Posts will be slow until Tuesday, as I'm at Sasqautch. Some late news, M.I.A. will be MIA, but the LOng Winters are filling in. All in all, I'm ok with that.

MP3:: Bjork Innocence
MP3:: Spoon Ghost of You Lingers

Labels: Music, News

It's Friday and the sun is finally shining here on the east coast, so it seems feasible that we might actually see some summer out here in Halifax. So I thought I'd celebrate summer's impending arrival with a post on my favorite summer song by a band comprised of former chemistry students that hail from PEI, but now live in Toronto. The band of course is Two Hours Traffic, and the song is Stuck For The Summer.

In my review for the band's excellent EP, Isolator, I described Stuck For The Summer thusly:

The pleasant guitar jangle and sing-along chorus of Stuck For The Summer make it plenty addictive and a perfect song for the, uhh, summer.

How can you refuse it after that endorsement! Plus, they made one of the coolest videos I've seen in a while for the song, so go ahead and enjoy. Two Hours Traffic have completed their new album, so you can be sure I'll have a review up when it drops.

mp3:: Stuck For The Summer

Labels: Music, News

I have to start with a simple admission. I have no idea what the thought process is for major labels. Do they draw names out of a hat? Nettwerk records – home to Sarah McLachlan, Avril Lavigne and Six Pence None the Richer - are generating a stable of blue grass artists. It seems like w eird decision to me, but I can’t complain. I really like the Be Good Tanyas and Virginia native the Hackensaw Boys are an enjoyable listen.

Like the name dictates, the Hacksensaw Boys are all about finger picking banjos, fiddles and baritone harmonies run through the punk rock blue grass ringer. They are as likely to hit home with hippies as rockabillies, or anyone who wants to raise a glass and stomp a hole through the ole wooden dance floor.

Look Out! is the second record the band put out on Nettwerk and its 12 songs you’d expect for friends to play on a camping trip or in a tiny bar, jammed on stage. The band got some help from part time member, Tom Peloso (of Modest Mouse fame) but the sounds on the record really showcase how tight the six core members are. The album starts with a bang, as the pace of Look Out Dog, Slow Down Train is frantic and helps show why this band is getting the name of a kickass live band. It’s hard to imagine this song getting played without dozens of sweaty, pint guzzling fans dancing and singing along with the band.

Continuing at this pace for a full record would be insane, and the band really changes tempo well without losing the bar room feel. Oh, Girl slows down but somehow the sing-along chorus keeps the energy up. I think the fact each member writes songs also helps keep the sound fresh and uses different styles without sounding forced. The sing/shout punk anthems come from Moyse, where Harrison/Fiske rely on more melody, but the band plays so well together that the songs don’t come across as disjointed. Fans of ALO will love the carefree vocals of Too Much Time.

MP3:: Look Out Dog, Slow Down Train
Video:: Alabama Shamrock

Labels: Music, Reviews

You might remember we enjoyed a lot of aspects of of the new Je Suis France record - Afrikan Majik. The Shaq Diesel CD graphic. The distorted synths. The rocking guitars... oh, and the fact I think the band might be bat shit crazy.

If you order the record, you get access to download a live set at 2007's Twilight Delirium. One of the highlights, is their nonsensivcal cover of LCD Soundsystem's Daft Punk is Playing at My House.

MP3:: Je Suis France is Playing at My House

Labels: Music, News

Anyone who has read this blog for more than about a week knows I love the Beastie Boys (and knows we never let Naedoo forget about how he hated Gratitude). Needless to say, I'm stoked to see them perform two sets at Sasquatch this weekend.

As we get ready for the new instrumental record - The Mix-up - here are two videos to whet your whistle. Now, after a first pass, I'd say these songs fit firmly into the same style of the last instrumental record. I'd also say that percussion player Alredo looks a lot like Hurley from Lost.



Off the Grid


The Rat Cage

Labels: HipHop, Music, News

I have to be completely honest. I had never heard of Karl Blau, D+ or Bret Lunsford, so the ambitious nature of this project is kind of lost on me. I mean, I appreciate the effort required for Dance Positive – Karl took songs by his former band mate and reworked them into a completely new form – but I don’t think knowing that effort really changed how I listened to the record. I found it hard to picture the song in any other fashion, and I think that’s ok. Instead of rock, Karl uses a reggae influenced, minimal electronic vibe that is as warm as a sun filled day at the beach.

I’ve always been a fan of the washed out electronica sound, but all too often artists find it necessary to muffle the vocals and the record becomes a continuous, solitary 45-minute track. Karl’s vocals are crystal clear and as a result you can easily appreciate the subtle varieties of the record. Well placed horns and guitar noodles add another layer to the reggae back beat, which really helps make this more than another electro dub album. The jazzy electric on Take You For Granted really adds a summery, relaxed feel to the track and lets you escape from the pulsing theme of the record without sounding out of place and he shines on the funk heavy Kill the Messenger. The dirty beat he constructs on Put Me Back fits nicely into the mix as well and the chimes really make What’s Not to Fall in Love with a head nodder.

Perhaps the most interesting aspect of the record is the obvious contrast in the style of the music to the lyrics. I think the fact the vocals have a rock theme (like the Americana themed “driving down the freeway and my load is oversized, thinking about the town I left and all those I despised" of Heatherwood) adds another layer of complexity to the simple, well crafted beats. The record avoids the obvious trap most reggae artists fall into and the themes are more accessible.

I’m sure a fan of D+ will have another take on the record, but from a first time listener, Blau’s beats and instrumentation really shine through for an enjoyable listen.
MP3:: What's Not to Fall in

Labels: Music, Reviews

 
Who doesn't love Bowie? I am not sure, but chances are if you don't like Bowie herohill doesn't like you. We kid, but these two new Bowie records are going to be sweet, so why not enter for a chance to win them?

We are giving one lucky reader a copy of The Best Of David Bowie 1980-1987: Sight & Sound and the re-issue of Young Americans. Young Americans is remastered, includes some bonus tracks and live video of David on the Dick Cavett show. Yes, I only included that because Dick Cavett is badass.

To win these CDs, just leave your email in the comments, or email us (herohill[at]gmail.com) with Bowie in the subject line.

Labels: Contest, Music

Laura Peek is very busy. Along with her job as music director at Halifax's CKDU and her solo work (with her band The Winning Hearts), she's also been involved with a number of other groups & side projects: The Maughams, Brent Randall & His Pinecones, Le Coque et les Phoques, and playing in Buck65's band. So all things considered, I suppose it's not surprising her debut album, From The Photographs, took 2 years to make. But make it she did, and that's a good thing, because it's really an enjoyable album.

Originally, I was planning to say that Laura's piano playing was the main focus of most of the songs found on From The Photographs, but after a few listens I had to rethink that. I think her songwriting shares top billing with her piano work. The songs are cleverly written and cover normally serious ground without feeling too serious, if that makes sense. There is an appealing, light-hearted quality to these songs, which is impressive considering most of the songs deal with some form of loss or regret. I think part of the appeal comes from the fact that very few of the songs feel dark or heavy. Peek's piano is used to craft peppy arrangements, and her voice is warm and friendly, so that helps draw you in, regardless of the subject matter.

With someone so involved in the Halifax music scene, you might guess Laura probably had some quality help making this album. Well you guess correct friend. Recorded by the omnipresent Charles Austin, Peek also tabbed Mike O'Neil to make his debut as a producer on From The Photographs. Thankfully for all, Mike is far more believable as a producer then he is as Tom Collins in the latest season of Trailer Park Boys. The Winning Hearts are comprised mainly of Dave Ewenson on drums and Joel Goguen on bass. Ewenson's drums are upfront with the piano on most tracks, with Goguen providing solid background work. Although the bassline on Stand Right There is rather excellent.

The album opens with A Name, a tale of a failed adolescent love. It's a sweet prelude to the kind of short-story songwriting Peek uses throughout the album. So Sorry opens with a piano breakdown that Dr. Dre would be envious of. It also has a jazzy chorus that is mighty catchy. I often find myself wishing there were more sunny piano-pop songs about landlords observing their surroundings in a disapproving manner. Oh Lenny helps satisfies that request, plus it opens with the line "Family out back don't care much for haircuts", which I enjoy.

Although the aforementioned Stand Right There has a bass & kickdrum combo that will keep your head nodding more than your average breakup song, it also uses a cello and some organ flourishes on the chorus to nice effect. Vermont is perhaps the sweetest song about summer camp romance I've heard this year. Well perhaps not just this year, perhaps ever. Last Thing You Deserved and The Verdict are enjoyable, uptempo songs about the various ways life can deliver a swift kick to the coin purse. I also enjoy the spacey piano breakdown on Last Thing You Deserved.

I heard someone describe Peek's songwriting style as literary, and this line from the Gatsby-esque Social Graces is a good example of that: When in the salons of elite patrons of art, spare a thought for all your colleagues who were not quite as smart". For some reason, I love that line. Quite a feat to drop that and not come off as super serious.

The more I listen to this album, the more nuances I pick up in both the lyrics and music. It could just be I'm too thick to pick them up on first listen, but I'm going to assume it's mainly a sign of a good album. If you've been looking for some quality, non-depressing piano-pop, I would suggest you check out this album. Well even if you haven't been looking for piano-pop at all, From The Photographs is well worth your time.

mp3:: So Sorry

Labels: Halifax, Music, Reviews

Click here for the Fields record. You might have seen the indie click banner on countless sites over the last few weeks, and usually I shy away from those albums for two reasons. The first: Usually the records that are mass marketed on the ole indie click systems aren’t actually that good and come attached with quotes from mags I hate (“2007 will surely be theirs” – NME). The second: Well to be honest, we aren’t big enough to get added to the advertising world, so those records are a constant reminder that our status is not the baddest.

The thing is, the Fields record – Everything Last Winter – actually deserves the attention it is getting. The band made a complete shift of sound from their dynamite 7 From The Village EP. They still rely on nicely matched girl/boys vocals, but they have evolved into a large scale anthem band. Even the subtle textures and sounds (like You Don’t Need This Song) really have an underlying feeling of significance that wasn’t present on the last EP. I don’t know if it is the pull of the major label, or just simply the fact the band has the talent and maybe the desire to be a household name, but this album seems focused on making that big step. School Books is a prefect example. The gentle soothing intro gradually breaks down into a triumphant, driven march and fits well with the swirling, chaotic guitars of the Death.

For fans of the original EP, I can see how the extra polish and super sized efforts could be a bit of a letdown – for example, the new version of Song for the Fields doesn’t live up to the original, but I don’t see the overall transition as a negative aspect. I don’t think there is anything wrong with a band trying to approach things on a more grandiose scale, as long as they don’t let it destroy the music they are writing. The band still combines shoegaze, folk melodies and powerful choruses; they just do it in a more polished manner. I think a lot of this can be attributed to the production work of Michael Beinhorn (I choose to ignore the fact this is the same person worked with Korn and mention that he turned dials for Mew, another band that has a knack for creating soaring, arena style rock for an indie audience). His presence and past projects really show up on a lot of tracks (like the RHCP tinges on School Books).

For any doubters, simply listen to If You Fail We All Fail and you will realize that sometimes running a shammy over the hood of your car can really make it sparkle.

MP3:: Chasing the Flames

Labels: Music, Reviews

Let's do the math. M Ward + Jim James + Neko Case + a slew of talented friends performing Chinese Translation = Gold

Labels: Music, News

I will easily admit that I gave Schooner a pass on name alone. Growing up in Halifax, Schooner was the beer of choice for herohill (and if Schooner needs to gets some traction in the indie blog scene, we will sell out for free cases… just sayin’), so seeing the name of the Chapel Hill outfit being one in the same warmed my east coast heart.

After the promise of their first LP - You Forget About Your Heart – I was excited to so the band returning with the follow up on 5440’ or Fight. Hold on Too Tight is nothing if not ambitious. Sixteen songs (well three brief interludes), each of them showcasing the fact that the band relies on a lot of influences, but doesn’t try to force songs into a certain style. Gone are a lot of the Shins-y / Rosebuds style riffs, and in their place is more mature, country winding undertones with nice harmonies. Instead of jangly indie pop, the HoTT uses warm, fuzzy guitars and a Will Sheff slow delivery to set the mood.

It may seem like a big jump, but the band seems comfortable with the change and it flows fairly naturally. The arrangements feature a trunk full of well placed instruments (case in point, the beautiful sounds on one of my favorite tracks Leaving Your Room) and rely more on gradual builds than instant hooks. I think the mix works, and Reid and Kathryn’s double vocals still stand out work well, but on songs like Married, it’s the extra touches (like the distant lap steel) that add the emotion to the song.

The record is well thought out and it’s obvious they took the time to get the sound they wanted on each song. The choral backing of The Pox Family Singers on They Always Do! or the nicely placed chimes on Ladybug add that little push needed to help these songs really pop, despite the slow pace.

This record won’t grab you with a heart thumping kick drum or crunched guitars, but with all the acts trying to use the same routine, it’s refreshing to hear a band looking past the draw of a quick hit and move more towards the lovely, brooding, heart warming depression I prefer to hear.

MP3:: Married
MP3:: Trains and Parades
Web page :: label :: more tracks

Labels: Music, Reviews

Not many artists have the opportunity to revisit a creation and invest the time required to fully realize their vision. That’s probably a good thing. When you over analyze anything and have access to a bigger budget, the original vision usually gets forgotten. So when I heard that Matador was giving Shearwater the chance to expand Palo Santo I was a bit skeptical. I mean, the emotion of the “demo” version of the record was fantastic. Jonathon’s original take on the songs were rough and powerful drenched in dark, moody emotions, but the arrangements were remarkably subtle and beautiful. How much could they really improve the record?

Then I started reading stories about how the band felt the record was rushed, and they felt forced to deliver a collection of songs that didn’t match their vision. They simply didn’t have the time or money to make every note sound as they wanted. While this is a fantastic reason to revisit a project, it is a bit idealistic. I mean, how many writers would love the chance to go back and rework their work (I’d love to go back and really invest the time and thoughts about the original version of this record, but it wouldn’t really change much about how I felt and certainly not make more people want to listen to the record)? How many bands would love to tweak the sound of the drums or work a better solo? Those decisions are part of the process and give the project its sincerity. Simply taking more time and throwing more money into the hat doesn’t mean it will be better and more importantly, once you start making changes, how can you step away and simply stop?

All of these thought shave been running through my head each time I’ve listened to the bulked up Matador version of Palo Santo, and you know what? Reworking this record was a fantastic idea. If you doubt me, simply play the intro to Red Sea, Black Sea and compare. The banjo and chimes now power through the mix and breathes life into the song. The underlying keys are gone, and the bass is much stronger. Every nuance they added to the re-recorded songs adds something, not only for the listener, but for the band. You can read their thoughts here, and it shows you what they were really trying to accomplish.

Originally, I said the record was a sort of music theatre experience and that’s about the only aspect of my first review I still agree with. By taking the time to bulk up the mix, it’s almost like seeing a fantastic show make the required steps to reach a Broadway audience. Simply overwhelming the crowd doesn’t work. Losing the focus and attention just makes the project a mess, and the same can be said about Shearwater’s vision.

I don’t think you can listen to the crescendo that hits at the two minute mark of Red Sea, Black Sea (the buzz of a guitar and the chorus of background voices) and not feel the energy rise to a new level. Seventy four, seventy five is now a thick arrangements that builds and sways perfectly. The pounding piano chords are now just another sound that grabs your attention, before being replaced by bowed strings, long horn notes, drum crashes or feedback. The chaotic structure of Hail Mary contrasts Jonathon’s angelic falsetto nicely.

They band made so many good decisions with this release. If they had thrown the extra 8 (9 if you prefer it on thick slabs of vinyl) songs onto an Sufjan Avalanche style outtakes EP, fans would have been disappointed. Instead, the Matador release gives the fans the re-recorded, better sounding work along with 8 new songs (four demo versions of album tracks) like a loot bag they can take home for later. They don’t fit into the flow of the record, but are well worth a listen. Probably the most compelling reason to pick this new expanded version is simple. After listening to the new songs, I can’t really picture the original visions. The changes that once were so obvious have disappeared and all I hear is the new songs. I honestly don’t know if I will ever reach for the original version of this record ever again.

MP3:: Red Sea, Black Sea
web site :: label :: more tracks

Labels: Music, Reviews

It must be Jason Renyolds day on herohill. He posted on his inability to get Young Folks out of his head, so I reply with this blue grass version of the song by Dawn Landes:

MP3:: Young Folks - Dawn Landes

Labels: Music, News

Well, not to oversell it, but yes.


I love Ben Harper.
Jason Reynolds loves sweatbands. You do the math.

Labels: Music, News

It’s extremely hard to stay current with a band like Spoon, because almost every song requires countless listens to truly, fully appreciate. Much to Merge’s dismay, Ga Ga Ga Ga Ga leaked and started to trickle onto the NET (and by trickle, I mean flooded) along with countless fan’s opinions. For a lot of bands, people’s initial reaction is usually accurate, but when it comes to Britt’s unique brand of song writing, I find something I missed with every listen.

Sure, the crunched guitar sound and his voice are standard, but my gut reaction usually ends up being different from the way I feel about the record two months down the road. Before hearing a peep of this record, I wondered how the soundtrack scoring would affect (and hopefully improve his already amazing songwriting skills). Would Britt start painting with longer strokes? Well, he did and he didn’t. Some of the songs seem more, I don’t know, purposeful? But did the songs change as much as I thought they would? Again, I’m not sure. A smattering of well placed horns help, but do they go far enough?

That’s why I’m reserving judgment of Ga * 5. I’m going to give my initial reactions, and I think over the next few months (especially after seeing some of the songs performed live at Sasquatch next week) I think my opinion will change. Right now, I think there are several standout tracks and Britt and Jim really threw enough curves to keep us all guessing. Was I blown away? At times, but let me stress that I don’t think that is a cut n’ dry statement.

I’ve been listening to the record non-stop as I walk the streets of Paris this last week and despite the fact a lot of the sounds are short and crisp, it has combined with the street scenes and old style police sirens to paint a cinematic landscape. Britt and Jim (and their rotating cast of musicians) have never ventured into lush arrangements, but I’ve realized that unlike, say the Zidane film Mogwai scored, this Spoon record could easily fit into a city based movie ... a movie I’d like to be watching.

Don’t Make Me a Target has been floating around since Britt played it at SXSW two years ago, and is a perfect starting point for the record. Simple elements. Most Spoon songs rely on basic sounds combined perfectly. The track steps along, using a fairly standard scale, before breaking down into a free for all for the last minute and a half. The piano, guitar and drums swirl aimlessly, but somehow still sound somewhat cohesive. The arrangement hasn’t changed enough for me to call it a new song, so the first signs of a new Spoon started with the fantastic simplicity of The Ghost of You Lingers. This is exactly the type of change I never expected, but somehow (after hearing it) wanted them to make. It’s just a simple piano line, reverbed vocals and a smattering of atmosphere, but it come together so well.

It’s actually from this point on that the record seems more interesting to me. The swell of horns, percussion and the falsetto in the distance all make the tapestry on You Got Your Cherry Bomb detailed and enjoyable. They band still drifts into familiar territory (Rhythm & Soul for example), which is more than ok with me. I don’t need a Radiohead transition on each record, but like the band, I don’t want the same record every time. Bouncy bass line and double kicks/tight snares make these songs incredibly catchy. I don’t know how anyone can hear the guitar burst and bassline on Eddie’s Ragga and not be intrigued.

Sure, there are some slips – like the sadly boring My Little Japanese Cigarette Case – but it is followed up with the fantastic maraca/hand clap driven Finer Feelings. After about ten listens I can’t find much fault with this record and in the upcoming months, I bet I’ll find even more things to gush about.
MP3:: The Ghost of You Lingers

Labels: Music, Reviews

The good folks at Merge must be extremely busy these days. First, the new Spoon album is everywhere and if you look hard enough, you can find most of the songs online. Policing the internet is a draining task I'd wager.

But more importantly they are fixing some other fantastic releases, including the Tonight I Have to Leave It EP to get everyone excited about the new Shout Out Louds record.

The single - Tonight I Have to Leave It - is a percussion heavy number that sounds a bit like someone playing coke bottles at a carnival (but in a really good way) with swirling keys, their textbook uptempo acoustic backbone and Adam's Cure-ish vocals.

Note:: Is it just me, or does the 80's vibe Adam delivers remind you of Jason Schwartzman's character in Slackers when he sang the new wave song?

The EP also includes a Russian Futurists dance-club heavy bass remix of the single and a cover of the classic Pogues number Streams of Whiskey with help from the Essex Green. They played this in Vancouver last time through and it was killer.

The new record - Our Ill Wills - is out in September. They are streaming a track from the new release, along with the single and the RF remix on their myspace page.

I feel like I'd have to be a jerk to post a song from a 5-song EP, so luckily they made the video available for everyone to watch:
Video:: Tonight I Have to Leave It

Labels: Music, News

Nina Nastasia is unbelievable. Her voice is filled with emotion, but she really knows how to control the energy. Her songs tread lightly, making you focus on her beautiful voice and lyrics, before completely exploding making your jaw drop.

Her new record - due out in August on Fat Cat - is a collaboration with Jim White on drums called You Follow Me. He's worked with amazing singers (Will Oldham, Nick Cave, Smog - along his own band The Dirty Three) and his organic style of drumming fits Nina's vocals perfectly.

I've only heard five songs, and will surely revisit this record when it is released but had to share this song:
MP3:: I Write Down Lists

After two pseudo false starts, Nina's emotive vocals and acoustic are matched with Jim's marching band snare. The song never seems to rush, but slowly morphs three or four times before Nina's vocals erupt and Jim's structured, understated drums become a living, growing thing (much like the Manitoba-esque style Dan delivers in a live setting). The duo obviously likes playing with each other and understands each others skills, because the chunking works perfectly and in only 3:15 Nina and Jim put you through the emotional (and audio) ringer.

Labels: Music, News

It's tough to post when you are on the road, so I thought I'd just clean out the ole inbox with some concert listings for Vancouver:

5/25 The Black Angels w/Vietnam @ Richard's
5/25 and 5/26 SASQUATCH (Beastie Boys, Bjork, Arcade Fire, Spoon, Jessie Sykes, the Thermals, Two Gallants, Interpol, Bad Brains.. and so many others) *******
6/2 Menomena @ the Red Room *
6/6 CSS w/Bonde do Role @ Richard's
6/9 Girl Talk w/Datarock and Circlesquare @ Richard's
6/9 The Rosebuds & Land of Talk @ the Media Club *
6/14 Architecture in Helsinki w/Yacht @ Richard's
6/21 Julie Doiron w/Calvin Johnson @ Video In (AA) *
6/24 Shearwater @ Richard's
6/27 Tortoise w/Fond of Tiger @ the Commodore
6/29 The National @ Richard's
7/1 Band of Horses @ Richard's - two bands I can't believe book a show when we are away
7/4 Seu Jorge @ the Commodore
7/4 Album Leaf w/Under Byen @ the Plaza
7/13 The Polyphonic Spree @ the Commodore
7/16 Tegan and Sara @ the VECC (AA) *
7/17 Tegan and Sara @ the VECC (AA)
9/3 Crowded House w/Pete Yorn @ the Orpheum *
* = attending

Labels: Music, News

Is it just me, or is gimmick rap dead? Back in the day, MC's often utilized gimmicks to try and ensure their high top fade stood tallest. In Kid's case, his gimmick was that his high top fade was literally taller than the rest. But gimmicks are gone from the rap biz now. Or rather, everyone uses the same gimmick now, the ole "I used to be a criminal and now I rap" routine. There are subtle variations in the gimmick, such as the "I used to be a criminal, got shot multiple times, and now I rap", but in 2007, if a rapper without a criminal record raps in the forest, does anyone hear him?

Ooo, wasn't that profound? Well, not really, but perhaps you get my meaning anyway. It wasn't always this way though. Before rap's current ice age made rap gimmicks obsolete, the history of rap was filled with gimmicks of all sorts. We thought it would be fun to list the hill's favorite 10 hip hop gimmicks. You're excited? We knew you would be.

10 - Oh, the horror
In all honesty, I'm not sure horrorcore is really one of my favorite rap gimmicks at all. Basically I'm only including it because of the Gravediggaz. This side project, which was comprised of The Rza, Prince Paul, Frukwan, and the underrated Too Poetic, is the most well know member of the early 90's rap genre focused on horror-movie style raps. I'm guessing there was some kind of audience for this stuff, as dudes like Esham, Brotha Lynch Hung, and Insane Clown Posse released multiple albums doing it, but it's fallen off the map now. But the Gravediggaz were big news back in the day, and it gives me a chance to say RIP Too Poetic.
mp3:: Gravediggaz - Diary of a Madman

9 - what's this, a parody?
For a while, the rap song parody was all the rage. I think just the whole phenomenon of rap music freaked (white) people out early on, so it was easier to laugh at parodies of the songs, rather then actually understand it. People like Bobby Jimmy & The Critters, The 2 Live Jews, Morris Minor and the Majors, and Vanilla Ice put out full parody rap albums back in the day, and apparently someone thought this was a good idea. I'll admit I used to get a kick out of Bobby Jimmy, but I am not surprised this gimmick has gone by the wayside. Well, except for Weird Al, who somehow still has a career doing rap parodies while he rocks a white man jheri curl.

8 - Habla la hip hop?
I was going to make this one about rapping in other languages, but I couldn't think of any good examples that weren't in Spanish. Well other than french I guess, where Mario's favorite Le Boyfriend held things down. But The Spanish/English style was a quality gimmick when it first appeared back in the day. Mellow Man Ace's Mentirosa was the first big song I remember that featured the Spanish rap. Kid Frost's La Raza also came out around the same time. Were the dudes who created Reggaeton influenced by these early spanish/english jams? If so, this could be considered on of the more successful gimmicks on the list. Well I guess that would be the case if you liked Raggaeton, which I don't, but I will digress...
mp3:: Mellow Man Ace - Mentirosa

7 - Fast rap
Long before fast rap was an Edan mixtape, it was a gimmick used by numerous emcee's to try and make a name for themselves. Why being able to rap faster that anyone else was considered a reason to buy someones album is beyond me, but at one point, it was. In fact, the holder of the Guinness record for fastest rapper used to be semi-common knowledge amongst rap enthusiasts. How else would I end up as the proud owner of a cassette copy of Daddy Freddy's Ragamuffin Soldier? Considering the fast rap title is currently held by this guy, I'd say that time has past.
mp3:: Asher D & Daddy Freddy - Ragamuffin Hip Hop

6 - Rap as dance craze
A classic gimmick found in all genres of music, the "song-with-its-own-corresponding-dance" is no stranger to hip hop. For a fine example of this, look no further than Joeski Love and his jam Pee Wee's Dance. As if explanation is really required, Pee Wee's Dance is an homage to the dance stylings of former kids show weirdo Pee Wee Herman. Of course this song came out before Pee Wee's big porno theatre adventure, because after that you'd need a hell of a lot more than a catchy Tequila sample to make people dance like Pee Wee. As shocking as it is, Pee Wee's Dance turned out to be the highlight of Joeski's career.
mp3:: Joeski Love - Pee Wee's Dance

5 - For The Kids
Another gimmick that can be found in plenty of musical genres, kids rapping has always been a reliable go-to gimmick. Usually the kids have some established svengali-like figure that helps put them on and then guides their "career". Another Bad Creation had Michael "Biv" Bivins, Kriss Kross had Jermaine Dupri, and Lil Romeo had wannabe Raptor Percy Miller as his father/Svengali. Chi Ali, despite being affiliated with the native tongues, did not have that one guiding figure. Perhaps that's why Chi is now serving a 14 year stretch for murder.
mp3:: Chi Ali - Funky Lemonade

4 - Evil twin brother
The rap alter ego has also been around for quite some time. I don't just mean having 50 "aka" names, as that is certainly still popular, but rather creating an alter ego to the extent that you release an album under said alter ego's name. Certainly it's still done today, as Madlib's helium voiced Lord Quas proves, but it's not done with the same commitment it once was. I remember having legitimate debates about whether Shock G and Humpty Hump where the same person in junior high. Although I wanted to believe Humpty was actually burned in a grease fire and hence the need for his Groucho nose & glasses combo, but I was always skeptical. It's also worth mentioning that The Humpty Dance is perhaps the most famous example of rap song as dance craze. And no, I won't do the Humpty Dance for you, but thanks for asking.
mp3:: Digital Underground - The Humpty Dance

3 - Cracker Rap
With the amount of pale-faced mic rockers on the scene today, it might to be hard to believe that the white MC was a gimmick at one point, but it's true. Certainly if you asked Serch and Pete Nice if they were a gimmick, you would be the recipient of a vigorous gas face. They considered themselves to be true MC's, regardless of their race. But that doesn't mean all white rappers abstained from the gimmickry. Case in point - Young Black Teenagers. This group of white kids was loosely connected to PE through Bomb Squad member Hank Shocklee and intended their name as some kind of homage to black culture, but in reality, it came off as a gimmick. For a long time white dudes worked some reference to white into their name (vanilla, white, snow, milk) to stress the "I am white" gimmick. Thankfully that has now faded for the most part.
mp3:: Young Black Teenagers - Tap The Bottle

2 - Weed Carriers
The practice of an established artist securing a record deal for one of his lackeys is as old as hip hop itself. If you're a rapper, once you get on, you're expected to put those around you on as well. Sometimes the results are good, former EPMD backup dancer and hill favorite Stezo comes to mind, but most of the time it's all bad. You can find most of hip hop's most offensive weed carriers on our list of 100 MC's we wished lost their voice instead of The D.O.C. The rap world is littered with "crew" albums that failed miserably, but it has certainly been one of the most consistent hip hop gimmicks, and that continues to this day. I mean who isn't dying to hear an album from Puff Diddley's manservant Fonzworth Bentley?
mp3:: Stezo - Bring the Horns

1 - Re-inventing the wheel
Would it cheapen the list if I said my #1 rap gimmick isn't really a gimmick? What I mean is this - as long as hip hop has been around, there has been some MC or group claiming to have invented a new style of speech. I include it here as more often than not, this new style is used as a means to try and promote the artist, but I hesitate to call it a gimmick because it's often the reason they're enjoyable in the first place. Case in point: Das Efx. They busted on the scene with their bum stiggedy bum style and blew up, because everyone started doing it (ahem, Fu-schnickens, Lords Of The Undergound) they went away from it and pretty much fell the fack off. I'm sure you can think of other examples of this gimmick, K-Solo's "spell-rhyming" is another one of my favorites.
mp3:: Das EFX - Mic Checka
mp3:: K-Solo - Spellbound

Labels: HipHop, Music, News

Black and white. Truth and lies. Right and wrong. Sometimes, things are completely as they seem. So when Josh Tillman walked onto the dark stage at L’Europeen last night with the help of only one spotlight, it seemed very fitting. He sat alone, in the middle of the stage and plugged in his guitar.

“Bonne Soir,” he says softly to the crowd. A polite reply is returned from the 100 or so fans sitting comfortably in the small auditorium. “The rest of this night will be in English. Next time though. Next time.”

It’s the last night of a long solo tour across Europe warming up unknowing crowds for his friend Jessie Sykes. Josh is to the point on a stint where “your songs start to sound like sand in your mouth.” For some reason, I assumed after an exhausting month on the road, waking up in a new bed every morning, he’d be as cold and ominous as the black and white image that adorns the cover of his new record. Instead, the huge smile Josh wears seems as much a part of his attire as the t-shirt with the slightly stretched collar or the tattered old leather shoes. He dwarves me, not only in size (standing at least six inches taller than me with shaggy hair and a full beard), but in stature. His outgoing personality and warmth makes it impossible not to want to talk to him.

For most of the set, Josh sings with his eyes closed, delicately picking riffs to the strangely quiet and even more strangely elder crowd. You can actually hear his fingers slide across the fret board, or him clearing his throat.

“That’s Europe man,” he laughs after the show. “So polite.” I ask about the tour and the fans. “What fans,” he asks jokingly. “No, it’s just a very dutiful, almost built in crowd you get in Europe. The same fans in every city. It’s weird. There’s a very strong alt-country fan base, so if they deem your music to be good, they show up. But the fans are usually a lot older (which is true as the audience carried attaché cases as opposed to Ipods, dressed in suits not trendy t-shirts). So I have to wonder, are you really going to be around much longer buying my records?”

Lots of fans buying his records does not seem to be a huge driving force for the songs he’s writing. As he plays as much for himself as those of us lucky enough to be in attendance, he samples liberally from his complete catalog, despite the fact most people in the room have no idea who he is, or what songs they’d like to hear. Lilac Hem and My Waking Days are placed beside Crooked Roof or Jessie’s Not a Sleeper and I wonder if anyone else understands how great the setlist is. He’s used to playing for small crowds who are largely unfamiliar with his work, but that helps him write.

“That’s where Cancer & Delirium came from,” he admits. “I had just finished touring and needed to write to stop from going crazy. But I didn’t want to write the same record. I didn’t want to stay in the same style as I did with Minor Works. I never want to have to create the same record over and over. That record was kind of like a writing exercise for me. I wondered if I could write songs with a chorus and a bridge. I was probably listening to Born to Run or something. It seemed almost cheesy.”

I can’t help but laugh and think to myself, ‘I actually really like that record.’

“So I decided that I was only going to record at home using instruments we had lying around. A glockenspiel, an accordion, a banjo. Luckily my roommate and my brother are both fantastic musicians, so it was an easy process. As we got farther along, we were all like, 'wow, this is really good.'”

The decision paid off. Cancer & Delirium combines the things I liked about Minor Works with the sparse, open arrangements he used so well on the first two releases. But not everyone thinks that way.

“Well, Fargo didn’t really want this record,” he admits with a laugh. “Not that they don’t want another record, just not this one. And it’s not the next record I wanted to give them really. The record I’m working on when I get home is much different. It’s going to be a full band record. So I knew I really had to go with an Indie record label that was excited by my past work. That’s why it was great to work with Morgan. He was excited to put the album out, and gave me the freedom to really do what I wanted. To be fair, I’ve had a great relationship with Fargo too. I’m really lucky. I think it was Jessie who gave my songs to Michel at Fargo. I had like six songs, not even finished and I met him at SXSW. Like a week later, I got a call from him, ‘yes, we want to work weeth you.’ I’ve never had to compromise too much, which is great.”

You get the sense that the bleak, heartbreaking themes J often writes about are a result of the lifestyle he has chosen. Traveling alone, spending night after night at shows, takes a toll on him. But the choice to be a musician is one he is more than satisfied with.

“It’s a hard,” J admits. “Lots of solitude. Humans have to work. Our bodies don’t function if we aren’t working six or seven hours a day. But you are alone out there. Your friends aren’t around or they are working. So you end up sitting alone, getting extremely narcissistic and jaded, wondering why no one else gets your fucking genius. But, it’s a risk. You know. Ten years from now I might be working at a bar. But when got Cancer & Delirium in the mail, I opened it up and put it beside Minor Works and thought, ‘this is what I want to do. I want to make records and line them up and just look at them.’ It’s a great feeling.”

Friends are one thing that really push Tillman, probably because his friends are so talented. So much music comes out of the Pacific NW, some of it great. Most of it bad. J, however, is surrounded by talented friends that push him musically. Al James, Damian Jurado, Laura Gibson.

“People talk about the NW and that sound, but I’ve been writing songs like this since I was 17,” says Tillman. “But what really pushes me is my friends. I don’t get to see them nearly enough – well aside from Jurado – but I love to see them play when I’m home. But musically, its… when Al gave me the new Dolorean record, I was like, “Damn it, Al.’ He really raised the bar. I think we all have in some way or another. But in the end, I will crush them all.”

Things are changing in the music business, maybe even more than the musicians themselves. The internet changes how people listen and how people sell records. For people like Tillman, it’s a perfect situation. “I don’t really want much. I want to be able to put out records, and have a small fan base that comes to the shows and buys them. It’s nothing too big. So the internet is perfect for that. I mean, you don’t need a record in the stores any more. I’m sure if I walk down to the Virgin Megastore down the street, my record will be there, but it’s not doing anything. I’d rather have some MP3s online that people actually care about. Blogs are great. I really wish there was another word for them, but blogs blow me away. Most of them are done without advertising, just a labor of love. That’s like my records, because I’m not going to see any fucking money from them. But there are all these people who take the time to talk about me. It’s fantastic. One blog, Gorilla vs. Bear, really embraced me and talks about whatever I do. I don’t really fit into the stuff on there. It’s really more NYC dance punk and stuff, but they have always been great towards my music. I had no idea how big things were, until I started getting emails from all over the place.”


J sits back down for his encore. He asks for requests. The crowd is silent. “Are any of you familiar with any of my songs,” he asks. “A request would really help me out up here.” Sadly, the crowd stays politely quiet. He starts playing My Waking Days. The whistle cuts through the silence. The spotlight shines on him in a room of darkness, and just as silently, he ends his set and the lights come on. Just like that, he’s gone, back into the black and white world most people see him in, but for the last hour he was alive and in color, and certainly made me even more of a fan.

MP3:: Crooked Roof – J. Tillman (live in Paris @ L’Europeen)

Labels: Music

Is it possible to like a band when you don’t like the acts they are constantly compared too? At first, I would have said no, but the White Rabbits seem to have changed my mind. I don’t get the mass appeal of the Cold War Kids, the French Kicks or the Artic Monkeys and usually steer clear of any band that is compared to the Strokes. I am not into any of these bands (aside from the Strokes), but for some reason I am completely smitten with the debut White Rabbits release – Fort Nightly.

What really surprises is that they are a band I’d normally assume I’d hate. Two drummers? C’maaaan, I barely accepted two Drummonds. Yet another NY band? Well, they are technically transplants from Missouri. Somehow, despite all these reservations and baseless distaste, I’m 100% onboard with this record. I’m not sure if it is the underlying darkness of the tracks or the infused reggae/island beats that pair with the pulsing rhythms, but it hits home with me.

The band manages to keep the energy peaked for the full record, but avoids ever sounding samey. The crunchy intro to Kids on My Shoulder is intriguing, but unlike so many outfits playing the same style of music, the White Rabbits draw from a vast array of influences and experiment with different beats, tempos, textures and emotions. Instead of forcing the listener to pogo consistently, the band jumps back and forth into calypso driven beats (the cruise ship dance outro of the aptly named Tourist Trap is classic). Even in the middle of the opener, the band throws lowers the drums and adds a nice piano line before exploding back with the double drum line. As the band slows the tempo with Dinner Party, you are constantly anticipating another sonic explosion, and the restraint you feel is instead answered with horns and piano instead of another frantic drum and guitar combo.

The band seems equally comfortable playing either slow or fast, and relies on simple elements to set the tone. The plucked bass line of March of the Camel fills out the mix beautifully, but doesn’t ever dominate. The same can be said about Navy Wives.

Essentially, this record is fun and fresh and doesn’t try to be anything else. That might be exactly why it stands out from the crowd. Just listen to While We Go Dancing and prepare to be hooked.

MP3:: While We Go Dancing
In a side slice of awesome – the cast of Avenue Q (puppets and humans) reviews the lead single: Kid on my Shoulder

Labels: Music, Reviews

I finally had some time to sit down and read (the one benefit of a 14 hour travel day to Paris), and finished Jack McCallum's fantastic book about the 2005-2006 season he spent with the Phoenix Suns.

I'll admit I'm biased. I love the Suns. Their general disregard for defense (D'Antoni often in the book assumes that fixing the O will make the D irrelevant), the bizarre collection of throw aways and character with unique basketball abilities and IQs, and their hatred of Kobe, the Mavs and the Spurs are all huge reasons why I love the team. Obviously, being Canadian and playing point guard and having shaggy hair makes Nash an easy person to cheer for as well.

But the great thing about this book is it is more how the team interacts. How egos are stroked to handle some insecurities (Marion). How Raja Bell is way more of a thug than I thought (and much funnier - telling a heckler that ProActive will clear that right up is a great comeback). How much they hate Phil Jackson and Kobe. How Eddie House is way funnier than I gave him credit for, but still has doubts if he can make it in the NBA. How Boris Diaw's real name is Boris Babacar Diaw-Riffiod. Seriously, if you can't get on board with that, you can't get on board with much. How well the coaching staff interacts. These are the real focus of the book and McCallum toes the line between friend, fan and professional perfectly.

All these factors make it even more fun to watch the most exciting team in the NBA. Sadly, they choked away another game to the blandtastic Spurs, but who knows. Maybe D'Antoni's footstomping tizzy will prevail over the fact that Tim Duncan, Manu, and Fresh Horry don't think they've ever committed a foul.

Either way, if you are a sports fan you should read this book.

MP3:: Why Does the Sun Shine? - They Might Be Giants
Or for haters - MP3:: I Don't Believe in the Sun

Labels: Music, Reviews