Monday, March 31, 2008

Another Reason to Love Rogue Wave

... Because they make amazing covers like this one, of Buddy Holly's "Everyday." It's not easy to remake one of the greatest songs of all time, but Rogue Wave does justice to the legend of BH, while still adding their amazing Oakland-inspired personal touch on the track. There's just enough reminiscent of 1958 to put a smile on your face, topped off with the ever-evolving indie sound collected over the last 50 years; an optimistic song with just the right amount of realism. Perfection in my opinion - I am addicted.

Rogue Wave - Everyday (Buddy Holly Cover) [ysi]

Little Known Fact: February 3, 1959, the day that Buddy Holly, Ritchie Valens, and two others were killed in a tragic plane crash, American Airlines Flight 320 also crashed, killing 65 people. Don McClean referred to this day in a song you might know called "American Pie." As popular as the smash hit was, most people don't know Feb 3, 1958 is "The Day the Music Died."


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Monday is All About Me

You don't hear too much praise for Mondays. It's not usually our favorite day ending in 'Y'. Why (y) I ask? It's because we get this great two days of vacation - sort of like a preview of what life might be like if we were a lottery winner or Paris Hilton. There's booze and boys and a whole lot of sitting on our asses in between. Then suddenly the two days are over and unlike Paris we have to recover from our hangover, show some self-respect and dignity, get up and go to WORK. (No, a reality show doesn't count P Hil.) Mondays are usually universal back to reality days and no one likes to be waken from the same beautiful dream we've all had since we were ten. To grow up and do nothing. Don't lie - you've thought about it.


But Mondays have some amazing things about them too. At Starbucks, Mondays are like Christmas. Tip distribution is on the menu - cold hard cash you can put in your pocket by the end of the day. For me this means new music Mondays. I can't hold onto my tips for more than a few hours before I'm at Easy Street finding another excuse to buy one, two or twelve new CDs. I think I actually surprised the guy working the cash register today with my massive purchase. He must have felt a little embarassed for/impressed by me because he threw me an extra punch or two on my free CD punch card to even the score. Shwack. I finally picked up a copy of MGMT's Oracular Spectacular, Jaymay's debut, Adam Green's (of The Moldy Peaches) Sixes and Sevens, The Blakes self-titled release, the much-buzzed about Sera Cahoone, and Sam Cooke's greatest hits (for $7)! Steal.

So today's Monday Mixtape is all about my new favorites off these albums with a few other heavy rotations on my ipod thrown in.

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Friday, March 28, 2008

Friday I'm in Shuffle

Self-explanatory Friday. I'm enjoying my break between opening and closing shifts by getting my food handler's permit and surfing the web. As soon as I close up shop tonight I know I'll crash, seeing as I start all over again tomorrow at 5 AM! Yah buddy.
Peace, Love and Records,

Lydia
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Thursday, March 27, 2008

Everything's Coming Up Death Cab

How psyched is everyone for the new Death Cab release? I'm really behind on my reporting of this one (I mentioned it earlier, but am just now posting tracks) - Narrow Stairs is set to hit stores on May 13th, 2008. The two tracks I've heard so far are indeed amazing. "I Will Possess Your Heart," at a staggering 8 plus minutes is largely instrumental, though the second half of the track demonstrates Ben Gibbard's lyrical talents in true DCFC style. The extended introduction will not be part of the radio edit; a crying shame in my opinion as I find the instrumentation a refreshing departure from Gibbard's usually heavy (though more sugary in this case) prose.


There are days when outside your window, I see my reflection as I slowly pass
And I long for this mirrored perspective, when we'll be lovers, lovers at last
[Chorus]
You gotta spend some time, love
You gotta spend some time with me
And I know that you'll find love
I will possess your heart

The second track is "Cath," which was performed pitch-perfectly by the guys on BBC 6. More dramatic and insightful than the lead-off love song above, "Cath" is about a beautiful woman who has trapped herself in a loveless marriage; driven by the need for security and fear of solitude, with a dying heart more metaphoric than literal. The song which moved me near to tears when I first heard it, recounts the dark side of a woman's wedding day, the more sinister motivation behind a usually happy occasion. How far can our fear of being alone really take us?

DCFC - Cath (Live on BBC) [ysi]

Cath, she stands
With well intentions meant
But she can't relax
with his hands on the small of her back
As the flesh holes burst
She holds a smile
Someone will hold the crying child

And everybody asks what became of you
Your heart was dying fast
and you didn't know what to do

Cath, it seems
That you live in a dying dream
In a hand me down wedding dress
On the arm of a man you detest

But you said your vows
And you closed the door
on so many men
who would have loved you more

And everybody asks what became of you
Your heart was dying fast
and you didn't know what to do

And whispers that it won't last
Were running down the pews
Cos my heart was dying that fast
I would have done the same as you
I would have done the same as you

MTV writer/tool James Montgomery acknowledges the album is stellar (not completely stupid) but also thinks it could kill DCFC's career. He thought they had gone crazy by releasing the extended version of "I Will Possess Your Heart," as if Death Cab is some mainstream machine who is supposed to work within pop/radio standards. I don't think so. I think people forget DCFC had a life BEFORE Plans, before they got major radio play or audience reception. They have been making amazing music for years, and I certainly don't think a step towards creativity will take anything away from their true fans.

Loves it,

Lydia
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TV Tunes Never Say Die

Okay, so its Goonies that never say die. But priceless TV tunes are timeless too. That's why I'm introducing a flashback segment on important moments in music television supervision. Current TV tunes are still on the menu, with the writer's strike over (Hallelujah!) and new episodes coming in the next few weeks. Still I was reminded how influential/significant deceased shows have been on music too, after watching a few reruns of American Dreams, Life As We Know It, and others.Today's episode is O.C. - centric. Not much of a flashback I know, but if you think all the way back to January 2006, the third season of the teen drama was in full swing. Producers were slowly starting to realize that Marissa Cooper was an expendable character - after all, she had already explored more issues in two 1/2 years than crazy people do in an entire lifetime. Alcoholism, cocaine addiction, the attempted murder of her boyfriend's brother, expulsion, an attempted rape, bisexual attraction, the drug-induced coma, best friending a deranged creep who wanted to kill her and himself, promiscuous parents, pot-smoking and DUI (Oh wait, thats Mischa Barton) and so on and unfortunately so on...

Let's be honest this season blew. Season 4 was by far the best (no whiny Marissa and the amazingly hilarious Taylor) with Season 1 running a close second. However, one stand out moment comes to mind thanks to the artistic prowess of the band Electric President. Used in both the opening and closing moments of the episode "The Pot Stirrer" the song transformed an otherwise boring episode (about what I already forget) with 2 minutes of poignant coda. The track "Insomnia" is amazing. Like Postal Service meets Andrew Bird. And what's just as entertaining? Watching these characters feign pensive faces. Seth lighting up a joint is the only part I actually buy. I would be high everyday too if I had to live within 500 yards of these people.



Electric President - Insomnia [ysi]
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Welcome Back

MIA isn't just an amazing female artist, it's also been my status for the last couple weeks. I just started a new job (yay capitalism!) and have been working 8, and sometimes 10 hour days. Yikes! It's been a trip though, seeing as I work with some awesome people. And things should stabilize a little in the coming weeks into more like 30 hour work weeks. Tomorrow is also the application deadline for the coveted internship position at KEXP radio station here in Seattle. I can't wait to find out if I can spend my free time working the 20-30 hour/week unpaid internship circuit; it's worth it just to be around so much amazing music. I'll let you guys know how it goes. For now, I'm back online - and as Mase would say "Harlem's Back," which I realize has absolutely no bearing on the situation, I just wanted to own it.

Tuesday's Releases Worth Owning: March 25, 2008

The Raconteurs - Consolers of the Lonely

Foals - Antidotes

Jack White = always good. And Foals, well they just continue to surprise me.

There have been so many great new releases, it's hard to keep up. Everyone is of course buzzing about the Crystal Castles self-titled release which came out last Tuesday. If you enjoy Justice, Boys Noize, Digitalism, or any indie electronica really, you and this quirky effort will bond instantly. Think 80s dance music meets 90s video game soundtrack, spawning a child who is unique as it is addicting. Party on CC - I know I am.


After finally seeing Grindhouse last week (OMG loved it - Planet Terror especially) I have been rocking the soundtrack like nobody's business. I haven't loved everything Robert Rodriguez has done - including his homewrecking hook-up with his movie's star, Rose McGowan. The director that thinks he is Renaissance man, able to executive produce, write, music score, etc. can be offputting and just plain annoying. I understand having a specific vision for a film, and thinking the best way to communicate that is by covering all creative aspects yourself, but this can also be stifling and detrimental to the final product. Sometimes you have to step away objectively and ask if you really are the best person for the job. But just like several Tarantino films, Planet Terror is an exception to this complaint. Equal parts ridiculousness, gore and brilliantly simple dialogue, the movie and its soundtrack, are one for the books. "It's Go Go not Cry Cry." PS. Bruce Willis is the best zombie I've seen since the original Dawn of the Dead. And I continue my obsession with Freddy Rodriguez/"El Rey", the hottest gunslinging, Mexican assassin-type ever.


Rose McGowan - You Belong to Me [ysi]

Chingon (See also in Kill Bill Flashback) - Cherry's Dance of Death [ysi]

I don't think I really need to plug the new Gnarls B. The Odd Couple pretty much sells itself.

Other things I'm obsessed with lately? Funnies. Sarah Silverman's "I'm Fucking Matt Damon" video, as well as Jimmy's response.


My favorite is the hip-hop breakdown. Matt is priceless.


Jimmy Kimmel and Ben Affleck (and a bunch of famous people) - I'm Fuckin Ben Affleck [ysi]

And for more entertainment? I can always count on South Park. Like the episode when Cartman does a tribute to Kenny Asia-style. As Cartman lobbies Congress for Stem-cell research on Kenny's behalf he breaks into song. So Amazing!

Asia - Heat of the Moment (Cartman Tribute) [ysi]

PS. I told you MTV ruins people. Now they're taking Yelle from me! Those bastards! Check out my original post on the break-out female artist, back in February. And now eMpTV is jumping on the train.

Peace, Love, Cartman and NO more Oxford Commas (Vampire Weekend shout-out),

Lydia
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Tuesday, March 11, 2008

Flashback: Kill Bill

I've been watching this movie too much lately - it's an addiction really. I'm not all about the blood and gore, but the fight scene coordination is amazing. And Quentin did a great job with his music supervisor on both films, because the tracks are pitch perfect in their specific scenes. From Nancy Sinatra's sultry ballad "Bang Bang (My Baby Shot Me Down)" to a remix of one of my favorite Zombies' tracks "About Her" (The original is called "She's Not There"), all credit for these rockin' soundtracks goes to the formidable producer/composer/rap superstar RZA. The legendary Robert Rodriguez (Desperado, Sin City, Grindhouse) collabed with the Wu Tang star on the soundtrack for Vol. 2 as well.

What makes a great soundtrack? Film coordination, diversity of tracks, accessibility (but not too much), and seamlessness. The Kill Bill soundtracks fulfill all these criteria with flying colors. Tarantino relies on distinct sounds - in the first soundtrack this includes more Asian-inspired tracks, and in the second an abundance of Latin inspired music including my favorite piece, "Malagunea Salerosa" by Chingon. The bold selection includes classic tracks like "A Silhouette of Doom" from The Good, The Bad, and The Ugly, as well as Johnny Cash. Intertwined are more contemporary, less recognizable tunes like Shivaree's swanky ode to the moon.

If you enjoy the film, the soundtrack is a necessary companion. It even includes voice clips from the movie's memorable dialogue, once again tying all the tracks together in a cohesive, but not stiffling or pretentious way. Go out and buy this one, for Black Mamba's sake.

Shivaree - Goodnight Moon [mp3]
Opening Scene in Vol. 2

Chingon - Malaguena Salerosa
Final Scene in Vol. 2

Nancy Sinatra - Bang Bang (My Baby Shot Me Down) [mp3]
Opening Scene in Vol. 1

Tomoyasu Hotei - Battle Without Honor or Humility
Scene when Oren, Go-Go, Crazy 88's enter the Tea House

TV Tunes tomorrow!
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Monday, March 10, 2008

Audio Girlfest: Lykke, Duffy, She & Him

And so it begins. Hilary scores a couple more states (Texas - who knew?), and the indie scene sees a dramatic increase in great female-produced albums. The spotlight definitely belongs to some amazing women at the moment. Don't worry boys, you can still pee standing up.


First off is the adorable Lykke Li, who's debut album Youth Novels has me reeling like a child; like I'm on one neverending, completely un-nauseating Space Mountain ride. Her entirely infectious indie pop both uplifts and unsettles. There's the real rollercoaster reference. The downtempo tracks tug at your heartstrings with soft instrumentation and haunting vocals (particularily "Time Flies") and yet, other selections make you want to dance, call your boyfriend, alphabetize your books, have a driving montage, or bury your head in your pillow. It's just such a versatile record. I haven't decided yet if the tracks themselves influence a particular mood, or if they adjust/adapt to meet the feelings of the listener. The fact a record has the power to do either - possibly both - is a rare sign of quality. Everything is coming up Lykke.... Besides she's gorgeous. And Swedish (like me). Plus plus.


Next up is the diva and blonde bombshell Duffy, whose brassy pipes have earned her comparisons to the very successful Amy Winehouse. Let's hope she's more sober. And less crazy. I don't necessarily agree with the direct comparison, as I think Duffy has a distinct sound all her own. Her voice does channel elements of Amy, but mixed with someone like Sia: all the rich, textured Nina Simone-ness of the former, mixed with the slinky, sultry South Australian twang that the latter emanates on tracks like "Breathe Me" and "I Go to Sleep."


Chances are you've already heard one half of the duo She & Him sing. That is if you enjoy Will Ferrell films about elves going to NYC on missions of self discovery, and more importantly, Christmas spirit! I'm talking about the very talented, very beautiful Zooey Deschanel, who sings a wonderful rendition of "Baby, It's Cold Outside" in Elf, and also stars in films such as Almost Famous, Tin Man, and All the Real Girls. This really should be another entry for Pretty People Can Sing, but since her album with partner M. Ward comes out on March 18th, we'll just keep it simple and plug this amazing artist right now. And honestly Zooey's jazzy, other-times folksy vocals say more than I ever could.

She & Him - This is Not a Test [mp3]

She & Him - You Really Got a Hold on Me [mp3]

She & Him - Untitled [mp3]
A rendition of "Swing Low"

Tomorrow: A nostalgic look back at the music of one of my favorite movies: Kill Bill, as well as the best of the very few new television tunes.

Peace, love, and Hilary in Ohio (I'm a huge Obama fan too),

LTK
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Friday, March 7, 2008

I'm Back! And Hating MTV for Being Chicken Soup

I am so sad I have cable again.

OMG I can't believe I just said that. But not even new episodes of South Park, Millionaire Matchmaker, or catching VH1's special on "Britney's Secret Childhood" could recover me from the deep dark pit of despair that Satan's lackey, aka MTV, has thrown me into. Like Catholic boarding school, there is no food, hope is discouraged, and there is no known means of escape.

Let me clarify to anyone currently burning my effigy. MTV certainly has its high points in entertainment value. I can always use a good Hills episode to boost my self-esteem; to remind myself that at least I'm not the most spoiled, ignorant, self-absorbed person on the planet. I also enjoy Rob and Big from time to time, and True Life when the subject matter is a little more significant than True Life: I'm in High School, or True Life: I Broke a Nail. MTV was also responsible for Britney's "comeback" at the VMA awards which I know speaks for itself.


Here's my beef with MTV. First, TRL is the single worst show of all time. All the kids who were too irritating to get a job anywhere else, MTV handed them mics and said here, please talk about music for an hour. I feel deep sadness just speaking about this.

Also, if there is an artist I find redeeming somewhere in their lineup of usually annoying, over-commercialized music videos (70% of which objectify women, according to a statistic I made up for this comment), MTV somehow manages to squelch my interest. In case we only tune in every ten days, MTV plays the same shit 24/7, making sure to beat into our heads the exact choreography used in Heidi Montag's latest video (for all interested, there's really no dancing, just Heidi lipsynching in a bikini. So..... what's new). Only Spencer Pratt could produce something this cheap/cheesy/lame. To recap, MTV plays a lot of bad music, and when on the off chance they don't, genius producers still manage to ruin the good stuff for me. At least temporarily. Like when chicken soup is too hot and burns your tongue and you're turned off it for like two weeks. Damn you MTV and your chicken soup ways....

Case in point: Vampire Weekend. How I love(d) VW! But MTV has once again snuffed out the beauty in a great band, turning them into the worst kind of commercial tool. I miss the old, indie Vampire Weekend, who would pop on Hype Machine but not between episodes of Next and Sweet Sixteen. "Oxford Comma" is not the same to me anymore. A pox on you, eMptyTV. I have been forced to shelve this wonderful cd until further notice.

On the bright side I have tons of new music goodies to share, a spanking new MacBook Pro to store them all on (its so pretty), and a new location (Seattle!) to report from. Since today is Friday, I'm in Shuffle, I'll just give you the verbal teaser: Stay tuned for awesomeness. I'll get reporting on the latest and greatest next week, seeing as its Daylight Savings Time this weekend, America's newest national holiday. For now enjoy these tunes and not MTV. Unless its Randy Jackson present's America's Best Dance Crew; that show is pretty amazing.

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