TMI RADIO SHOW

Album Review: Daft Punk, Random Access Memories

TMI — Wed, 22 May 2013 19:29:37 +0000

By Zachary Kaczmarek

Grade: A+

When the French duo of Thomas Banghalter and Guy-Manuel de Homem-Christo, better known as Daft Punk, arrived on the scene with their innovative and fresh style of dance music, it was hard for many to make heads or tails of what their intent was. Much of their initial appeal was to the club scene during the late 90s but yet they drew heavily on disco glam samples that the same fan base would not have cared for otherwise. They opted to disguise their identities with robotic helmets when their debut Discovery hit shelves in 2001, which could have easily been written off as a gimmick used to draw attention. Every aspect of Daft Punk is unconventional and a rarity not often seen in the music world. After two solid records in the early 2000’s, their flop, Human After All released in 2005, should have permanently crippled their good name and any hype they had going for them. But thanks to LCD Soundsystem’s “Daft Punk Is Playing At My House”, their much talked about Coachella set in 2006 which included a light up pyramid, Kanye West’s sample of their hit “Harder, Better, Stronger, Faster”, and their score for the remake of Tron, Daft Punk’s stock has never been higher. It feels as though the past 7 years have been leading up to something special and out of the ordinary, which comes in the form of the disco pop/prog masterpiece Random Access Memories.

Daft Punk could have taken the easy road on this record and pumped out another release laden with disco samples placed over house beats and it would have been greeted with open arms. But rather than retrace their steps they shock everyone with an album that draws on the music of the 70s and 80s, with hardly any modern dance elements present. This time around the digitalized beats have been replaced with a real drummer and every element of instrumentation, which includes funky disco riffs, bass lines, string instruments, and synthesizers, is either executed personally by Banghalter and Homem-Christo, or by the countless other musicians that are featured, as opposed to using a collection of samples. The overall approach is one that forms a complete work that is to be absorbed in one dose, which is vastly different than on their first two albums, Discovery and Homework, which are filled with numerous singles that received attention and radio play.

“Give Life Back to Music” starts the album off on a focused and driven mission to do exactly as the title suggests. The funky soulful guitar riffs and bass lines combined with their well-known robotronic vocals and infectious synthesizers do indeed breathe new life into their sound, as well as breathe some soul into the general music scene. “Giorgio by Moroder”, a bass line, 70s synthesizer driven jam, manages to endure for 9 minutes in length and includes spoken word verses by legendary disco era producer Giorgio Moroder, who is a well-known influence on the French duo. It’s a very tasteful homage to one of their musical heroes, which contains all the makings for a great instrumental track, but possesses deeper context of the duo’s roots with Moroder’s telling of his personal venture into disco. After a few slow paced soul tracks, the heart and inner core of the album, “Lose Yourself to Dance”, “Touch”, and “Get Lucky” reveal the brilliant moments that are enveloped in this retooled Daft Punk sound. “Lose Yourself to Dance” is a disco groove track that features the smooth singing Pharrell and the funky guitar playing Nile Rodgers. The song really hits its peak after the first two minutes and continues to mesmerize from that point on with Pharell singing the line “lose yourself to dance” in his highest and slickest falsetto until it gets stuck in your head. “Get Lucky”, another track with Pharrell and Rodgers, possesses the same 70s groove that “Lose Yourself” perfects, and it also has a slight Isaac Hayes suaveness to it. “Touch”, which just might be the fullest and most emotional track, features famous singer/songwriter Paul Williams, and relies on a bevy of instruments such as serene piano, spacey synthesizers, groovy guitars, and a horn section to create a Pink Floyd style of prog pop. As Williams sings “A tourist in a dream, a visitor it seems, a half-forgotten song, where do I belong” and the light tapping on the cymbals begin the song takes on the ability of a time machine, echoing deeper introspective questions that many ask of themselves.

The biggest success of RAM however is how Daft Punk managed to incorporate guests like Strokes singer Julian Casablancas and Animal Collective’s Panda Bear into disco era anthems, which on paper appears to be an awkward mix. “Instant Crush”, a retro synth pop track in which Casablancas softly sings with a slight robot vocoder effect over his voice, captures the emotions of love and heartache with its squealing electric guitar solos and catchy synthesizer notes. On the other notable collaboration with Panda Bear, “Doin It Right”, steps forward a few years into early 80s era pop, and sounds ever so slightly like a Daft Punk/Animal Collective mash up thanks to Panda Bear’s distinct harmonized vocals. Initially when the album collaborators were announced prior to the album release there was some cause for concern, but in the end both tracks end up turning into two of the albums greatest listens. The ability to mesh vocalists like Casablancas who is accustom to singing within the confines of rock, and Panda Bear who thrives in the experimental and free form, with compositions that seemed foreign to them is only another testament to Banghalter and Homem-Christo’s songwriting.

Random Access Memories may not be the album that many DP fans desired, but it’s what the music world needed. It may be too bold to claim that a song or album will reinvigorate music in general, but when it provides a breath of fresh air amongst a sea of copy cats and one button DJ’s, it’s hard to quell such a grandiose claim. Daft Punk left behind one style of dance music in favor for a 70s style of dance music and pop that moved them to produce music in the first place. In their early days they wowed fans and critics with their exquisite skills to craft an unheard of style of disco house, but Random Access Memories showcases their ability as songwriters that can compose original material that’s as significant and memorable as any of their lauded dance tracks.

Album Review: The National, Trouble Will Find Me

TMI — Wed, 22 May 2013 19:28:04 +0000

By Zachary Kaczmarek

Grade: A-

It’s often a strange mental task to summarize what has made the Brooklyn based act, The National a band worth caring about. Individually most of their elements do nothing extraordinary to stand out or engage the ear. On the surface they give off an average and slightly mundane feel, but underneath the tame exterior lays the true beauty in their music. Ever since their third album release, Alligator, back in 2005 their hot streak of constructing records that focus on the coalescence of all their parts and stressing personal emotion filled stories has been unstoppable. Trouble Will Find Me works as a great continuation to their last critically acclaimed release High violet, and follows the philosophy that there’s no need to fix a winning formula. Despite the fact that this album does not add any previously unexpressed musical elements or possess a monumental leap of progress, it cements the band as an act that has reached a point of being associated with a particular sound, which is a feat that many acts would sell their soul to reach.

Much like their past work, Trouble Will Find Me uses the same minimalist style in which there are layers of guitar and sound, but one instrument does not detract from another. By this point in their career they have perfected the ability to live in that moment of being on the verge of emotional unraveling, but sustaining it rather than reaching an end point. The high points of the album revolve around the heartfelt lyrics of frontman Matt Berninger and the misery that he displays in his vocals. On “Demons” Berninger employs a low baritone and sings like a man who has had his fill of dark moments and lost his way, singing “All my drowning friends can see, there’s no running from it, it’s become the crux of me, I wish that I could rise above it”. “Fireproof”, a soft folk track with a calm guitar melody, finds Berninger admiring the courage of another in his lyrics “you’re fireproof, nothing breaks your heart, you’re fireproof, how’d you get so far”. There truly is no shortage of lines that hold some amount of personal sentiment and the intimacy of Berninger’s writing allows for a great amount of investment in each track. Whether the pace is slow or moderate, the amount of soul is integral in anchoring this record, whether expressed lyrically or musically. A perfect example of this is on the track “Pink Rabbits” where the melancholic piano and guitar notes match Berninger perfectly when he sings “I’m so surprised you want to dance with me now, I was just getting used to living life without you around”.

Trouble Will Find Me takes on the role of highlighting the bands greatest attributes and giving an accurate summary of their career thus far. The sum of these perceptive tracks show Berninger and the gang further perfecting the art of venting all the pain and emotions that come with a life. Musically the album stacks up against songs on High Violet or Boxer, and lyrically it showcases some of their finest work. The National never sought to create a sound that latches on like a leech and gets stuck in the mind like pop creations tend to do, but somehow Trouble Will Find Me has its own style of infectious compositions that will linger around for years to come.

Album Review: Vampire Weekend, Modern Vampires of the City

TMI — Tue, 14 May 2013 19:28:34 +0000

By Zachary Kaczmarek

Grade: A

It seems like almost a lifetime ago that Vampire Weekend burst onto the scene with their innovative and captivating style, though it was only a mere 5 years ago. At the time, fans were either frothing at the mouth with the bands blend of punk rock, classical, electronic, and African influences with their strange tribal drum patterns and guitar playing style, or repulsed because it was viewed as pretentious and snobbish. Lead man Ezra Koenig said in an interview with UK newspaper The Guardian recently that critics who were irritated with the bands image or sophisticated lyrical content, which has always been rich with cultural references to wealthy upper class society and other subjects that are not usually commonplace to the average music listener, made it seem like the band members “were rich idiots ripping off African music.” But since then they have become somewhat of a household name in their respective scene, and have shaken off any bland criticisms of being a fad that would soon fade into irrelevance. Modern Vampires of the City marks an unexpected turning point that strips away most of the influence from the previous works and attempts to start anew with a darker realist point of view that accompanies the band’s shift into a realm of their own.

When compared to the opening tracks on their self-titled album and Contra, “Obvious Bicycle” does not exactly have an instant hook factor, with a slow and balanced tempo on piano, and Koenig never employing his signature falsetto that made songs like “White Sky” so memorable. Only one track in and it feels like a record that was produced years down the road, reflecting on happier and more carefree days of the past. Much of the album takes on a similar stern tone, but succeeds in appearing mature and confident, not at all dull or lifeless. Koenig’s lyrics scream for resilience and some kind of clarification in a befuddling world, such as the one described in “Unbelievers”, singing “Got a little soul, the world is a cold, cold place to be/Want a little warmth, but who’s going to save a little warmth for me”, and in the rebellious chorus “Girl you and I will die unbelievers bound to the tracks of the train” which would have fit right in back in Bruce Springsteen’s day. The band has never been open to the idea of acknowledging any particular interpretation of their cryptic lyrics, but this time around the messages that Koenig’s brilliant songwriting convey are outlined to a certain extent leaving the listener with more clues than on the previous two efforts.

As the album progresses it eases into more infectious sounds, especially the classical piano track “Step”, which is based on classical composer Pachelbel’s, “Canon in D”, and is backed by a smooth thumping drum beat and a slight reverb over Koenig’s vocals. The song is also a key example of how some Vampire Weekend songs have buried messages, but yet the level of enjoyment is high regardless. It opens with the most memorable line on the album “Every time I see you in the world, you always step to my girl”, which without any context makes no sense, but is actually an homage to the underground rap group Souls of Mischief and their song “Step to My Girl”, of which Koenig is a huge fan. He also writes the one of his most clever phrases to date, “I just ignore all the tales of a past life/stale conversation deserves but a bread knife”, and nothing says coming of age like the chorus line “The gloves are off, the wisdom teeth are out/What you on about?”

The back end of the album provides a well-timed change of pace with “Diane Young” a rock n roll glitch punk track that is very reminiscent of their song “Cousins”, and the track “Worship You”, a song that draws very much from a band like the Violent Femmes with a fast paced folk punk style. But the real crown jewel of the album, “Ya Hey”, provides the bands heaviest work lyrically, and the smoothest musical transitions they have constructed. The songs title is a clever homophone for Yahweh, the Hebrew term for God, and the subject matter relates to Koenig’s Jewish heritage and trying to define his beliefs as he gets older. The pre-chorus transition from light synthesizers to an eerie classical piano line, which is perfectly executed by guitarist/keyboardist Rostam Batmanglij, captures the general sentiment of the song as Koenig sings “In the dark of this place, theres the glow of your face/There’s the dust on the screen, of this broken machine/And I can’t help but feel that I’ve made some mistake, but I let it go.” The chorus, a reference to Moses conversation with God in the Old Testament, hammers in the final nail with the lines, “Through the fire and through the flames you won’t even say your name, only ‘I am that I am”, and an angelic chorus singing beneath Koenig. The lyrics encapsulate Koenig’s frustration with the sheer mystery of his creator and in his view, lack of a presence which he is unsatisfied with. Crafting a track like this leaves no doubt that the band now possesses a level of confidence to tackle their own personal demons through their songwriting, as most acts would not dare write such a monumental song, especially one that involves such large existential or religious themes.

As the album comes to a close, “Hudson” touches on an image of a bleak world in the form of New York and the Hudson River with very pessimistic opening lyrics “Hudson died in Hudson Bay, the water took its victims name.” It’s a very anticlimactic ending, but a fitting one, as Koenig sings over gloomy synthesizers and even a few industrial samples that are occasional thrown in. They did not exactly take the logical next step to follow up Contra, but end result is a complete effort that summarizes the bands short but coveted career thus far. The songs on Modern Vampires are the type that may require some research in an encyclopedia or on Google to completely understand, but on the other hand, musically there is so much to take in that full comprehension is not necessarily required to consider this record an instant classic, or to consider Vampire Weekend elite songwriters.

Album Review: She & Him, Volume 3

TMI — Tue, 07 May 2013 06:30:49 +0000

By Zachary Kaczmarek

Grade: B+

On Volume One, fans and critics alike were not exactly sure how serious the duo of quirky actress Zooey Deschanel and indie rocker M. Ward were about their throwback 60s pop side project. Initially many skeptics could have written off the idea of Deschanel and Ward collaborating as a novelty act or simply a vein for Deschanel to showcase her musical ability. But two volumes later the music has progressed into a full-fledged project that is well grounded in the folk and surf pop of the 60s. On Volume 3, Deschanel and Ward expand on the sounds of Volumes One and Two, with Deschanel’s confidence increasing in her songwriting and strong vocal presence.

Right from the start Volume 3 feels genuine and stays true to the sounds of classic AM radio pop, with the opening track, “I’ve Got Your Number Son”, which employs Beach Boy-like high pitched vocal harmonies, and slowly evolves into a guitar and piano driven surf pop groove about triumphing over a broken heart. Wards efficiency and soul really shine through on guitar, as do his musical arrangements, which complement Deschanel’s classic voice. The duo then presents a much louder and layered second track, also the lead single off the album, “I Never Wanted Your Love”, putting more of Deschanel’s octave range on display, as she is able to reach strong pitches both high and low, while backed by numerous string instruments and the strumming of Ward’s guitar. His presence on Volume 3 is lessened a great deal, as he only occasionally provides backup vocals, but considering that he has always taken an interest in helping Deschanel realize her musical vision, it’s not a complete travesty that he takes a backseat on this album.

Lyrically this may also be the strongest of the three releases for Deschanel, as she no longer sings soft spoken or modest lines, but empowering and bold statements, as she establishes herself as a songwriter with lyrics that are very much true to the pop of decades ago. She also displays a great deal of wit with lines like “I’m tired of being clever, everyone’s clever these days”, and “I sacrifice myself at the altar of someone else’s love for me”. As the album progresses, the sound shifts to the moderately paced folk track “Something’s Haunting You”, with a stripped down soundscape composed of nothing more than Ward’s unplugged guitar riffs and Deschanel’s vocals. There is even a subtle xylophone that is played midway through the song, which captures the California vibe quite nicely. Its tracks like these that show off the realized talent and confidence of She and Him, showcasing the ability to thrive in songs with complex arrangements and depth, as well as simplified tracks with hardly any.

A sound such as the one She and Him has brought back to the modern era of music relies heavily on being genuine and not appearing cheesy or bland. Being original in this style is a near impossibility, and realizing that, they do not attempt to reinvent the wheel, but pay homage to the timelessness of that style of pop music. For their first two releases they won over listeners with their mix of country, and folk pop and Deschanel’s ability to emulate singers like Patsy Cline. But Volume 3 is sure to win over the masses who appreciate this Beach Boys AM radio genre, with bold and vibrant feel good pop songs, that at times do harbor a great deal of emotion. For anyone who believes the music of the 50s and 60s is antiquated, Volume 3 is proof that some sounds can stand the test of time.

Cuatro De Mayo

TMI — Thu, 02 May 2013 07:22:11 +0000

This Saturday at Salty Senorita on the West Side TMi will be bringing you one of the hottest local music events of 2013.

This TMI music festival features Mergence, The Veragroove, Future Loves Past, Banana Gun, Snake! Snake! Snakes!, Jared and The Mill, Sara Robinson and The Midnight Special, Mouse Powell, Bob Domestic, The Wiley One, Ruca, Bad Lucy, Marc Norman, ANdrew Duncan Brown, and Taylor Oulette. There is a $500 Cash Prize for the Volleyball Tournament Bikini Contest, as well as Ticket Give Aways and Drink specials.

NEW MUSIC VIDEO // “Run Wild” by IAMWE

TMI — Wed, 24 Apr 2013 18:17:18 +0000

IAMWE is putting out some amazing music these days. Now you can see them in this new music video featuring the look of their live show with beautiful lights and film overlaying the band. They really capture an Indie Rock bands look and sound….. I guess that is why we love them so much.

You can catch Iamwe, Bogan Via, and Zero Zero this Saturday April 27th at the new

Last Exit Live 717 South Central Ave, Phoenix, AZ 85004 http://lastexitlive.com

Festival Recap: Best Sets at Coachella 2013, Weekend 2

TMI — Wed, 24 Apr 2013 16:11:47 +0000

By Zachary Kaczmarek

Friday, Day 1

The Shouting Matches

The weekend started off with a throwback type of bang, when Bon Iver frontman Justin Vernon’s sideproject took the stage in the Gobi tent Friday afternoon. Most fans who know Vernon’s music with Bon Iver were in for quite a different pace when the band ripped into their first song of their bluesy and gritty set. Vernon left his soft folk style vocals at home and favored a more energized rock n roll approach. It was quite a treat for any fan of Vernon’s, and even for folks who appreciated the genuine sound of old time blues rock.

Johnny Marr

Every year fans who attend Coachella have high hopes that The Smiths will reunite one last time to headline, and every year it never comes close to becoming a reality. But after the band turned down 5 million dollars this past year to headline both weekends, crazed fans were willing to settle for former Smiths guitarist Johnny Marr. Before the set even started older fans who grew up listening to The Smiths, and even a good chunk of younger attendees, crowded around the stage in the Mojave to get a good view of Marr. When he finally walked on stage with a rose in his mouth the entire tent erupted with screaming and applause for the old Brit rocker. His style and sound was more 60s British Invasion, which provided a high energy set, as opposed to the 80s style that The Smiths were known for. Midway through his set he gave the fans what they wanted, playing The Smiths “Stop Me If You’ve Heard This One Before”, before later playing one of their bigger hits, “There Is a Light That Never Goes Out”, and finally closing his set with the well known track “How Soon Is Now?” Fans in the crowd could have closed their eyes and imagined it was Morrisey singing because his vocals were so sharp. It was the perfect ending to a legendary performance by Marr, who proved that hes still a rock star.

Japandroids

One of Friday’s most energetic sets, courtesy of the Canadian rock duo Japandroids, had people in the crowd moshing and headbanging like there was no tomorrow. During their 50 minute set they held nothing back, thrashing around as they played newer songs from their sophomore album and older tracks that the die hard fans were shouting out. Their punk garage rock style was fresh and kept the packed Gobi tent engaged throughout.

It was a sight that had to be witnessed to be believed, as the duo never showed signs of exhaustion from exerting so much energy and played just as intense to close out the show as they had when it began. During the final song a true punk moment took place as guitarist Brian King climbed up on an amp next to drummer David Prowse’s drum kit, as the two put every ounce of energy into finishing with a fierce exclamation point.

Alt-J

Considering all the hype and attention that the British indie rock act has received over the past year, its no surprise that the crowd for Alt-J was spilling out of the Mojave tent on all sides as some fans even resorted to standing in the warm sun, watching from afar. They brought a very entertaining level of energy that got the entire audience moving around and swaying back and forth, as they played tracks off their debut album. It was a quite a feat that the band was able to reproduce their sound live, with all the complex harmonized vocals and layers of instrumentation. Their execution was so crisp and in sync, especially during “Breezeblocks” with the harmonious singing of the line “please don’t go please don’t go, I love you so I love you so”. Alt-J’s performance lived up to the praise that they have received as their live amazing studio recordings were even more breathtaking in person.

Yeah Yeah Yeahs

The Yeah Yeah Yeahs didn’t disappoint on the main stage Friday night, putting on a show that was filled with dramatic antics from Karen O. and top notch musicianship from guitarist Nick Zinner and drummer Brian Chase. During their set they broke out all the essential songs from different points throughout their career, such as “Gold Lion”, “Zero”, and some new songs like”Mosquito”. But the moment that will forever remain in the minds of those who watched was when the band played their timeless hit from a decade ago, “Maps”. Before Karen O. started singing she got a little bit choked up and said “this is going to be very emotional”. When she sang the chorus line “wait, they don’t love you like I love you”, a large portion of the crowd sang along and others simply looked on in awe. To close out their set they went out in a blaze of glory with the electro rock anthem, “Off With Your Head”, during which giant eyeballs were released into the crowd and everyone in the audience for a moment “danced till they were dead”, as the song goes.

How to Destroy Angels

One of the final sets on Friday night, which took place in the Mojave tent, belonged to Trent Reznor and his new side project that he formed with his wife Mariqueen Maandig. The visual setup, which was composed of curtains of clear fiber strand that colors were projected onto, concealed the band and offered nothing more than a sillhoute when the set first started. As the show progressed some light was shed on the faces of Reznor and Maandig, and the curtains rotated before parting and revealing all members of the group. Maandigs vocals were beautiful and very eerie, as were Reznor’s when the two would harmonize. Halfway through their performance blinding strobes that were behind the group flashes an array of different colors, as the group really got into an industrial inspired groove. As they played one of their final songs, “The Loop Closes”, the curtains of light closed and the stage went dark, before Reznor and the gang thanked everyone for showing up.

Saturday, Day 2

Trash Talk

Not many acts displayed the level of pure rage and ferociousness that Trash Talk unleashed during their noon set on Saturday. Their fast paced dingy style of hardcore thrash provided a nice change a pace, and one of the more intense mosh pits for the hardcore fans to take part in. Singer Lee Spielman immediately engaged the crowd by climbing off the stage and doing most of his screaming and flailing around in the middle of the crowd. There was even a star sighting, as Blake Anderson of the Comedy Central show Workaholics, left the vip area during the final three songs to get involved in the mosh pit. For their finale, Spielman demanded that the as many people as possible hop the railing and climb into the railed off vip area in front of the stage. A massive storm of fans moshing around then ensued, and when the band had finally finished all who had gotten up early and dealt with the melting heat were satisfied with what they had just witnessed.

El-P

El-P was just one of the many underground rappers at Coachella this year, who bring a different style that isn’t found on the radio or talked about in the mainstream. The energy and intensity that he brought engaged fans and also those who showed up to see what all the buzz was about. The fact that he had a complete supporting band behind him made the experience much more interesting than most rappers who simply have a DJ press play. MIdway through his set he blew everyone away with a politically charged freestyle acapella, that was nearly two minutes long, which showcased his ability to spit out rhymes without a beat to back him up. Soon after that fellow rapper Danny Brown made an appearance for a song and the crowd gave a great deal of applause to their chemistry to trade rhymes back and forth. At the end of his set El-P had impressed many of his die hard fans who camped out in front of the stage as well as newcomers that will surely become fans in the future.

Spiritualized

A couple hours after the sun had gone down, Jason Pierce took his spacey soul rock group on stage and put on one of the most memorable performances of weekend 2. The music combined with amazing visual displays of looped videos like outer space or the ocean on the screen behind him made it more of a complete experience, than just another concert. The two singers that he brought to back him up during certain choruses and verses added another layer of depth, especially to older songs that didn’t originally have that type of harmonization. By the end of his set Pierce had taken the crowd on a rock n roll journey that they won’t soon forget.

The xx

The xx were one of the more highly anticipated sets of this years festival, and they had a lot to prove to those who didn’t think that the band was deserving of a main stage sub headliner slot. Although they didn’t employ expensive or mind blowing lights, their performance was captivating. They provided deeply emotional songs with Romy Madley Croft and Oliver Sim trading lyrics back and forth, almost like a conversation between two individuals. The real x factor that gave Croft and Sim a groove to work with was the third member of the group, DJ Jamie xx. His samples, beats and percussion lifted the songs to another level and allowed such powerful songs to function as subtle pop songs. Towards the end of their set Croft acknowledged that this was a big step for the band, having played Coachella three years ago, and making a giant leap from an afternoon slot on the Outdoor stage to set on the main right before Saturday’s headliner Phoenix in just a matter of two album releases. The slot was deserved for the trio, and they did not squander their opportunity, delivering a performance that not many other bands topped over the course of the weekend.

Sigur Ros

Sigur Ros, the Icelandic post-rock group, had high expectations this year, receiving a lot of attention for their loud, but yet beautiful performances. When they took the Outdoor stage to close out the night fans were not disappointed, as the band had it all figured out. There was a screen behind the band projecting eerie and fascinating videos, a full orchestra complete with violins and horns, and frontman Jonsi Birgisson was on key with his otherworldly falsetto and his impressive guitar playing style with his cello bow. The transitions from slow and soft to a chaotic storm of emotion during all their songs was flawless. They put this ability to bring a quiet intro to a loud crashing halt to close out their set, before drummer Orri Dyrason knocked his drum kit over as the band walked off the stage. But they returned one last time for a humble bow before the crowd, which really spoke volumes about their commitment to putting on a fantastic show.

Sunday, Day 3

Deap Vally

The muddy blues rock duo known as Deap Vally took the stage at noon of the final day, and they brought their A-game for all the loyal fans of old school rock n roll who showed up. Guitarist and singer Lindsey Troy was fierce with howls that could go toe to toe with any of the legendary vocalists in rock n roll, and riffs that were so gritty and laden with fuzz. Drummer Julie Edwards was hitting all her drum fills like she had a grudge against her drum kit, making it look easy to display that much passion. The duo played a shorter set than most acts, but it was a set that felt peeled out right from the start and never slowed down to let the crowd catch their breath.

Grimes

One of the most power packed, artsy, and well executed sets during the course of the three days in the desert, was held in a tightly packed shoulder to shoulder Gobi tent by the one woman indie pop act, Claire Boucher, better known as Grimes. During her hour set she put on display every talent that she possesses whether it was creating and looping her own synth and beats, to dancing around on stage, or hitting an unbelievably angelic falsetto, Grimes did it all. She drew on industrial samples for older tracks from her first two albums, and played her most recent songs like “Oblivion” and “Genesis”, which were dark dream pop jams that had the entire tent dancing. She even elevated the show to another level by having dancers who were dressed up move around on stage, and during a few tracks she let out some wild screams into the mic before adding echo and delay effects over them. It was an astonishing performance that was equal parts dj set, pop show, and ethereal art performance.

Dinosaur Jr.

The old school noise rockers known as Dinosaur Jr. rocked the Outdoor stage to fans of all ages. They played nearly every essential song that chronicled their long and successful career. Frontman J. Mascis blew the crowd away with his squeally fuzz tone solos that he has perfected over the past three decades. It was a performance that may have felt like just another jam session to the three men rocking on stage, but from a crowd perspective it was something that takes years of experience to excel at.

Rodriguez

Not many sets possessed the “once in a lifetime” atmosphere that Rodriguez’s performance had as the sun went down on the final day. His career that never seemed to take off back in the 70s, received the proper recognition from fans who packed the Gobi to see the psych folk rocker. Rodriguez’s stage presence was one of a legendary artist who was born to play concerts, and his vocals and guitar work seemed to have never left his side during the years in which he stopped making music. It was like watching a mystical timeless figure display his craft, as the 70 year old commanded the audience with his rough around the edges songs packed with emotion from a lifetime of wisdom. When he had wrapped up the set, he took not one bow, but three, and the crowd gave him a lifetime worth of applause as he was helped off the stage.

Vampire Weekend

The quirky indie prep rock group has finally arrived after five years of wowing fans with their off beat timings and uptempo, slightly punk edge. Their main stage set had quite an elegant feel to it, with a giant mirror hanging above, surrounded by three white pillars one each side. Over the course of their set they played every essential tune that has gained them such a large following, from both of their previous acclaimed albums, and a few brand new songs that fans were delighted to hear. Ezra Koenig had such charisma while he was up on stage hitting notes of octaves high and low. After their show had come to an end, they played the classic song “Walcott” which was fitting as Koenig pointed out, because its a song about getting out of town, which they would soon do after leaving the crowd wanting more.

Wu Tang Clan

The famous Wu Tang Clan have had a lot of ups and downs since they burst onto the scene in the early 90s, but they have persevered and they left a new memory for all the fans who would have given anything to see a fully reunited lineup which included RZA, Ghostface Killah, Method Man, Red Man, Raekwon, and GZA. Their timing in delivering rhymes was just like it was when they were at the pinnacle of rap, as they performed the best of their tracks from the classic album, Enter the Wu Tang: 36 Chambers, which turned 20 years old this year. The entire crowd was enjoying the performance and it had the ultimate party vibe no matter where you looked. There were even Wu Tang beach balls thrown into the crowd during the middle of the set. As the night was coming to a close for the historic rap group, they did a really touching tribute to the late Old Dirty Bastard. It was a performance that had everything a fan of Wu Tang or rap could ask for.

Until Next year!

Sahara tent, Sunday night during Eric Prydz DJ set.

Album Review- Phoenix, Bankrupt

TMI — Tue, 23 Apr 2013 14:55:45 +0000

By Zachary Kaczmarek

Grade: B+

Since the start of Phoenix’s illustrious but understated career, success has been defined with catchy jittery guitar melodies, syncopated drums, the occasional synth line for rhythm, and the smooth slightly French accented vocals that Thomas Mars provides. It’s a winning formula that has embedded Phoenix as pioneers alongside acts like the Strokes in the alternative/indie rock scene. Although their sound has been ever evolving and not at all concrete, it’s never taken such a bold leap of faith like it does on Bankrupt.

On their latest effort, they hop in their vintage “Back to the Future” Delorean and turn back the clocks by going retro with an heavily influenced 80s synth pop sound that feels as genuine as anything released during that era. Their music still posesses the same heart and soul, but this time around the guitar riffs that have been such an integral part of their past releases take a backseat to a plethora of synthesizers. The brilliant part about this record is how it doesn’t sound like a cheesy homage to pop of the 80s and it never sounds like it’s outside of their range or musical abilities to pull it off.

The record opens with the track, “Entertainment” which has an infectious pop factor thanks to the oriental style keyboard driven hook that repeats in the chorus and the quick drums that accompany it. The tracks that follow in succession combine uplifting classic pop hooks with melancholy lyrics involving tantalizing love and quips at the rich spoiled youth during this modern era. The midway point for the album, “Bankrupt”, might be the most exciting track as it slowly builds up with different layers of synthesizers and then a clean acoustic guitar comes it about two thirds of the way through. As Mars sings lines like “rich and young, self-entitled portrait, court in session, justice done” during the last minute of this 6 minute masterpiece, the realization sets in that the title of the track and the album are not solely referring to monetary bankruptcy, but emotional and moral bankruptcy too. As the album carries along, the typical self-absorbed modern personality is being described, whether this person is a desired love interest for Mars or agitating people in society that he encounters. This theme continues in the track “Chloroform” with the opening lines “I don’t always tell the truth, they don’t mind it if you’re tall where I’m from” which addresses the decay of moral standards in which Mars perceives to be phony high societies. Lyrically this may very well be the bands strongest album because it focuses on similar concepts that all tie together in one way or another.

The album closes out with the fantastic track “Oblique City” which starts off with a very dastardly sounding synth progression that emulates an organ and the lyrics “Oblique city credentials, its everything that I’ve ever known, Coca-Colas, Rosetta Stone.” Mars really brings to life the feeling that one tends to get lost among all the advertising and non-essentials that are presented as integral parts of life. This point of view longs to escape this life and asks the question “Coca Cola, vin bottles, is there anything else? Is there anything wrong with me?” It’s a finale that caps off an emotional album that centers on the sentiment of being trapped in a synthetic setting where lying is commonplace in society as well as in relationships, and idolizing empty ideals is forced.

The vintage sound that Phoenix uses as a vehicle for all these themes provides a great experience that could be mistaken for a top of the line pop record made three decades ago. Although their writing style would be considered more progressive, the overall sound they are embracing resembles 80s pop. Maybe this album shouldn’t come as shock considering the group grew up in the Parisian techno scene, so maybe a primarily electronic album was inevitable. Plus, only good results can come from using the same soundboard that Michael Jackson used to make Thriller. It’s not the sort of pop that album that sticks in the mind upon first listen, but in the end the bold gamble to ditch the funky indie rock sound for synth pop is a noble one. Bankrupt hinges on solid lyrical and musical writing as opposed to weak repetitive hooks that wear thin, and as a result this is a record that never wears out its welcome even after numerous listens.

Concert Recap – The Postal Service at Comerica Theatre

TMI — Mon, 22 Apr 2013 17:10:03 +0000

Photo by Joe Abbruscato

By Devon Adams

Nostalgia is not dead. We all have regrets, lost loves, and memories both sorrowful and joyful. There’s a soundtrack for our lives. Those songs remind us of late summer nights a decade before or return that smell of dad’s old Chevy to our nostrils. For 5,000 attendees to Comerica Theatre last Thursday evening that soundtrack featured The Postal Service; a band who released a single record a decade ago, hasn’t toured in years, and had never performed together in Arizona until last week. Comprised of Ben Gibbard of Death Cab for Cutie, producer Jimmy Tamborello (aka Dntel), Jenny Lewis, formerly of Rilo Kiley, and Laura Burhenn who previously toured with Bright Eyes, The Postal Service has recorded two new songs, released a 10th Anniversary “Give Up” album, and recently rocked through Phoenix.

The opening act, YACHT, danced their way through a surreal post-electronica indie set and succeeded to power through vocal mic issues from the soundboard before The Postal Service took the stage. I had seen Death Cab for Cutie two years ago on this very stage and immediately recognized Gibbard’s frenetic, passionate dancing as he played guitar or keys while singing lead vocals. The pit immediately went wild with some of the people around me waiting half of their lives to see this live performance. Gibbard immediately reminded us that he’s “a visitor here” through a fabulous introduction featuring “The District Sleeps Alone Tonight.” During the second song, Lewis set down her guitar and danced across the stage with her salmon colored dress mere shades darker than her own ginger hair. She kicked up her black and white wing tipped shoes while Gibbard bounced back to an off center drum kit where he beat through the second half of “We Will Become Silhouettes,” a song that everyone in the theatre seemingly knew. By the fourth song, Burhenn’s backing female vox were featured on “Turn Around,” one of the newest tracks by the band. The energy between Gibbard and Lewis exuded a playful whimsy on “Nothing Better” that hinted at a romanticism the media has wondered continuously over the past decade. These two smiled and danced across the stage together and obviously enjoyed working together on this tour. While Lewis returned to stage right where her guitar sat near her keys and sang into two separate mics (one was autotuned), Gibbard surprisingly danced and played across the front of the stage through “Recycled Air.” Tamborello, positioned on a raised back center stage producing the entire show and having a damn good time of it, finished off the last few lyrics of this song before bringing a melodica to his mouth for “Be Still My Heart.” The light show, impressive to this point, suddenly grew in awesomeness until light beams rolled up behind Tamborello and out into the audience far towards the rear of the theatre. Lyrics like “brand new start” and “wake me up, and you’re still here” reminded the audience not only of the universality of The Postal Service’s message but also hints at a future sophomore undertaking.

Photo by Joe Abbruscato

As Gibbard started playing the opening notes to “Clark Gable,” a fan near me yelled “this keeps getting better and better!” The pit chanted the opening lines to the song and Gibbard could not stop smiling as he moved back to the drum kit once again. Clapping and singing in unison, the fans danced through the catchy song before, in a surprising move, Lewis left her post to also play drums (does anyone in the band not play the drums?). Gibbard announced they’d be performing a cover of Beat Happening’s “Our Secret,” and I caught Behrenn playing a xylophone shrouded in dark cloths while Gibbard took the solo vocals on the number.

Photo by Joe Abbruscato

Gibbard, a true gentleman, thanked YACHT for opening before introducing “This Place is a Prison” while the bright golden lights dropped down to a dark red that accentuated Lewis’ onstage costume. Tamborello returned to a mellow melodica playing a lower, somber register, and we all swayed as one. I am aware The Postal Service’s “Such Great Heights” was on the Garden State soundtrack, but realized during this number that the entire album could easily be a soundtrack for a generation through hopes, loves, losses and memory.

Photo by Joe Abbruscato

When asked what makes this band so special to its fan, one fan, Lindsey, told me “Everyone I talk to mentions The Postal Service with nostalgia. I remember the first time I heard the album. I was in college. We drove to the beach at midnight. From Portland to Seaside, Oregon. We listened to this album as I fell in love. With the girl and the music. And then it was over. No more albums, no more girl. The album brings me back to a moment I lost.”

After “This Place is a Prison” and its mellifluousness, the band broke into what I can only conclude was a jam instrumental, which seems odd for The Postal Service but here it worked. The heavily instrumental “There’s Never Enough Time” felt three times longer than its album length. Afterward they shifted into a huge, rocking light show with “A Tattered Line of String”, one of two absolutely new songs on GIve Up (Deluxe 10th Anniversary Edition). The inclusion of “String” and “Turn Around” are what makes the “reissue” deluxe. Two great songs that hint at a musical future together that Gibbard alludes to when he called out to the audience, “We’ll see you real soon.”

The momentum continued as Tamborello queued the opening notes to “Such Great Heights.” The crowd went wild, people began clapping, singing, and lifting cell phones to shoot shoddy video. Those not shooting closed their eyes and sang along happily before the band segued smoothly into “Natural Anthem” to close the night. Lewis jammed on her guitar with her teeth and played a cassette player into her microphone while strobes flashed across the stage. Nearby a fan shouted “Come back to Phoenix soon, Ben!” Gibbard and crew thanked the 5,000 clapping fans as the song faded out and walked off stage. After a few minutes Jimmy, Ben, Jenny and Laura waved their way back onto stage as we all yelled, “Thank you! Encore!”

Gibbard introduced the band at this point, and moved into a now classic Dntel tune “(This is) the Dream of Evan and Chan.” It was an unexpected, awesome addition to the night that added to the excitement of finally seeing The Postal Service in Arizona. The fervor of Tamborello and Gibbard’s serendipitously creative coupling over a decade ago have changed the way music is made. A local music engineer and fan, Glen, argued that “aside from somewhat piloting a new method of music production, I feel their music kind of made it more ok for mainstream artists to use electronic sounds. Of course there was music already that utilized synthesizers, etc… but not really in mainstream music.”

The Postal Service finished out the evening with “Brand New Colony” with lines that include “everything will change.” These lyrics hint at past nostalgias and allude to a future of not only Postal Service music but also a return to a touring circuit that they left a decade ago.

Set List from Comerica Theatre – April 18, 2013

1. The District Sleeps Alone Tonight

2. We Will Become Silhouettes

3. Sleeping In

4. Turn Around

5. Nothing Better

6. Recycled Air

7. Be Still My Heart

8. Clark Gable

9. Our Secret (cover from Beat Happening)

10. This Place is a Prison

11. There’s Never Enough Time

12. A Tattered Line of String

13. Such Great Heights

14. Natural Anthem

Encore

15. (This is) the Dream of Evan and Chan

16. Brand New Colony

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Concert Recap – Bat for Lashes at the Crescent Ballroom

TMI — Sat, 13 Apr 2013 09:28:58 +0000

By Zachary Kaczmarek

In this day and age being considered a great solo performer or entertainer is often associated with a massive ego and a taste for unnecessary dramatics. But Natasha Khan, aka Bat for Lashes, manages to capture an audience and exude charisma on stage while maintaining a humble and youthful presence. When she and the rest of her band walked on stage the energy inside the Crescent Ballroom shot up in a matter of seconds. The opening song “Lillies” off her latest album, got most people in the audience moving around or bobbing their heads, as she swayed back and forth and danced in such a carefree manner, almost as if she felt she were alone on stage. Her voice was crisp and strong, putting her full vocal range on display. The band that played behind her provided all sorts of depth with instruments such as a piano, a viola, multiple guitars, synthesizers, and a drum kit. Not to mention the very artsy lanterns that were hung all over the stage, which flicked on and off during certain songs. It was the type of extravagant setup and performance that could entertain thousands in an arena sized venue. Everything was in sync and there never was a dull moment during their set.

The show kept on moving with a full head of steam, with the song “All of Your Gold”, which created a goosebumps moment during the chorus as Khan hit every note with such emotion written all over her face, with eerie synth keys backing her up. Part of the experience was the realization that she had gone all in for her music, unafraid to let her feelings out through her facial expressions. But she never seemed gloomy, as there were many times in which she reached out to fans, making eye contact and giving very warmhearted smiles throughout the show. On top of exhilarating uptempo grooves, the concert also had its slow sentimental ballads that cut to the core, especially during the heavy piano ballad “Laura” as she sang the lines, “You’re the train that crashed my heart, you’re the glitter in the dark” which even made Khan teary eyed as she looked into the crowd. It perhaps was her finest moment, with the spotlight putting all focus on her, and the lack of instrumentation making it a very candid and stripped down moment. The audience was in awe as she ascended from soft spoken during the verses, to reaching deep down for the most powerful octave she could muster.

For the encore, Khan and the rest of the band came back on stage to perform “The Haunted Man” and “Daniel”, after asking the crowd “Are you hungry for more?” Both songs were perfect to close out the night, as the deep hollow thumping of drums combined with synthesizers, guitar riffs, set the tone for Khan to give all of her energy and leave nothing on the stage. Bat for Lashes put on a performance that showed why they, mainly Khan, have received so much praise within the past few years, and the fans that witnessed it will certainly not forget the the spectacle that Khan and company created any time soon.