to make a good song, but more their individuality from the rest of the music market. I suppose Mia Pharaoh, taken on its own is a good album. It's nothing to compare with Tell it to the Volcano, but if it's anything like Fortress in quality, it will grow on you more gradually.

Miniature Tigers are an indie rock outfit. Left to right: Algernon Quashie, Charlie Brand, 

Rick Schaier, and Brandon Lee.

Mia Pharaoh can be purchased here.

I've Got This Covered: She & Him: Volume One

What would it be like if 60s artists were able to cover She & Him's Volume One? I think it would go something like this...

1) Sentimental Heart - Leslie Gore
The teen singer was always singing openly about her emotions. The clarity and tone of her voice are a great starter for the cover album, seeing as her voice is a near perfect match for that of Zooey Deschanel.
  
2) Why Do You Let Me Stay Here? - Nancy Sinatra
Although this is a little more upbeat than most of Sinatra's songs, I think her voice would suit it well. The abundance of tambourines is also reminiscent of "These Boots Are Made For Walking."

3) This is Not a Test - Bobbie Gentry
Although the guitar intro to this song reminds me more of George Harrison circa All Things Must Pass, I think the country-rock feel of the song along with the vaguely throaty vocals would be well suited to Gentry. Gentry's song "Seasons Come and Seasons Go" happens to feature a bass line similar to the keyboard part in "Why Do You Let Me Stay Here?" 

4) Change is Hard - Joan Baez
The tempo of "Change is Hard" along with the fact that it relies entirely on an acoustic guitar and vocals make it a perfect match for Baez.

5) I Thought I Saw Your Face Today - Marianne Faithfull
Faithfull has vocal clarity and talent for singing a sad song that "I Thought I Saw Your Face Today" can't survive without. 

6) Take It Back - Lulu
The strings in "Take It Back" are almost lifted straight from "To Sir With Love." Lulu would lend the entire song an intense power.

7) I Was Made For You - The Chiffons
I was originally trying to stick with female 60s solo artists, but several songs on Volume One really need to be covered by girl groups. "I Was Made For You" features female backing vocals reminiscent of 60s girl groups like The Chiffons. The range of the song suits The Chiffons better than other groups and there's a slight "wall of sound" quality to "I Was Made For You" that could be exaggerated in The Chiffons' cover.

8) You Really Got a Hold on Me - Mama Cass Elliot
It amazes me that Cass never seems to have covered this Smokey Robinson song in the first place,but it would be great to hear her sing it in the vain of "Dream a Little Dream of Me."

9) Black Hole -The Ronettes
I feel like this song needs "wall-of-sound." I can just hear Ronnie Spector wailing out the vocals with the rest of The Ronettes performing the required backing vocals.

10) Got Me - Dolly Parton
Parton's sweet voice and 60s country sound are the only things that would do a cover of this song justice.

11) I Should Have Known Better - Johnny Cash and June Carter
For this cover of the Lennon/McCartney masterpiece, I wanted a male and female country duo who could carry the country/Hawaiian elements She & Him added into their cover version. Who better than Cash and Carter?

12) Sweet Darlin' - The Crystals
To close the album, we have yet another 60s girl group brought to you by Phil Spector. The key is great for The Crystals and the song already seems to feature the "wall of sound."

  
That's how I think it should go down. Questions? Better ideas? Drop me a comment. Or if you're a time traveler that has magical powers over artists, feel free to make this happen. 

Album Review: Roses by The Cranberries

There is a certain level of difficulty involved in the creation of a new album after an eleven-year break. People will have strange and/or unrealistic expectations and the nature of the music world will have changed so much over the intervening time that there is a strong chance of either sounding as though you're trying too hard to sound modern or too hard to retain your old sound.

Somehow, this is not a problem for The Cranberries. In Roses, they have retained a sound consistent with their earlier days, as well as sounding perfectly at home in the modern music market. It wouldn't sound strange to hear one of these songs on a modern radio station. The timeless sound may come from the fact that the band has always been just left of mainstream music anyway, or from the fact the The Cranberries remain unafraid of relying on instruments for their musicality, which prevents some of the problems caused when dated-sounding synths are incorporated.

Roses starts off with "Conduct," a song very reminiscent of their earlier work. "Conduct" is powerful and memorable, with the floating vocals that are Dolores O'Riordan's trademark. Following "Conduct" is "Tomorrow," the lead single from the album. "Tomorrow" has more radio power than any other song on the album by a long shot. It's a pity that the video concept isn't stronger:




"Fire & Soul" is lighter and quieter, but features one of my favorite lines on the album: "I'll wait for you forever//I'll take you to my grave." One of the weakest songs is "Raining in My Heart," which isn't a bad song, so much as one that has nothing particularly outstanding about it. "Losing My Mind" is catchier, but lacks the sound for modern radio. Another song that has a throwback feel is "Schizophrenic Playboys," which also has a different tone and subject than any other song on the album. "Waiting in Walthamstow" and "Show Me" are reasonably good songs, but are almost more like support for the rest of the album. Lyrically, "Astral Projections" is intriguing. I know it would have been my favorite track when I was a teenager, just due to the concept.

To wrap up the album, "So Good" and "Roses are introduced. "So Good" is much more complex than the title track. The lyrics are evocative and the melody sweet, but "Roses" is strangely negative considering that it is the last song on the album

Overall, Roses is a good album, but not a great album. The songs are pleasant, the lyrics are eloquent and smart, and the vocals are flowing. The downfall of the album is that there is nothing that truly "pops." I would recommend Roses if you want something nice to listen to, but don't expect it to be the album of the year.

The Cramberries are an Irish rock group formed in 1989. Left to Right: Dolores O'Riordan, 

Mike Hogan, Fergal Lawler, and Noel Hogan.

 Roses can be purchased here.

In Memoriam: David Jones

We had to know it was coming sometime. It's simply the length of time that came as a shock. Davy was my favorite for at least the first few years of my Monkees fanship. Somewhere around twelve or so, I began to call my favorite Monkee position a tie between Mr. Jones and Michael Nesmith. But Davy was my first favorite.

That it was so unexpected has to be the thing that makes it the hardest. When Peter Tork was diagnosed with cancer, I was frightened of losing him, but began to prepare myself at least. But maybe it's like the Band-Aid theory: a quick removal hurts the worst, but also for the shortest amount of time, because you aren't lingering over it for ages before it actually happens.

Whatever the case, I will always think of Davy with the same love I had at eight years old, dancing around on a stap-ladder in my room, whilst playing the records for the six-millionth time and singing along with lyrics that were sometimes right, sometimes misguided.

I'm selfishly disappointed that I'll never get to see all four of them together onstage (which was very unlikely anyway, but still). At least I got to see and meet Davy, Peter, and Micky Dolenz on tour last Summer. I got my metal lunchbox signed. Davy asked if I was going to school, a joke I did not immediately catch on to. Then he told me that I should be careful or somebody would "nick" my lunchbox, what with it being so cool. And I got a photo with him. I was obviously over-joyed.

You can't bring back the dead, nor would you really want to. It's a very natural cycle and everything, it's just a surprise when it happens.

One-Mind Tracks: Self-Referencing Songs

In the present day, many rappers tag a song as theirs by using their name during the intro. And you can barely listen to a Lady Gaga song without hearing "Gaga" somewhere in it. But the storied history of bands singing about themselves goes way back. I would like to share with you eight of my favorite examples of bands singing about themselves.

The Monkees by The Monkees
This one's probably the simplest to explain: The Monkees was a TV show. The theme song to the show doubled as a song on the band's first album. Luckily, it's a solid song (granted, it's easier to listen to if you haven't watched every episode of the series multiple times).

Welcome to Tally Hall by Tally Hall
Back to the old stand-by, I once again bring your attention to Tally Hall. This song not only references the band as a whole, it also introduces each member individually. In addition, it serves to introduce audiences to the whimsy and sometimes varying styles of the band.

Everybody Have Fun Tonight by Wang Chung
I assume it has something to do with the way the music market was set up in the 80s, but it seems it was very common for artists to create "self-titled" songs. I'm going to assume the MTV influx of new artists played a role: to make yourself memorable, it helps if you have a theme song. "Everybody Have Fun Tonight" was released somewhere in the middle of Wang Chung's career though, so draw from that what you will.

In a Big Country by Big Country
Big Country released quite a few albums. They had three songs that charted in the top 100 in the U.S. But if you've heard any of their songs apart from this one, I would be astounded. In the U.S., they are considered to be one of those "one-hit wonders." This song has a wonderful sound though, I can't imagine what would keep people away from their full discography.

Talk Talk by Talk Talk
Talk Talk are one of the most well-respected groups of the 80s (in the musical community that knows who they are). I'd always thought maybe this song was a concept pushed by the record label, but there is an early demo of this song (then titled "Talk Talk Talk Talk") from 1977 available on Within Without. So I guess the band name probably came from this song rather than the reverse.

They Might Be Giants by They Might Be Giants
Since They Might Be Giants have a great sense of humor about themselves, I can't really imagine this song not existing. Interestingly, They Might Be Giants also recorded "We're The Replacements," which some assume is a cover of a self-referencing song by The Replacements, but it's simply They Might Be Giants making a comment about being on the road in a band [Source].

Fistful of Mercy by Fistful of Mercy
I heard an interview with the band a while back (I can't remember where or I would cite it), in which they basically state that they decided to give themselves a self-titled song. It's a far cry from the humor of "They Might Be Giants," but "Fistful of Mercy" is a very flowing, soulful song, much like the rest of Fistful of Mercy's album.

Creeque Alley by The Mamas and the Papas
While the band's full name is never mentioned, "Creeque Alley" tells the tale of the genesis of The Mamas and the Papas and The Lovin' Spoonful (and a little bit of The Byrds'). It also references their hit "California Dreamin'."




KMFDM also sing about themselves a lot. It can be pretty amusing.

Album Review: Some Nights by fun.

Indie supergroup fun. hit the scene in 2009 with Aim and Ignite. Some Nights takes the pleasant pop qualities of Aim and Ignite and tries to expand on them with some new musical components. There are some hits and misses amongst the new effects, but you can't hate them for trying.

The album opens with "Some Nights (Intro)," a song which adequately introduces some of the new roads this album travels down, whilst still feeling very much at home in their repertoire. It also serves to introduce the album title "some nights" as a common phrase. The phrase "some nights" is used in four different songs on the album. It can also be assumed from "Some Nights (Intro)" that Some Nights will have a slightly darker tone than that of Aim and Ignite. The band attempted to capture the tone of the song in the video, but I'm not entirely sure that I don't get more out of the song on its own.

"Some Nights" strays back toward the power pop feel of Aim and Ignite, but it also introduces Auto-Tune to the album. "Some Nights" is very catchy, and is only overshadowed by the following song "We Are Young," which became a huge hit single after it was covered on Glee. "We Are Young" was also used in a Chevy Sonic commercial which premiered during the Super Bowl. Even without these sales tactics in mind, the song has incredible flow and power to it that should be able to sell it on its own.

My favorite track on the album though, is probably "Carry On." "Carry On" seems as though it could be the theme for an Oscar-nominated movie. The Irish-influenced strings give it both strength and a sense of culture. "It Gets Better" took me a couple of listens to enjoy. At first, it sounds only a few inches away from an early 2000s alt. rock song, but it is more complicated and melodic, thus saving itself. "It Gets Better" also uses noticeable Auto-Tune. "Why Am I The One" seems like a throwback to lead singer Nate Ruess's days in The Format until it shifts into the chorus, which might be the most flowing of any chorus on the album. The chorus of "Why Am I The One" also features great harmonies borrowed from early 70s folk music.

"All Alone" is my favorite story song of the album. Ruess has a tendency to create amazing stories in his lyrics, and "All Alone" is a perfect example, even if I can hear late 90s boy bands in the melody of the chorus. One of the weaker songs on the album is "All Alright," which seems to have very little energy and an only vaguely interesting chorus. "One Foot" has a great, bouncy beat and a consistently interesting melody.

The only track on Some Nights that I truly dislike is "Stars." "Stars" starts out well enough, with references to the band's origins and dealing with new-found fame. The horns so prevalent on Aim and Ignite are brought to the forefront, and it seems that all will go well. Then, about halfway into the song, Ruess suddenly becomes some demented Kanye West clone, with all of the Auto-Tune they didn't use on other tracks splashed on in not-so-glorious technicolor. Generally, Nate Ruess has a good voice that lends itself well to the songs he sings. The Auto-Tune makes "Stars" sound dead and terrible. It's a pity that "Stars" is the official closer for the album.

I'm not sure how "Out on the Town" counts as a bonus track, since it seems to be on every copy of the album from what I can tell. Either way, "Out on the Town" is a much more pleasant and fitting closer for Some Nights than the artificial "Stars."

If Auto-Tune can't be counted as a fault in this album, I feel fun. should at least take note to use it in moderation. Apart from the use of computerized vocal enhancement, the production of this album is smooth and thoughtful. fun. bring in a lot of strings and instruments that some people forget have as much place on a pop album as anything else. It's nice to see the experiments performed on Some Nights, and I can't wait to hear the smoothed-out sound I'm sure their third album will have.

fun. are a group consisting of (left to right): Andrew Dost (of Anthallo), Nate Ruess (formerly of 
The Format), and Jack Antonoff (of Steel Train).

Some Nights can be previewed and purchased at the band's website.

A Brief History: Music in Political Campaigns

For almost 200 years, politicians have been using recognized songs as campaign "hooks." Andrew Jackson used "The Hunters of Kentucky" for his presidential campaigns in 1824 and 1828. As far as we know, Jackson started a trend that continues to this day.

The problem occurs when politicians decide to use songs without gaining permission from the artists first.

Such a situation has only recently come to light with Republican presidential candidate Newt Gingrich, who has been using "Eye of the Tiger" as his campaign entrance song since 2009 without permission from Survivor. Gingrich is being sued for "damages" and Rude Music Inc. is requesting that he be banned from using the song [Source].

But Gingrich is certainly not the first politician to get in trouble for using a song they were not authorized to use:

• Bruce Springsteen was displeased when Ronald Regan tried to use "Born in the U.S.A." in 1984.
• Sam Moore re-recorded "Soul Man" for Bob Dole's campaign, changing the lyrics to "Dole Man." The problem was, Moore was not the copyright holder for the song, and the actual copyright holders at Rondor Music threatened to sue if Dole continued to use even the "parodied" version of the song. Issac Hayes, the real writer of "Soul Man" told The New York Daily News: "As a U.S. Senator, he ought to know that you can’t do that." Dole discontinued use of the song [Source].
• Michele Bachmann and George W. Bush each received cease and desist letters from Tom Petty for use of "American Girl" (Bachmann) and "I Won't Back Down" (Bush). 
• Bachmann was also asked to stop using "Walking on Sunshine" by Katrina and the Waves.
• Former Florida governor Charlie Crist was sued by David Byrne (Talking Heads) for using "Road to Nowhere" (which, really, is that something you want associated with your political trail? Isn't that what got Sarah Palin in trouble back in '08?).
• Speaking of which, Heart were very annoyed when Sarah Palin used "Barracuda" without permission. The Wilson sisters said: "Sarah Palin's views and values in NO WAY represent us as American women. We ask that our song 'Barracuda' no longer be used to promote her image" [Source].

• John McCain managed to stir up several well-known musicians. Jackson Browne sued him for his use of "Running on Empty" and John Mellencamp issued a cease and desist letter for McCain's use of "Pink Houses" and "Our Country" during the presidential run. McCain stopped using all three songs and issued an apology to Browne for using "Running on Empty" in an attack ad directed at Barack Obama. Bon Jovi ("Who Says You Can't Go Home") and The Foo Fighters ("My Hero") also both requested that McCain stop using their songs in the 2008 presidential campaign.
• "Pink Houses" was also questioned for its use in a NOM (National Organization of Marriage) event. Mellencamp sent a letter to NOM, telling them his views were at odds with theirs and requesting that they "find music from a source more in harmony with your views than Mr. Mellencamp in the future."
• Mike Huckabee was asked by Tom Scholz of Boston to stop using "More Than a Feeling." 
• Barack Obama got into trouble for using "Hold On, I'm Comin'" by Sam and Dave at his rallies.

The funny part to me is that most of these politicians then support things like SOPA when they come up in legislation, yet they break similar rules with complete disregard.

Musicians are not always at odds with politicians though. When candidates request permission or at least have similar political ideology, things tend to go more smoothly:

• "Pink Houses" was used in for the presidential campaigns of John Edwards in 2004 and 2008 and Mellencamp played "Pink Houses" at Obama's inaugural celebration in 2009.
• Hilary Clinton did receive permission to use Tom Petty's "American Girl."
• Eddie Rabbit authorized use of "American Boy" for Bob Dole's campaign.
• Bill Clinton's official campaign song in 1992 was Fleetwood Mac's "Don't Stop."
• "You Ain't Seen Nothin' Yet" by Bachman-Turner Overdrive was the theme song for Al Gore's 2000 campaign as well as being the theme song for the Democratic party in 2006.
• "Beautiful Day" by U2 was also used by the Democratic party in 2006 and by John Kerry in 2004.
• will.i.am. and other various artists composed "Yes We Can" around one of Barack Obama's speeches.
  

Now, whether the songs used for political campaigns are lyrically suited is another matter entirely (and one I'm sure I will cover).

Bottom line? Just like any other arena in life, it's best to get permission before using an artist's song. Because it's far more embarrassing and expensive to have to clean up later.