Yes, I’m back. Did you miss me? Did you wonder where went I go for those few days? Well its called The Sims 3 decided to blow up my computer AND laptop leaving me basically unable to post anything. How rad is that?

Anyway, off to the real news….

Indie pop genius and Jack White sidekick, Brendan Benson, will finally be releasing his newest solo record on August 18 via ATO Records. Benson who is known to most as part of The Raconteurs, of course started off as a solo artist with a string of catchy and very poppy records.This will be his 4th album titled ’My Old, Familar Friend,’ which was recorded both in Nashville and England, both a long way from his Detroit roots. The first single has yet to be released but we do know it is titled ‘A Whole Lot Better’. Benson will also be doing a solo tour this summer which gives the Raconteurs a nice little break. Hopefully this time around Benson will get the full credit and attention he deserves that hasn’t always been present on his prior records.

‘My Old, Familar Friend’ Tracklisting:

1. A Whole Lot Better
2. Eyes on the Horizon
3. Garbage Day
4. Gonowhere
5. Feel Like Taking You Home
6. You Make a Fool Out of Me
7. Poised and Ready
8. Don’t Want To Talk
9. Misery
10. Lesson Learned
11. Borrow

Watch one of our favorite Brendan Benson videos for ‘Spit it Out’ off of ‘The Alternative to Love’


Check out Brendan Benson on Myspace

Disco lançado em 2008, na minha opinião melhor que o primeiro albúm. Tem um apelo muito mais setentista, bem rock´n´roll, apesar de algumas baladinhas chatas……..

The Raconteurs – Consolers of the Lonely

The Raconteurs – You Don’t Understand Me

Piano et final imparables

Supergroupe : Jack White, Brendan Benson, Jack Lawrence & Patrick Keeler
Album : Consolers of the Lonely
Genre musical : rock énervé, musique irlandaise, ballades dans les bois
Le petit plus : une superbe édition vinyle

Bientôt : The Dead Weather avec Jack White (The White Stripes, The Raconteurs), Alison Mosshart (The Kills), Jack Lawrence (The Raconteurs) & Dean Fertita (Queen Of The Stone Age)

When it comes to the actual awards at the Grammys, I tend to stay pretty neutral. That’s not to say that I don’t have favorites in certain categories, but I usually don’t get too up in arms about who wins. That is, until Coldplay’s Viva La Vida or Death and All His Friends was given the Grammy for Best Rock Album. 

In the interest of full disclosure, I’ve never been a fan of Coldplay. I respect them, I think they’re different, but nothing that I’ve heard has ever motivated me to seek out one of their albums. That being said, I listened to Viva La Vida before writing this in order to maintain whatever journalistic integrity I may have. I really enjoyed it, and I may even check out some of their earlier albums to see if they have a similar depth that has always been lacking in the singles that I’ve heard.

Now, having enjoyed the album, I still don’t think it should have won, or even been nominated for, Best Rock Album. Their music is Pop, it is not the type of music that the Rock category was created to recognize. It’s a musical “which one of these doesn’t belong?” that any first grader could figure out. Kings of Leon, Metallica, The Raconteurs, Coldplay, Kid Rock. Coldplay doesn’t belong, and I give the award to The Raconteurs for Consolers of the Lonely. 

I have to hand it to Chris Martin, though. During the acceptance speech for this particular award, he admitted that the band’s music may be a little soft for this category. They’re more like limestone. Which made me laugh, since it’s the exact same analogy he used during his wacky (for lack of a better word) interview on 60 Minutes that aired right before the Grammys. 

So congratulations Coldplay on two very well deserved Grammys and one not so very well deserved Grammy.

Yes…we are 12 days into 2009, but I wanted to give the music of 2008 all the credit it deserved…meaning I had a top 9 list forever and couldn’t find any CD deserving of being in my top albums of the year…until now.   I know there’s no such thing as “the best album”…music is subjective…but I judge based on two things.

1-How much I want to listen to them.
2-  The level of skill, talent and creativity…but note this-creativity that you don’t want to listen to is wasted in my mind.

So here they are…my favorite albums of 2008…(if you click the albums, you can listen to them for free)

10: Girl Talk Feed the Animals
This is probably the most random appearance on my list, but I can’t get enough of this CD.  I’ve never heard mashups that are so original and flow so well.  While I’m not a huge fan of vulgar rap, the way it’s used here actually makes it bearable to listen to. If you’re looking for something to get the party started…or keep the party going…check out this CD…before this guy gets sued for stealing everyone’s music…and doing it so well.

9.  Counting Crows Saturday Nights & Sunday Mornings
I know I’ll lose any indie or rock cred I have for this pick, but this was a great CD…well written, well executed, and it makes you want to party and cry all at the same time..which I wouldn’t suggest doing, because you don’t want to be that girl (or guy).  The point is, there’s a lot of emotion in this album and you can tell they took their time to make it right.

8.  Eric Hutchinson Sounds Like This
This was a pleasant unexpected surprise this year.  This guy’s opening for O.A.R., and his single “Rock & Roll” is hittin’ the airwaves everywhere, but who knew this guy could write such a rockin’ blues inspired record?

7.  The Raconteurs Consolers of the Lonely
My old roommate burned me a copy of their last album and I couldn’t even listen to it all, because I just didn’t care for it that much.  Imagine my surprise when I couldn’t take the new CD out of my car for weeks.  Jack White and the rest of the band really nailed it on this one.

6.  Koufax Strugglers
I know what you’re thinking…”who??” But every top 10 list needs the random indie band that no one’s heard of (some have more than others).  I’ve combed multiple top ten lists and listened to tons of random indie crap that people thought was the best of the year, and I still couldn’t fill in the missing place of my top 10.  iTunes Genius sidebar actually turned out to be pretty awesome on this one…Koufax came out of nowhere and just blew me away. I knew I’d love this CD after the first 3 notes of the first song.  I’d describe Koufax as being somewhere between Spoon and Cold War Kids with a splash of Margot & TNS&S thrown in for good measure…give it a try, it’s some delicious indie goodness for your ears.

5.  TV on the Radio Dear Science
If Rolling Stone got one thing right this year, it was putting this album at the top of their list.  While it wasn’t my top favorite, there’s no denying the creativity on this album is pretty f’ing awesome.

4.  Michael Franti & Spearhead All Rebel Rockers
I saw these guys at Street Scene and was an immediate fan.  When I saw they had a new album on someone else’s top ten, I got as giddy as a 10 year old girl.  Once I heard this, I knew it was something that my ears have been missing for awhile.  If you’re a fan of Ben Harper, and you haven’t heard this guy, you’re gonna love him.  This music is fun, and still full of great messages and a lot of heart.

3.  People in Planes Beyond the Horizon
If you want to rock, but found this year a little disappointing, People in Planes are sure to fill in that gap.  Every time I hear this I want to jump around my car like some chick from an 80’s Motley Crue video…which is almost as entertaining as this CD.

2.  Santogold Santogold
This CD was amazing and anyone who’s been in my car in the last year has heard it, over and over.  Perfect CD for the summer especially, and something truly unique, but still catchy as hell.  If you haven’t heard this…wtf are you waiting for?

1.  Kings of Leon Only by the Night
It should be illegal to listen to this CD as much as I have.  You’d think I’d get sick of it, but every time I hear it, I just love it more.  Kings of Leon really got it this time.  There aren’t words to describe how amazing every song is on this album is…it truly is a musical orgasm…and the best one of the year…

10. The Black Keys – Attack & Release

Dan Auerbach is the year’s worthiest bluesman, having proved his mettle time and time again with a slew of sleeper blues albums over the past seven years. Along with drummer/producer extraordinaire Patrick Carney, he is a consistent source of noteworthy rock and roll.

There’s a touch of ambition evident here: hearing the acoustic slow-burn start to “All You Ever Wanted,” one can’t help but recall Zeppelin when the swell finally comes, and the fuzzed out guitar makes space for a righteous blast of the organ. The bluesy banjo and old-timey piano cameos, along with the ghostly harmony parts in “Psychotic Girl” are spot-on, providing that much needed atmosphere to paint the miasmatic scenes. There’s even some Tull-esque flute featured in “Same Old Thing.”

Though Attack and Release is by far the most instrumentally resourceful album from the band yet, it doesn’t cease to impress with more traditional tracks like “I Got Mine,” the guitars grinding it out with growls and howls aplenty. It’s certainly not an unwelcome change, nor a terribly dicey one; after all, the star of the show is still Auerbach’s ragged wail.

If the first four tracks of this album don’t boil your blue blood, it’s time to give the genre up.

Recommended tracks: “I Got Mine;” “Strange Times;” “Psychotic Girl”

9. The Walkmen – You & Me

You & Me bounces along on a deft bassline at the start of “Dondé está la Playa” and doesn’t stop impressing until the abrupt ending of “If Only It Were True,” rambling through 51 minutes of jangly, sweet indie rock with style abounding. Lead singer Hamilton Leithauser even channels a bit of Frankie Valli on “Canadian Girl.” To seemingly contradict this, he grips his microphone as if it could fly from his grasp at any moment, cocking his head and baring teeth to eke out the high notes. For a voice that intones a certain stately composure, his presentation is patently unaffected.

Listening to The Walkmen is enjoyable partly because they write great pop music, but more so because they play it with such care. Their harmonies and horns are never gratuitous, and the band orchestrates its stops with the song’s best interest at heart (“Red Moon”).

Take “In The New Year,” for example: the ringing and breaking chorus is a lulling delight; the agogic tension between the drums and the rest of the band is truly masterful. While the band is basically working variations on a theme, they’ve more than proven that they are capable and hardy balladeers. They’ve bested A Hundred Miles Off and given Bows + Arrows a run for its money, if not surpassing it altogether, with this excellently mature album.

Recommended tracks: “Dondé está la Playa;” “In The New Year;” “Red Moon”

8. Eagles of Death Metal – Heart On

The Eagles of Death Metal’s third album is by far their slickest, but with their over-serious approach to making funny and catchy rock and roll, it fits the bill better than expected. Tracks like “Secret Plans” and “Prissy Prancing” reflect the band’s first record in a glammier sense, but thankfully the band wisely strays from overdosing on ProTools. Jessie Hughes and Josh Homme ironically shoot from the hip concerning their silver tongues: “ask me if I can be true / ask me where I’m going to / I say I love you but you ought to know / I only love the night and I’m always on the go / I’ll tell you anything, baby, except the truth.”

Of their three albums, Heart On shows the most evidence of Homme’s touch. You’ll hear his ghostly background harmonies haunting the intro of “WannaBe in L.A.,” but the songs are all still Jesse’s, with his simple trademark blues guitar forming the backbone of nearly every tune here. It speaks volumes that the songs can all be stripped down to guitar and drums alone, and therein lies the beauty of the Eagles: these are two guys who know how to play off each other’s strengths. With every record, the Eagles threaten Homme’s day job in Queens of the Stone Age; Josh’s enjoyment of Heart On is unmistakable, and he doesn’t even really sing lead or play guitar in the studio. Even wife Brody Dalle cameos haggardly on “Cheap Thrills.”

Though nothing may surpass Death By Sexy, the Eagles are still in fine form. And while they may not be the original Eagles, they write dirty rock and roll like they invented it. Heart On is gleefully peppered with antics that would make Glenn Frey blush. You know where to go to get your buzz.

“Anything ‘Cept The Truth;” “(I Used To Couldn’t Dance) Tight Pants;” “Secret Plans”

7. TV on the Radio – Dear Science

He’s a what, now? Well, he’s a newspaper man, to be sure. That seemingly off-the-cuff lyric from “Dancing Choose” seems somehow to typify TV on the Radio; their constant struggle as New Yorkers is to echo the front-page atmosphere of dissent in our present political climate. This, of course, is supplemented with more standard fare (“Make Love All Night Love”).

There’s always a mixed bag of blips and bleeps on any TV on the Radio track, but the markedly mature thing about Dear Science is its evident pop sensibility (“Dancing Choose,” “Golden Age,”). To qualify that: Tunde Adebimpe’s vocals take some unpacking, but frankly the arrangements are a strict (and stark) improvement over Return to Cookie Mountain. That is not an altogether simple achievement, granted the hard-earned critical reception to their 2006 release.

Whether or not TV on the Radio has seen their magnum opus in 2008 is certainly a point of contention. One point that can’t be disputed, however, is that this is their first non-hideous album cover, a fact the indie music scene celebrates with palpable vigor. Although its terse electronics and seemingly heavy-handed facade make Dear Science a challenge, the parental wisdom you have stored in the recesses of your brain finally resounds all-too clearly: nothing good ever comes easy.

Recommended tracks: “Halfway Home;” “Dancing Choose;” “Stork & Owl”

6. Vampire Weekend – Vampire Weekend

Rather unceremoniously crowned “the whitest band” by blogosphere socialite and author Christian Lander, it’s easy to see how a newcomer might be hesitant to dip their toes. In reality, however, Vampire Weekend have penned and plunked out some of the most markedly black (well, that is to say, “African,”) music of the year. With its layered polyrhythms (“Cape Cod Kwassa Kwassa”), and call-and-answer harmonies (“One (Blake’s Got A New Face)”), it’s almost a spiritual successor to Graceland.

Weekend’s members having met while studying at Columbia University, their lyrics and music exude youth and the carefree university conduct, going so far as, tellingly, to have named a song “Campus.” But all this is lost on the 34 minutes of jangle-pop bliss that is Vampire Weekend, because in truth, the audience cares less about how they did it, as long as they keep doing it. The media, as well: even for one of 2008’s most feted debuts, a number of TV spots and a movie soundtrack feature is not a bad dash of press.

“Mansard Roof” is a deceptively fitting opener, starting with naught but a modest key intro and Ezra Koenig’s agile baritone. Soon the string arrangement gives way to a rambunctious drummer and skittering guitar tremolos, succinctly and perfectly expressing Vampire Weekend in a single track. They’re seeing the tops of those houses now, unquestionably.

Recommended tracks: “Oxford Comma;” “Cape Cod Kwassa Kwassa;” “One (Blake’s Got A New Face)”

5. Portishead – Third

Portishead are quite plainly masters of atmosphere, relentlessly crafting arresting constructs of electronic wonder and looped guitar until Third’s intermission, “Deep Water,” offers some stripped-down antique flavor. As with Portishead’s every go, the band has proved themselves capable of getting their hooks into the listener simply by drawing the tension out. Adding bit by bit, they tease and tack on weight until the mammoth tunes appear ready to collapse under their own weight.

One of them does, in fact – “Silence” merely cuts off just before the five minute mark, ostensibly to keep it from spiraling right into oblivion. Beth Gibbons’ fragile lament enters a full two minutes after the band has wound the song into a tight, dark, coil. Just as the opener for Third threatens to run out of steam, a new descending guitar line breathes aching life into a plaintive mass of torment. It may not exactly be a trailblazer of an album, but as we’ve seen that in the past, some of the best albums are perfecting, not pioneering.

Emotive and evocative, Third was worth the decade wait.

Recommended tracks: “Silence;” “Hunter;” “Magic Doors”

4. Bon Iver – For Emma, Forever Ago

Every year, we get some folk gem of an album that promises to be the new folk bible for the next ten years. Iron and Wine, Kings of Convenience, Andrew Bird, Joanna Newsom, Devendra Banhart — all have come in and quietly shaken things up just the past five years. The latest product of our pressing times is Bon Iver, the pseudonym for Justin Vernon, a pretty unassuming-looking twenty-seven-year-old from Wisconsin.

The recordings on Emma may be rudimentary in spots, but that’s certainly part of its charm. The buzzing sympathetic string in “Flume” and the flimsy Silvertone guitar timbre throughout may suggest an amateur, but Vernon writes and arranges like a pro, and his unique vocal manner can rouse the listener gently even at a fast clip (“Lump Sum”). And although the trappings are rural and the subject interpersonal, the rambling “For Emma” is startlingly theatrical, with its cryptic narrative detailing tender heartache. To the careless listener, “Re: Stacks” won’t betray its true meaning, but when introducing the song, Vernon is more than forthright concerning his destitute dealings: “There’s a black crow sitting across from me / his wiry legs are crossed / and he’s dangling my keys, he even fakes a toss / whatever could it be / that has brought me to this loss?”

Even the setting is picturesque: the entire album was recorded in a small cabin in the sticks of Wisconsin. This is surely one of the finest folk albums of the year, boasting more than just the soul-baring lyrics and smooth crooning we’ve come to take for granted of late. If you’re at home amidst the distant swirls of chimney smoke and falling snow, For Emma, Forever Ago is your instant folk classic.

Recommended tracks: “Flume;” “The Wolves (Act I and II);” “Re: Stacks”

3. M83 – Saturdays = Youth

Nouveau 80s has taken a lot of interesting forms in the last year, but nobody channels the era of cultured pop electronica quite like M83. Still, this is no rehash of Mr. Mister and Depeche Mode, and with the band still being the work of Anthony Gonzalez alone, it’s downright impressive.

“You Appearing” is a wistful and weighty opener, setting the mood with an airy vocal refrain before giving way to the triumphant anthem “Kim & Jessie.” The textures at work in these two tracks alone are trembling with energy and ardor, and take listens upon listens to fully uncover. At this point, however, the album is really only warming up. By the time Saturdays approaches the revolving instrumental epic “Midnight Souls Still Remain,” the eleven minutes of calm it provides are the only way to wind the record down properly. For a Frenchman, this album was crafted inside a bubble of a surprisingly American aesthetic: “death is her boyfriend / she spits on summers and smiles to the night / she collects crowns made of black roses / but her heart is made of bubble gum.”

The really spectacular thing about M83 is that Gonzalez sees tone as a means to an end, rather than an end in itself. This allows him to paint some terrific songs using his arrangements as a hue on his palette rather than as the medium itself, as so many of the post-rock and indie bands nowadays do. The result is a staggering, surprisingly hopeful album that positively shimmers with grandeur.

Recommended tracks: “You Appearing;” “Skin Of The Night;” “Graveyard Girl”

2. Fleet Foxes – Fleet Foxes

While this may be the most overhyped album this year, Fleet Foxes is certainly no slouch. Given its rather pastoral setting — look at the cover, for Pete’s sake — this album looks as if it’s cut from folk cloth and ready to give Sam Beam a thrashing. In the end, however, this humble giant is unfiltered pop, with its gorgeous harmonies and fetching choruses — a true sing-along album from a prodigiously talented group.

To date, Fleet Foxes has sold over 200,000 copies, which is nothing short of an indie music miracle, but also speaks to the universal allure of the music. It’s quite a benchmark for a band of their appeal, and certainly a record for their label Bella Union.

Although the album is as cohesive as any of those listed here, the strength of its individual tracks is impossible to deny. “White Winter Hymnal” is an instant classic, with its pleasant gospel sway and 60s-era guitar riff; it’s a full-fledged pop-folk gem. “Oliver James,” a gentle acoustic ballad, is one of the superior album closers of the year.

What’s good in 2008? A band that plays music for the love of music, releasing a killer debut that can’t possibly be surpassed with a sophomore effort. What’s better? God bless them, they do it justice on stage. The inescapable downside? As mentioned, they are in their honeymoon. Here’s hoping their dedication to the craft doesn’t take a nosedive when the garbage has to go out.

Recommended tracks: “White Winter Hymnal;” “Ragged Wood;” “Oliver James”

1. Shearwater – Rook

Not everyone in the music business is trying too hard. At the end of the day, there are loads of people who want to make beautiful, creative music, but with the lengths that “indie” music has stretched the past few years, in some cases it’s been a race to see who’s going to hit the next gold mine. Refreshingly, Rook shivers with the fervor and panache of an imaginary world, rather than the deepest exploits and sullies of our own.

Rook embarks with an apropos crash from “On The Death Of The Waters,” and the avian drama “Rooks” is likewise crackling with energy. It’s when the album first pauses in the repose of “Leviathan, Bound,” however, that it is so firmly established as the finest album of 2009; it’s the best song released this year. Accompanied by the artful hammered dulcimer drone, the melody of “Leviathan” is a vitreous aperture into the deep of vocalist Jonathan Meiburg’s theatre. The magic and myth spoken of here — and indeed, throughout the album — immediately abstracts Shearwater: this kind of material would utterly reek of camp and bombast coming from any other artist; Meiburg’s voice empowers the theme rather than parodying it.

What separates Shearwater from all others this year is their magnificent and effortless capture of poetry within paean: “my winged children, all / will fly over the mountain wall / to the lid of the sky / and slice its belly full wide / with their warm knives.” Rarely do you see any artist so seamlessly blend their songwriting with their medium. The pacing, too, is noteworthy: by the time the album approaches the steaming and fang-ridden centerpiece “Century Eyes,” a full five tracks of cat-and-mouse dynamics have drifted by like ships in the night, and the sudden change is at once both unexpected and welcome. The sole voice resounding, “tear it off!/tear it off!” easily outshines the thick vocal arrangements of the neo-Wilson era, at least in 2008.

It was once said that writing about music is like dancing about architecture. When one hears Rook and is enveloped by its subtle craft and careful arrangement, they encounter a consonance with the distant haze of this other world, and are ineffably satisfied.

Recommended tracks: “Leviathan, Bound;” “Century Eyes;” “The Snow Leopard”

Honorable Mentions:

Mogwai – The Hawk is Howling

More classic, spacey tension from some of the best in their field. Mogwai continue to impress with impassioned performances and thundering dynamics. If instrumental music continues to push boundaries the way bands like this one (and Sigur Ros, Eluvium, Ratatat, Lightning Bolt, Explosions In The Sky, etc.) have, we have a lot to look forward to.

Recommended tracks: “I’m Jim Morrison, I’m Dead;” “I Love You, I’m Going To Blow Up Your School;” “The Precipice”

Wolf Parade – At Mount Zoomer

Much as the cover of this album is a collaboration between two artists, Wolf Parade’s songwriting and singing are shared duties, which brings a refreshing duality to their albums; Krug’s reverbbed voice and tinkling keys (“Bang Your Drum”) against Boeckner’s unfettered vocals and riffy strummings (“The Grey Estates”) make for an album that doesn’t overstay its welcome in any one area.

At Mount Zoomer is hardly a sophomore slump to Apologies to the Queen Mary, and “Soldier’s Grin” is among the best songs released in 2008.

Recommended tracks: “Soldier’s Grin;” “Call It A Ritual;” “Bang Your Drum”

Shugo Tokomaru – Exit

Dense and layered, Exit is a great pop album that certainly bears the marks of a Japanese pop artist, with its wide spectrum of instrumentation, peppered English phrases, and tight production. This album doesn’t smack of J-Pop, however, and shouldn’t just appeal to that crowd. It falls closer to the production style of Quruli or Kazuyoshi Saito, in that it’s best described as great music that’s simply sung in Japanese.

Recommended tracks: “Parachute;” “Green Rain;” “Wedding”

Elbow – The Seldom Seen Kid

Elbow have a great record on their hands. It’s not only got really great songcraft and tremendous vocal work from bandleader Guy Garvey, but it’s got — for a late-career pop record — some of the most unusual and creative timbres in terms of accompaniment; it’s a heartening thing to witness when so many groups attempt to compensate for a lack of clear artistic direction with “heart” and “maturity.” This smart Britpop album is virtually brimming with romance and heartache, and is well worth a listen or two.

Recommended tracks: “Mirrorball;” “An Audience With The Pope;” “Friend of Ours”

Ratatat – LP3

LP3 is somewhat less wide-appeal than Ratatat and Classics, which feature a lot of straight-ahead layered guitar parts with some truly stunning harmonies. Instead, the Brookyln-based duo has opted to plant one foot firmly in some experimental polyrhythms and tones (“Mumtaz Khan,” “Mirando”) before tearing the guitars out and shredding. Notably, “Imperials” has some beautiful key pyrotechnics not previously seen on any Ratatat record.

As a result of these things, the album might perhaps be less danceable as their previous two, but certainly not any less rich. The tracks also tend to be shorter, which is an improvement, being that some of the four- and five-minute tracks on early songs started to lose steam on those late-breaking choruses. LP3, by comparison, doesn’t linger too long; it’s an album of evident maturation for Ratatat.

Recommended tracks: “Falcon Jab;” “Mirando;” “Imperials”

The Week That Was – The Week That Was

A thoroughly ambitious and raucous debut from a great band. There’s a lot of great cohesive energy on The Week That Was that flows in abundance from their live shows, as well. Sharp call-and-answer and intertwining strains of shadowy harmony characterize the entirety of the album; it’s a horror-tunnel of rich textural interplay. Although sadly it appears to have been overlooked by the greater critical community, you’re better informed than they are, aren’t you?

Recommended tracks: “Learn to Learn;” “The Good Life;” “Scratch The Surface”

The Raconteurs – Consolers of the Lonely

The Raconteurs are among the best remaining rock and roll bands in America. Songwriting duo Brendan Benson and Jack White are steeped in talent, penning straight ahead rockers (“Salute Your Solution,” “Attention”), bluesy jaunts (“Top Yourself,” “Rich Kid Blues”), and even a six-minute rural southern epic (“Carolina Drama”). The visceral punch lacking in Broken Boy Soldiers is found here, as the Greenhornes’ rhythm section is better-represented. It really gives the music some meat to back up the screeching wail of the guitar solos. While this group may echo Stripesman White more than anyone else, it feels like the muscular work of a band having fun as the great songwriters that they are.

Recommended tracks: “Consoler Of The Lonely;” “Salute Your Solution;” “Attention”

These aren’t really in any order, although I’ll say that my top two are Attack and Release by the Black Keys and Consolers of the Lonely by the Raconteurs. As you can tell from my best shows post, I really felt like these two bands were on top of their game this year.

Attack and Release - The Black Keys

Consolers of the Lonely - The Raconteurs

808s and Heartbreak - Kanye West

Mission Control - The Whigs

Paper Trail - T.I.

Wrecking Ball - Dead Confederate

Only By The Night - Kings of Leon

Brighter Than Creation’s Dark - Drive-by Truckers

Tha Carter III - Lil’ Wayne

The Raconteurs - Consolers of the Lonely

This is one of my favorite tracks from the #9 album on my Best of 2008 year-end list: “Salute Your Solution” by The Raconteurs…

BOOM.  New Thursday song is up on their MySpace page and it’s a real scorcher.  Very, very promising stuff.  I command thou to go listen to “Resuscitation of a Dead Man” right now, right here.  And listen to “Ladies and Gentlemen: My Brother the Failure” once more while you’re there.  Because, wow, that’s still as awesome as it was when it came out.  So, go on.  Scoot.

Go!

Okay, you’re back? Cool.  Did you know that Radiohead has a video for “Reckoner”?  I had no clue.  Well, they do and it’s one of my favorite songs from the Grammy nominated (as if you care) In Rainbows.  Here it be:

It turns out there was an entire contest back this summer to create an animated video for one of their songs.  How does this stuff not make my radar?  Anyway, here’s a link to the contest page and here’s one to the first of at least five pages of submissions.  There are 45 videos on each page.  That, my friends, is some serious animaniacs…

Lastly, I mentioned the White Stripes yesterday and while I freely admit I’m not a full-time congregational member of the Church of Jack White (I dabble occasionally) I did run across something the other day that made me raise an eyebrow.  The Raconteurs did a bluegrass version of their song “Old Enough” off of their latest Consolers of the Lonely.  The song features Ricky Skaggs and Ashley Monroe and you can watch the video right here:

I have to give Jack credit.  He can pretty much do whatever he wants right now and get it released and get the attention of the mainstream press.  And clearly he’s taking advantage of that.  But I wonder if there’s a point of oversaturation or overcollaboration where the novelty of seeing him with someone unexpected wears off.  Remember when the Super Bowl half-time show organizers went through that horrible phase where they would just put fifteen random musicians on stage and have them bumble through some horrible medley or cover tune?  It was as if they were just counting on us going “Oh my God! It’s Steven Tyler and Joe Perry with Justim Timberlake, Dave Navarro, Mary J. Blige, Tony Bennett, and P. Diddy!!”  But that excitement only lasted those first few moments before they started playing and then it was just “Oh my God. It’s Steven Tyler and Joe Perry with Justin Timberlake, Dave Navarro, Mary J. Blige, Tony Bennet, and P. Diddy.  This. Is. Horrible.”

So, yeah.  I hope that doesn’t happen with Jack.  More tomorrow…

The Raconteirs - Consolers of the Lonely

Pas tadi baca artikel di majalah music dunia, gue dapet berita kalo The Raconteurs baru ngeluarin videoclip untuk single kedua mereka dari album terbaru Consolers of the Lonely. Jadi gue berpikir, kenapa ngga gue review aja albumnya. Kebetulan beberapa hari yang lalu gue dikasih albumya sama temen gue.

Well, setelah gue dengerin, musik2 di album ini bener2 unik dan beda. Jauh kalo dibandingin sama Steady As She Goes di album pertama… Gue sendiri belom punya album pertama mereka, jadi gue belom bisa ngasih perbandingan sama album pertama mereka Broken Boy Soldiers. Tapi setelah beberapa lagu gue denger, musik yang mereka bawain bener2 beda…

Single pertama Salute Your Solution, bernuansa rock n roll yang asik banget. Beatnya enak walau sederhana saja… Yah ngga jauh beda sama musik The White Stripes sih… Single kedua, Many Shades of Black bisa dibilang lagu yang unik banget. Dibuka dengan agak nge-rock, namun begitu intro selesai, tiba2 nuansa lagu berubah menjadi slow, agak sedikit mirip lagu balad sih… Ato mungkin lebih ke nuansa theatrical dengan sedikit unsur country. Sedangkan single terbaru mereka, Old Enough, ini lebih mirip ke lagu country, lengkap dengan permainan biola ala musik koboy… Hehehe… Tapi enak banget kok. Walau agak jauh dari rock…

Overall album ini enak dan ngga cuma buat penggemar musik rock aja. Gue udah cukup ngengkapin rasa salut gue buat Jack White. Dan kayaknya kredit khusus juga harus gue kasih buat Brendan Benson. Permainan gitarnya duet dengan Jack White, bikin semua aransemen di album ini enak banget… Beberapa mungkin terdengar aneh dan sangat variatif… Tapi sama sekali ngga ngerusak lagu. Beberapa lagu yang bisa gue rekomendasiin selain ketiga single tadi, Consolers of the Lonely dan Hold Up. Hehehe.. Kalo udah denger pasti tau kenapa…

Track List

1. “Consolers of the Lonely” – 3:25
2. “Salute Your Solution” – 3:00
3. “You Don’t Understand Me” – 4:53
4. “Old Enough” – 3:57
5. “The Switch and the Spur” – 4:25
6. “Hold Up” – 3:26
7. “Top Yourself” – 4:25
8. “Many Shades of Black” – 4:24
9. “Five on the Five” – 3:33
10. “Attention” – 3:40
11. “Pull This Blanket Off” – 1:59
12. “Rich Kid Blues” – 4:34
13. “These Stones Will Shout” – 3:54
14. “Carolina Drama” – 5:55

Titolo: Salute your solution
Autore: The Raconteurs
Album: Consolers of the lonely (2008 )

Si sono esibiti il 9 luglio a Ferrara e si scateneranno sui palchi di mezzo mondo per tutta l’estate. I Raconteurs sono stati annoverati tra le cosiddette “band ricreative”, ossia quei supergruppi costituiti da illustri esponenti del mondo della musica come “rifugi disimpegnati” rispetto alla logica stringente della ricerca del successo e all’ossessione del numero di copie vendute. Fondatore della band è infatti il frontman dei White Stripes, Jack White, affiancato dall’amico cantautore Brandan Benson.

Consolers of the lonely, fresco di sala di registrazione, è il secondo lavoro dei Raconteurs, dopo il felice esordio nel 2006 con Broken Boy Soldiers. Proprio perché “in vacanza”, la band dà il meglio di sé, divertendoci e travolgendoci con 14 brani di rock puro.
Salute your Solution, singolo di lancio, è un pezzo garage dirompente, con un incisi e cori a contrasto.

Link: sito ufficiale; pagina MySpace

Na das kam unerwartet. Bis vor einigen Wochen war nur bekannt, Jack White hat sich wieder mit Brendan Benson und den Greenhornes ins Studio eingeschlossen und werkelt am zweiten Raconteurs Album. Als voraussichtlicher Release-Termin wurde irgendwann 2008 in Aussicht gestellt. Nun am 18. März eine simple Myspace-Bulletin, “Consolers of the Lonely our second studio album will be released March 25th”.

“Consolers of the Lonely” eröffnet mit einem typischen Raconteurs Song, heißt man wirft Brendan Bensons Gitarrenpop und seine Beatlesvernarrtheit zusammen mit dem Bluesrock der White Stripes und einer Prise Led Zeppelin in einen Topf, rührt kräftig und heraus kommen die Raconteurs. Das dass funktioniert bewies ja bereits das Debütalbum “Broken Boy Soldiers”. Wenig überraschend eigentlich auch bei zwei so begnadeten Songwritern. Das Album hält was es verspricht, es stampft, schnaubt, hält bei deutlich von Brendan Benson geprägten Songs auch ein wenig inne und versetzt ins Schwelgen. Das ist vielleicht auch das einzige, was man den Raconteurs vorwerfen kann, man merkt einfach ganz deutlich, welche Songs Brendan geschrieben hat, hier gehts dann in die Beatles Richtung und welche Songs Jack geschrieben hat, hier klingts dann nach den White Stripes. Das ist aber nicht schlimm, da sich alles trotzdem zu einem Gesamtkonstrukt zusammenfügt und nicht zu einer Compilation aus Einzelstücken von Brendan Benson und den White Stripes “verkommt”. Keine deutliche Weiterentwicklung zum Vorgängeralbum aber eine konsequente Weiterführung, will heißen es fügt sich nahtlos in das ein, was man von den Raconteurs kennt und erwartet. Klingt jetzt eventuell etwas negativ, ist es aber nicht, da man dem Album deutlich anmerkt, dass beide Songwriter alles gegeben haben uns ein paar kleine amerikanische Bluesrockgeschichten zu erzählen, die man auch gerne immer wieder hört. Im Übrigen, hübsches Albumcover.

Iain WhiteTapes

All right, I noticed that a lot of blogs are doing their ‘best of 2008…so far’ lists about now since we’re half way through the year, so I’m gonna blindly follow suit.  Well, maybe not so blindly, since I’m gonna allow you to share stuff that you got this year…but didn’t necessarily have to have come out this year.  But it can be new too.  Whatever you want, because Sh*t L*sts are all about YOU!

So my list is probably gonna be a mix of new and old, cuz that’s just where I’m at.  Just click on through after the MGMT album pic below to see my list (which I’m starting to compile in my head as I write this), and then leave your list in comments.

Here’s mine (in no particular order of importance):

* MGMT – Oracular Spectacular (amazing new band and album from 2008, totally my cup of meat…get it now if you don’t have it!)

* MAN – Slow Motion (this is like MAN’s Sgt. Pepper’s if you ask me…it’s originally from 1974, but I just started hearing it a month or so ago)

* Animal Collective – Water Curses EP (I always love their stuff and this new EP is classic AC)

* Black Mountain – In The Future (psyched-out, folked-up, prog-metal…from 2008 )

* Howlin’ Rain – Magnificent Fiend (my kinda explosive West-coast noodly psych rock from this year…love this band!)

* Bryan Scary and the Shredding Tears – Flight of the Knife (you’ve probably heard me sing these guys’ praises already…they’re like a modern day hard-rockin’ ELO!)

* Duffy – Rockferry (what a voice on this girl…and I love the music too…the song ‘Rockferry’ actually has a guitar solo!  New soul that sounds old.)

* MAN – Maximum Darkness (sorry to repeat a band, but these are my new favorite cats!  This live set is from 1975 and the band is joined by Quicksilver’s John Cippolina…amazing live music)

* Mudcrutch – Mudcrutch (Tom Petty’s pre-Heartbreakers band has reunited and released an amazing new album…and if you haven’t seen the Petty doc Runnin’ Down a Dream, you really should!)

* Raconteurs – Consolers of the Lonely (Better than their first.  Rock!)

Now show me yours…

It took me a while, but Consolers Of The Lonely has grown on me. Quick hitting, powerstance rock and roll. This video is no different. Unassuming at first, than mildly appealing, and finally becoming a visceral rock fest. Check it out.

Uma mistura de Blues, rock n’ roll com cheiro de mofo, country, uma certa melancolia e excelentes arranjos o The Raconteurs está de volta. Melhor ainda.

Superar o álbum de lançamento é um desafio para a maioria das bandas, mas me parece que não foi para esse grupo americano. O disco Consolers of the Lonely ficou excelente. O estilo único de Jack White, está mais presente do que nunca. O instrumental do disco faz uma fusão de estilos musicais americanos, e isso soa com uma naturalidade impressionante. É possível perceber nitidamente a influência de bandas de rock dos anos 60 e 70, como Led Zeppelin, do country (o violão folk, está presente em algumas músicas) com arranjos típicos do estlio e R&B.

O disco, com certeza será um marco na carreira do The Raconteurs. Me parece que eles conseguirar fazer o que pretediam desde o começo, e nesse álbum fizeram muito bem feito.

Escutem The Raconteurs.

Abraços.

Woah. Cryptic post title. Yeah. I think it’s time to add a few more albums to my running list of 2008 highlights.

Hercules and Love Affair (self-titled)

There was a time when I hated Antony and the Johnsons. Hated. My mind was completely unaccepting of Antony’s vocals and bewildered at the praise their last album received. Then I started to soften, I gave the album a few chances (Antony and The Johnsons’ I am a bird now). I don’t know why, but over a period of at least twelve months I grew from disgust into utter infatuation. It is a masterpiece. And I finally appreciated Antony Hegardy’s style for the genius that it is. Which is why I was so surprised that I didn’t notice this album until it was out. Antony appearing on a dance album? Released by DFA (record label with a golden touch, and the American home of my beloved Hot Chip). The album is the work of a DJ named Andrew Butler, who I’d never heard of, and features Antony on literally every second track. And it is fucking brilliant. The most apt way to describe it would be to invoke the usually unmentionable ‘disco’ moniker. But musically, it’s quite varied. Opener Time Will sets the scene early, with Antony’s wail dominating by the end of the song. As my girlfriend’s housemate Kiki exclaimed to me when I said I was putting on some ‘disco’… “This isn’t disco… it’s afrobeat stuff!”. Perhaps, but then the guitars seem almost flamenco. And Antony’s presence indescribable. The next track is the real pleaser though. Hercule’s Theme being one of the albums five (out of ten) songs not featuring Antony. Yet, it manages to be one of my favourite on the album. Amazingly punchy and upbeat, with a female vocalist and amazing sax work. The saxophone makes many welcome appearances on this album. It shows the album isn’t dependent on Antony, and futher tracks only cement this point. It’s just great music all ’round. The album peaks at single Blind. Which is oh so good. If the public had any sense this track would be the mainstream breakthrough that Gnarls Barkley’s Crazy was last year. I could die.

DeVotchKa – A Mad and Faithful Telling

If you watched the wonderful movie Little Miss Sunshine (and lord knows i have several times) then you’ve already been introduced to this band, as they did the majority of the soundtrack. Musically, in my mind they’re some glorious blend of Arcade Fire, Gorgol Bordello, Sufjan Stevens, and Clap Your Hands Say Yeah. But entirely unique in their own way. It’s sort of gypsie meets indie rock meets something else. The vibrato heavy vocals are very very distinctive, and the instrumentation is lush and varied. In fact, I was laying in bed listening to this album a few nights ago when it dawned on me that the bass lines are almost entirely performed by what I assume is a fucking bassoon. Correct me if I’m wrong. All in all, a very heartfelt album with amazing amazing instrumentation. Totally in it’s own league musically.

The Raconteurs – Consolers of the Lonely

I can say without any hesitation Jack White is my favourite guitarist. He’s forced me to change underpants more times than anyone else. Orgasmic. This album came out of nowhere. And this time not because I was out of the loop, but because allegedly they gave no word to their label about its creation… just slapped it down one day and said ‘oh we made an album. release this bitch in a week’. Ok, maybe not an exact quote. But it was a nice surprise. Jack White is again joined by Brian Benson, and the rhythm section of The Greenhornes (who are a great blues band in their own right, check them out), but this is far far from a side project. It’s well and truly it’s own entity now. And it fucking rocks. If you can listen to the first two tracks without needing a change of pants than you are incontinent. As a bass player I may be biased, but holy zombie christ the bass tones on this album are so god damn ballsy. Gritty, dirty bass. Just how it should be. And with Jack’s amazing guitar, precise and crunchy drums, and the one-two vocal attack of Jack and Brian (who in my opinion actually seem to be sounding more like each other these days). Musically, it branches out too. Not just dirty blues-rock, but with many surprises along the way. The highlight for me being the amazing fiddle parts in Old Enough. And there’s plenty of great keyboard/organ parts throughout, also. And the fucking guitar, man.

Gnarls Barkley – The Odd Couple

And now the first of two albums produced by Danger Mouse. The man with the golden touch. Anyone responsible for the musical brilliance of Demon Days (by Gorillaz), The Grey Album (the Beatles v Jay-Z mash-up album that first brought him attention, both from music listeners and copyright lawyers), The Good, The Bad, and The Queen (by the Damon Albarn led band of the same name), and The Mask and The Mouse (his collaboration with one of my favourite rappers, MF Doom) deserves all your attention. But it’s his collaboration with Cee-Lo as Gnarls Barkley that unexpectedly defined his career. Cee-Lo Green (the soul machine) has been around for quite a while, but never gained the mainstream attention that the musically similar Outkast did. Just a tad too weird, perhaps. But together, they are an unstoppable force. And this album is no different. Musically, it is still quite similar to their debut St Elsewhere. It is however lyrically darker (and I already loved their ability to bring self-deprecation into the mainstream music community littered with egos and aggressive masturbation over the microphone), at times more stripped back (such as on the standout track Who’s Gonna Save My Soul?), yet at times way more busy (such as during bizzarre first single Run), and there are enough surprises to keep you hanging (the seemingly Celtic music inspired Going On, for example). In true DM style, the drums are amazing, the music is polished, and his trademarks are everywhere. If you liked their first, I can’t see any reason you would love this.

The Black Keys – Attack & Release

The Black Keys have always been a great blues-rock band ripping it apart in the mid-fi arena. Not quite lo-fi, but way too gritty to be considered anywhere near the mainstream as far as production value is concerned. A guitar & drums band. Which is why it was so surprising to hear that the aforementioned Danger Mouse had been roped into producing this album. It’s world colliding stuff here. The crisp, often simplistic style of DM clashing into the pure grit and gravel-rash of The Black Keys. But it WORKS. So well. I think the real key is that DM’s presence is distinct, but still subtle. It’s definitely the most polished sounding album of their career, but the dirt still remains. The gorgeous touches of DM do it wonders and expand their palette. His keyboard parts not overtaking, but wonderfully complimentary. See Psychotic Girl, for example. And the trademark vocal ‘oohs’ he seems to love. Basically, this unexpected collaboration seems to reflect amazingly well on both parties… two worlds working very well with each other. Far and away my favourite Black Keys release. And in true DM style, the drums seem crunchier too. If you’re a fan of either, I would not miss this one. Now if only we can get him to produce a fucking Hives album. Oh yes please.

¿Cómo mejorar, en tu segundo disco, tu notable primer disco? Preguntale a Jack White.

Cuando vos pegás un CD de la banda alternativa (es un decir) de un guitarrista de lo mejorcito que hay en la Tierra y donde este muchacho se dedica a guitarrear a lo loco y vas por la calle haciendo air guitar… significa que hay algo que está funcionando y mucho. Todavía subyugado por ese hermoso hit del 2006 llamado “Steady as she goes” (de su álbum debut: “Broken Boy Soldiers”) escuchamos “Consolers of the Lonely” como quien confirma varias cositas: la primera es cómo toca la guitarra Jack, el animal de los White Stripes (por si hacía falta aclararlo). La segunda es cómo canta, con esa vocecita que nos hace acordar a Jack, Brendan Benson, un notable de Detroit que, parece, ya era alguien antes de comandar el monstruo que comanda con Jack. Hacía rato (está bien, no soy 100% del palo) que no escuchaba rock tan poco condimentado y tan bien ejecutado. Gemas varias (aunque cómo ganarle a Steady as she goes, que tiene ese bajo tan protagonista, esas violas tan estelares y ese estribillo que mamita querida). Me quedo con “Many shades of Black”, que tiene un organito que no sé cómo sobrevive entre tanto virtuosismo pero que lo hace lindo además de esos cortes onda Zeppellin (pero no soy quién para semejante afirmación), y un estribillo apoyado con trompetas y toda la belleza en la garganta de Brendan. Excelente, excelentísimo segundo disco (no sé por qué, también me hacen acordar a los Manic Street Preachers: quizás la voz de Brendan, no sé). Leo por ahí que va camino a convertirse en uno de los mejores del 2008. Veremos dijo Lemos. Todavía falta. Pero sí que se esmeraron. E incluso, superaron lo anterior. Recomendable 100 por ciento.