1. What does RSVP mean?

RSVP, commonly used on invitations, is an acronym for the French phrase: répondez, s’il vous plaît, which means respond please. Not, respond if you please. It means to respond if you are coming or not, and to do so by a certain date. When drafting an invitation, don’t write “please RSVP”. It is redundant and sounds desperate.

2. What is the use of RSVP?

A properly executed RSVP is essential for a host to know who’s coming to their event. This is as important for a small gathering (a seated dinner) as it is for a large one (a wedding). It effects all aspects of the event planning; seating, menu, favors, arrangements, etc. Arabs love to wait until the last minute to RSVP. Sometimes, it is an innocent mistake. But other times, they delay their response in order to see who else is going or to keep the date free as long as possible (in case something better comes up). This delay causes great anxiety to the host who becomes frantic not knowing how many people will show up. Also, an Arab’s RSVP is not a guarantee that they will actually show up. Or they may show up with guests of their own. So when you invite 20 Arabs over for dinner, you can expect anywhere between 10-30.

Note: The people who RSVP properly (the same or next day of receiving an invitation) are usually the people who arrive on time.

3. What is evite?

In the post-postal age of the internet, electronic invitations (evites) have become the standard way to invite a group of people. This technological advancement saves time, money and the environment (a bit). It is very simple to use. If you receive an evite, just open the invitation and click whether you want to go or not. Done.

4. Why is the guest list closed for some evites?

Why should it be open? When you receive a traditional invitation in the mail, does it come with an attached guest list? In any case the open guest list option obviously does not work for Arabs. Since Arabs don’t RSVP until the last minute (see #2), no one will RSVP, because everyone thinks that no one is going to party, because the guest list is empty, because no one has RSVP’d yet. To avoid this vicious cycle, keep your list closed and ignore nosy people’s requests for guest lists.

5. Why should I care about RSVP’ing?

All Arabs complain to each other about their guests not RSVP’ing to an event. So everyone knows what it feels like, yet when they are invited somewhere they still don’t RSVP on time. FYI, here is what happens every time you don’t RSVP:

1. Your host freaks out.

2. Host will tell those who RSVP’d on time about those who didn’t.

3. You call last minute (after hearing that the party is going to be super-fun) to ask if you can still come. Frustrated host tries to sound gracious on the phone and says “of course”.

4. Host hangs up and calls all friends to tell them how rude you are.

5. Host proceeds to cook more food.

6. There is enough food at party (to last for days of leftovers). Because we all know Arabs will never run out of food at a party (future post).

7. What goes around come around. You will find yourself wondering 2 days before your party: will I have 20 or 50 guests? You freak out… Back to step 1.

6. What is the worst RSVP faux pas?

When you RSVP yes and then don’t show up. Host will only forgive you if you have a reasonable excuse. If this is a repeated offense, soon you will be socially isolated and no one will invite you, ever. Also, when you RSVP for a charity function without paying in advance and then don’t show up, the charity still has to pay for the cost of your ticket and you potentially took a space that could have been reserved for someone else. So, you could be responsible for a hungry orphan not getting her meal, because the charity had to pay for yours. Next time that happens, do the right thing and send a donation with an apology. The orphans will thank you.

So go, dig out your invitations from the junk mail pile, log into evite, and RSVP please (yes, I am desperate!) Or the karma police will get you…

I loath Stephanie Meyers “Twilight” books. And the movies. And the fact that they’re so undeservingly popular right now. (And the fact that this weekend the midnight showing of “New Moon” beat the Harry Potter’s opening night record…)

However, anything “Twilight” that isn’t directly related to the plot about mopey teenagers and sparkling vampires (don’t even get me started on my vampire rant) is pretty darn good. I’m talking about the soundtrack, the online marketing campaign, the brand – the whole franchise.

The Soundtrack

The soundtrack is full of really good indie rock musicians. But it bothers me to no end that Radiohead’s Thom Yorke wrote a song for the “New Moon” soundtrack. My only hope is that it will introduce all the young and impressionable listeners to some quality music. Hopefully they’ll at least listen to Yorke’s “The Eraser” or Radiohead’s “In Rainbows,” although I highly doubt a 12-year-old girl would find any of the tracks on “Kid A” very appealing.

Here’s the “Twilight” soundtrack:

1. Supermassive Black Hole (Muse)
2. Decode (Paramore)
3. Full Moon (The Black Ghosts)
4. Leave Out All The Rest (Linkin Park)
5. Spotlight (Twilight Mix) (MuteMath)
6. Go All The Way(Into The Twilight) (Perry Farrell)
7. Tremble For My Beloved (Collective Soul)
8. I Caught Myself (Paramore)
9. Eyes On Fire (Blue Foundation)
10. Never Think (Rob Pattinson)
11. Flightless Bird, American Mouth (Iron & Wine)
12. Bella’s Lullaby (Carter Burwell)

And the “New Moon” soundtrack:

1. Meet Me On The Equinox (Death Cab For Cutie)
2. Friends (Band Of Skulls)
3. Hearing Damage (Thom Yorke)
4. Possibility (Lykke Li)
5. A White Demon Love Song (The Killers)
6. Satellite Heart (Anya Marina)
7. I Belong To You (New Moon) (Muse)
8. Roslyn (Bon Iver and St. Vincent)
9. Done All Wrong (Black Rebel Motorcycle Club)
10. Monsters (Hurricane Bells)
11. The Violet Hour (Sea Wolf)
12. Shooting The Moon (OK Go)
13. Slow Life (Grizzly Bear)
14. No Sound But The Wind (Editors)
15. New Moon (The Meadow) (Alexandre Desplat)

The Online Marketing Campaign

Summit Entertainment exercised almost every online outlet to market “New Moon.” Its use of Twitter and iPhone apps were especially effective. A few of the actors also had very vocal Twitter accounts.

@Twilight – Twilight by Summit Entertainment
@Peter Facinelli – Dr. Carlisle Cullen
@BillyBurke – Chief Swan
@Ashley Greene – Alice Cullen

Facinelli and Burke also release their own iPhone App – which is kind of cool if you care about any of this.

The Brand

The “Twilight” brand is really well developed. The main font they use, “Zephyr,” was a great choice. It’s simultaneously cute and dark/edgy, which really fits the whole “Twilight” philosophy of taking scary, sex-infused things like vampires and watering them down to sparkly vegitarians that appeal to 10-year-old females. “Zephyr” is a perfect font for that.

The rest of the branding does the same thing: It takes images of cute teenagers, desaturates the images and puts a dark, hazy cloud behind them. “Look! We successfully made these kids look spooky and approachable at the same time! YES!”

—–

It’s just sad that all this cool stuff came from a couple of incredibly poorly written books with a flaccid storyline and boring, whiny, undeveloped characters.

WHAT IS MYSTERIOUS EXACTLY?! WHY DO SO MANY DIFFERENT WEBSITES OR NEWSPAPER ARTICLES DESCRIBE THE SOLO ARTIST AS “IN HIS OWN LITTLE WORLD,” “OUT THERE IN THE BEST WAY POSSIBLE” & MANY MORE SHADOW-LIKE DESCRIPTIONS THAT CREATE THE “MYTH OF THE MYSTERIOUS ARTIST WHO MAKES UNIQUE & COMPLEX NOiSE” – I HAPPEN TO LOVE THIS MUSIC BECAUSE I HAVE GROWN TIRED OF ALL THE “INDIE,” “HIPSTER” & “UNDERGROUND” BANDS THAT SOUND THE SAME AND MAKE AT LEAST TRES TRACKS WELL OVER 5 MINUTES LONG THAT THE MAIN MUSIC SITES BUST A NUT OVER EVEN THOUGH IT IS NOTHING EVEN CLOSE TO SPECIAL. FOR THEM TO LOVE RADIOHEAD IS A-OK BECAUSE THAT BAND CREATES MUSIC NOONE CAN TOUCH. THEIR B-SIDES THAT WEREN’T EVEN RELEASED BY THE BAND (8 TRACKS FROM IN RAINBOWS) USUALLY COMPARE SIDE BY SIDE AND SOMETIMES EVEN MURDER CERTAIN TRACKS OFF THE ACTUAL ALBUM. ANY OTHER BAND WOULD MAKE AS MUCH MONEY POSSIBLE OFF OF SONGS THAT WEREN’T ON THEIR #1 SELLING CD ACROSS THE WHOLE GLOBE (ON THE BILLBOARD CHARTS AFTER THEY SOLD MILLIONS OF DOLLARS OF CD’S FOR A PAY WHAT YOU WANT SCHEME 3.42 MONTHS EARLIER, WHICH ALSO LED TO BIG TIME ARTISTS SUCH AS JAY-Z & TRENT REZNOR TO FOLLOW SUIT) ~

SO, HE DREAMS AWAKE IS BASICALLY WHATEVER YOU WANT TO CALL HIM, BUT I HAVE FOUND 48 SONGS OF HIS AROUND THE INTERNET AND I LOVE ALL OF THEM IN THEIR OWN SPECIAL WAY.. CLOSE TO 50 SONGS RECORDED AND EVEN THOUGH HE DECLINES INTERVIEWS AND ALL THAT, I HEARD A PHONE INTERVIEW HE DID WITH AN INDIE WEBSITE/BLOG AND HE SAID THAT HE ISN’T TRULY HAPPY WITH ANYTHING HE HAS MADE UP TO THIS DATE AND THAT HIS DEBUT ALBUM WHICH IS HALFWAY COMPLETED IS LIGHT YEARS AHEAD OF THE SONGS PEOPLE CAN FIND RIGHT NOW. HE PLAYS BY HIS OWN RULES, MAKES SONGS IN THEIR OWN FORMULAS/KEYS/SCALES/FORMATS/ETC. & I WILL PROCLAIM HIM THE NEXT RADIOHEAD FROM ONLY HEARING THE 48 SONGS HE MADE ON HIS OWN.. IMAGINE IF NIGEL GODRICH PRODUCED HIS FIRST CD!! JEEZ LOUISE!! I JUST WANTED THIS IN PRINT. I LOVE YOU HDAWAKE! I LOVE YOU EVEN MORE RADIOHEAD!!

Proto and Xaphoon Jones make up the duo cleverly titled Chiddy Bang.  The group has been garnering national attention ever since a PMA feature on their song “Fresh Like Us” appeared back in February. They banged out hits for a few months including “Kids“, an impressivly sampled MGMT track, “Sooner or Later“, and “Because“, the sickest Radiohead sample I’ve heard to date. I was concerned for Chiddy Bang when there was a few month hiatus with no updates and no new tracks, but then a couple weeks ago The Swelly Express mixtape dropped. The guys came back way strong like Tom Brady for the Pats this year. Filled with some of the sickest beats I’ve heard gifted by Xaphoon and some real rhymes you can feel by Proto, this mixtape deserves some kind of honors. The guys take you on a journey from Philly to NY where they’re “trying to get the labels on while flaunting” as Proto would say. Honestly Xaphoon might be one of the best samplers I’ve heard since Kanye came out producing for the ROC. Also what other unsigned groups do you know that can get Black Thought (yes, The Roots MC) on a track? The definite stand out from The Swelly Express is the Sufjan Stevens sampled “All Things Go”. Xaphoon screws “Chicago” to make “All Things Go” one of the best hip-hop songs of the year. Honestly I would go as far as saying the duo might be the revival of DJ Jazzy Jeff and the Fresh Prince circa the 90s. Listen to “All Things Go” below and tell me I’m wrong. Also if you feel so inclined to download the mixtape click HERE.

Puntaje del Disco: 7,5

1. Packt Like Sardines In A Crushd Tin Box: 6,5
2. Pyramid Song: 9,5
3. Pulk/Pull Revolving Doors: 5
4. You And Whose Army?: 8
5. I Might Be Wrong: 8
6. Knives Out: 9
7. Morning Bell/Amnesiac: 7,5
8. Dollars & Cents: 6
9. Hunting Bears: 5,5
10. Like Spinning Plates: 8
11. Life In A Glass House: 8

La incursión que adoptaría Radiohead con Kid A no solo definiría su andar artístico, sino que también le dejaría una serie de tapes para el recuerdo del fan compilados en lo que sería: Amnesiac.

El hecho de que Amnesiac sea un rejunte de cortes que no entraron en Kid A marca lo irregular que puede ser este disco. Sin embargo, así como existen cortes que justifican lo descartables que son, también se pueden encontrar gemas de Radiohead de sorprendente nivel.

Amnesiac es el hermano menor de Kid A, y como tal en su composición abundan canciones oscuras, abstractas, con mezcla de sonidos electrónicos y experimentales. Entre ellas se destacan principalmente 2 clásicos: “Pyramid Song”, un tema sinfónico sombrío de excelencia, y “Knives Out”, la más convencional del disco por su excelente melodía. En un segundo escalón se encuentran cortes originales en los que Radiohead juega con distintos estilos y efectos sonoros como: la jazzera “Life In A Glass House”, el oscuro funk “I Might Be Wrong” y la alienígena “Like Spinning Plates” (técnicamente elaborado en base al sonido de platos voladores). En un mismo nivel también están “You And Whose Army?” y “Morning Bell/Amnesiac”. El primero es un tema que no se aleja de la línea de “Pyramid Song”, con Thom Yorke cantando en forma mortuoria hasta que desenlaza su linda melodía final. Mientras que “Morning Bell/Amnesiac” es una versión inferior del tema de Kid A.

El resto del material de Amnesiac presenta temas medios vanos como “Packt Like Sardines In A Crushd Tin Box” y “Dollars & Cents”, mezclados con números que son puro relleno como “Pulk/Pull Revolving Doors”, un fragmento electrónico olvidable, y “Hunting Bears”, un corte instrumental con guitarras que no hacen nada interesante.

Amnesiac sería el disco más flojo de Radiohead desde Pablo Honey, pero ciertamente el excelente nivel de sus mejores clásicos hubieran ayudado a perfeccionar a Kid A.

Persy

A few weeks ago a friend and fellow music writer called Finbarr Bermingham (a fine Irish name) asked me to contribute to a feature he’s running on his blog, where various scribes are picking their top five albums of the past decade.

I put it off for a while as it’s not the easiest task to whittle down everything you’ve listened to over the past ten years into five standout LPs, but then one evening I thought I’d stop procrastinating and just do it. Finbarr was looking for personal choices, not some kind of authoritative barometer of the decade, so I just shortlisted the albums that had stuck with me, the few I can still enjoy after hundreds of plays.

And the top five I came up with? Well, here they are, in no particular order:

Radiohead – Amnesiac
OutKast – Speakerboxx / The Love Below
Midlake – The Trials of Van Occupanther
The Strokes – Is This It
The Knife – Silent Shout

You can read my reasons for choosing them in full over on Finbarr’s blog.

If he asked me to do this in six months time I’d probably come up with five completely different choices, but there you go. If you haven’t heard one of the five I recommend you give it a spin, as they’re (obviously) all extremely good.

And what are your top five albums of the Noughties? I’ll give you a few weeks to post your comment.

Semanalmente, sem dia certo, você encontrará aqui neste blogue a coluna “Notas Musicais”. Trazendo sempre uma música, um músico, um conjunto, uma banda, um som… E hoje:

A BATIDA POLÍTICA DE “HARROWDOWN HILL”

Em maio de 2002, às vésperas da invasão do Iraque e deposição de Sadsam Hussein, o Ministério da Defesa da Grã-Bretanha elaborava um relatório sobre a existência de armas de destruição em massa em poder do país oriental, a fim de justificar uma investida militar capitaneada pelos EUA, sob o governo Bush Jr, e fielmente seguida pelo governo Tony Blair. O cientista David Kelly, especialista em ADM (armas de destruição em massa), do governo inglês e da ONU, é consultado.

Diante das fraquíssimas evidências de que o Iraque representava perigo iminente e que as ADM

"All right, Mr. Bush!"

efetivamente não existiam, o conselheiro de comunicação do primeiro-ministro, Alaistair Campbell, sugeriu que o relatório fosse alterado, e que o nível de perigo de um ataque fosse “turbinado”.

Em 24 de setembro, o governo Blair publica um relatório no qual afirma que o Iraque tem armas perigosas o suficiente para atacar qualquer país do mundo em menos de 45 minutos após a ordem de Saddam. Em discurso na câmara, Tony Blair afirma que o Iraque é “uma ameaça séria e atual”.

O relatório é a principal peça de sustentação da invasão do Iraque, não autorizada pela ONU e que desencadeou a hojeriza mundial que os EUA viriam a sofrer posteriormente. Em 2009, a ocupação do Iraque, para o governo e o povo estadunidense são um problema sério a equacionar. Para as famílias iraquianas, é um desastre cotidiano que ceifa vidas. Para as empresas que prestaram serviços numa “guerra terceirizada”, significou lucros altíssimos. A esse respeito, sugerimos o documentário de Michael Moore, Fahrenheit 9/11.

A FARSA É DESCOBERTA

Em maio de 2003, num programa radiofônico da BBC, o jornalista Andrew Gilligan denuncia a farsa do relatório de Blair. A esta altura, a opinião pública mundial já se perguntava onde estavam as poderosas ADM iraquianas, já que naquele país só foram encontrados foguetes e fuzis prestes a figurar em museus.

David Kelly

Dias depois, a BBC enuncia a descoberta de que houve pressões fortíssimas “vindas de Downing Street” para que se fizesse um relatório que justificasse (ou melhor, criasse) a invasão do Iraque. Há pressões do governo para que a Gilligan desmentisse a história, mas os dirigentes da emissora pública deram apoio ao jornalista.

Outros jornais revelam o nome da fonte de Gilligan: David Kelly. Em 15 de julho de 2003, Kelly é interrogado na Comissão de Negócios Estrangeiros do Parlamento, negando ser a fonte de Gilligan. Em 16 de julho, é interrogado a portas fechadas pela Comissão de Segurança e Informações.

No dia seguinte, é encontrado morto.

No desenrolar dos fatos, o governo conduz uma investigação que termina por colocar em cheque a posição do primeiro-ministro. Descobre-se que o próprio Blair autorizou a divulgação do nome da fonte de Gilligan, e que David Kelly havia confidenciado a um amigo na ONU que se suicidaria, caso o Iraque fosse invadido.

Dias após a morte de Kelly, Tony Blair estava em visita ao Japão. Quando questionado se não iria renunciar por ter “sangue nas mãos”, Blair, ao lado do premier japonês Junichiro Koizumi, não respondeu. Apenas levantou a cabeça e seu olhar perdeu-se no horizonte.

Nunca é demais lembrar que atualmente Blair é forte candidato a presidir a União Européia e se ofereceu para ser negociador da paz no Oriente Médio após deixar o governo. O oferecimento foi visto como ironia pelos orientais, que tem em Blair figura nociva e tão repulsiva quanto Bush Jr.

"Very well, Mr. Blair, very well..."

“DID I FALL OR WAS I PUSHED?”

“Uma das coisas mais raivosas que já escrevi”, assim o vocalista do Radiohead, Thom Yorke, define a canção Harrowdown Hill, que faz parte do EP “The Eraser”, álbum solo do cantor. Yorke é militante em causas ambientais, e faz parte do grupo The Big Ask, que trabalha a questão do aquecimento global e faz lobby para que países desenvolvidos e em desenvolvimento assumam responsabilidades em suas ações para desacelerar o fenômeno.

Harrowdown Hiil é o nome do bosque onde o corpo de David Kelly foi encontrado, e que fica a pouco mais de 70km de Londres.

Na canção, Yorke mistura a batida do baixo numa linha de repetição, enquanto a bateria eletrônica

Thom Yorke by Man-o-Head

faz o fundo para o sintetizador e a voz. Na letra, Yorke se pergunta: “Did I fall or was I pushed?”, em alusão às suspeitas de que Kelly não teria se suicidado. Também se refere ao fato de que o governo manipulou para que o nome de Kelly vazasse à imprensa, o que culminou com o aumento da pressão sobre o cientista. “And where’s the blood?”. Jornais questionaram o fato de que a cena onde o corpo foi encontrado não tinha marcas de sangue, apesar da causa da morte ter sido, segundo o governo, um corte profundo no pulso. O clima da música segue, como se fora o próprio Kelly a dizer “não me perguntem, perguntem ao Ministro”.

Impossível ouvir a música sem lembrar do episódio, Yorke faz política, e sem estar diante dos holofotes, envolve-se na questão do seu país e do mundo. Fato é que várias canções do Radiohead trazem referências a episódios políticos, e nos shows, imagens são usadas, como quando o verso da canção “No Surprises”: they don’t, they don’t speak for us, surge no telão a face de Tony Blair, Bush e outros políticos europeus. Ainda no disco solo The Eraser, a canção Black Swan também faz menção aos episódios de julho de 2003.

No dia da eleição de Obama, e coincidentemente, aniversário do guitarrista Johnny Greenwood, Thom Yorke postou no blog da banda, Dead Air Space, um remix da música, afirmando a sua alegria em ver um presidente eleito que carregue outros códigos. “É um pequeno lembrete do período negro dos dias de Bush”.

O clipe da música, dirigido por Chel White, utiliza a técnica do Tilt-Shift, que dá o efeito de miniaturas em objetos em tamanho real. O clipe venceu o BEST MUSIC VIDEO at South by Southwest (SXSW), RESFEST 10 e THE WORLDWIDE SHORT FILM FESTIVAL.

O episódio David Kelly também inspirou a escritora teatral Zinnie Harris, que compôs uma mini-ópera intitulada “Morte de Um Cientista”, com 15 minutos de duração e música de John Harris. A opereta foi apresentada pela primeira vez em fevereiro de 2009, em Glasgow.

Música: Harrowdown Hill

Álbum: The Eraser (2006).

Compositor: Thom Yorke.

Letra (clique aqui para a tradução):

Don’t walk the plank like I did
You will be dispensed with
When you’ve become inconvenient
Up on Harrowdown Hill
Where you used to go to school
Thats where I am
Thats where I’m lying down

Did I fall or was I pushed?
Did I fall or was I pushed?
And wheres the blood?
And wheres the blood?

I’m coming home
I’m coming home
To make it all right
So dry your eyes

We think the same things at the same time
We just cant do anything about it

So don’t ask me
Ask the ministry
Don’t ask me
Ask the ministry

We think the same things at the same time
There are so many of us
So you can’t count

We think the same things at the same time
There are too many of us
So you can’t count

Can you see me when I’m running?
Can you see me when I’m running?
Away from them

I can’t take their pressure
No one cares if you live or die
They just want me gone
They want me gone

I’m coming home
I’m coming home
To make it all right
So dry your eyes

We think the same things at the same time
We just cant do anything about it

We think the same things at the same time
There are too many of us
So you can’t count

I was lured into the back of Harrowdown Hill
It was me lured into the back of Harrowdown Hill
I was lured into the back of Harrowdown Hill
It was a slippery slippery slippery slope
It was a slippery slippery slippery slope
I feel me slipping in and out of consciousness
I feel me slipping in and out of consciousness
I feel me…

Mais fontes de informação sobre o caso Kelly:

Notícia na Folha Online

Linha de Tempo, no Público.pt

Baixe aqui a versão de Harrowdown Hill estendida, lançada no EP “Spitting Feathers”.

Baixe aqui o EP “The Eraser”.

Assista aqui uma versão ao vivo da música.

Ca tot am facut mai demult un alt articol despre coveruri, vin acum in forta cu altele mai misto, mai noi (sau nu) si nu neaparat mai bune decat originalul, dar cu siguranta niste variante interesante. Here you go:

#49: Desaparecidos/Read Music, Speak Spanish (2002) — Conor Oberst can categorically be described as a hipster voice of this decade.  But save for a few tunes here and there under his Bright Eyes moniker, it was really his harder rocking outfit that got me between the eyes. Read Music… was a beautiful pastiche of fuzzed out guitars, atmospheric keyboards, and middle-class rants and raves.  Check out: ‘Man and Wife, the Former (Financial Planning),’ ‘Greater Omaha,’ and ‘The Happiest Place on Earth.’

#48: Depeche Mode/Playing the Angel (2005) — If there were ever a band who could come back from a bunt (Exciter, 2001) to hit a homerun again, it’s Depeche Mode. While the album could be summed up in one song (‘Precious’) it is again a summary judgment that propels this album into my Top 50 of the decade. Check out the ferocious opener ‘A Pain That I’m Used To’ the driving ‘Suffer Well’ or the silver lining of ‘Nothing’s Impossible.’

#47: Cure/Bloodflowers (2000) — At the start of the decade, the Cure unleashed what has been described as the third installment in a trilogy of albums (Pornography and Disintegration, making up the other two…) The lazy, almost seven-minute opener, ‘Out of This World,’ is classic Cure, replete with acoustic guitar, piano and jazzy drumming. From there, Smith and Co. launch into the 11-minute ‘Watching Me Fall,’ and fourth track, ‘Maybe Someday,’ is the melancholy pop-gem fans have grown to love. Epic closer ‘39,’ rounds things out in typical gothic muse. An easy selection for T50 of the decade.

#46: Radiohead/In Rainbows (2008) — As Radiohead worked to turn how we absorb music on it’s ear in 2008, what almost gets missed is the fact that this album was their most complete body of work since The Bends.  This is not to say they did not release some stunning music throughout the decade, but In Rainbows is just one of those apex points and culmination of their entire body of work.  Love them or hate ‘em, there are great tunes throughout.  Check out: ‘All I Need,’ ‘Reckoner,’ and ‘Videotape.’

#45: Audioslave/Revelations (2006) — it amazes me how great a songwriter and vocalist Chris Cornell is when he’s got a band behind him — when he strikes out on his own? Yeah, not so much. Audioslave’s stamp on the decade was only three album deep and two of them are absolutely essential. In the 45-spot, Revelations picks up where the self-titled debut left off – an amazing rhythm section, a great guitarist and soulful, funky rockin’ tunes from a former godfather of grunge. Check out: ‘Sound of a Gun,’ ‘Original Fire,’ and ‘Wide Awake.’

#44: Richard Ashcroft/Keys to the World — There are just some albums that you don’t listen enough to that you should. This is one of them…because every time I do, I say to myself ‘Damn, this is a great album!’ While Ashcroft’s first two solo forays post-Verve would not compare in any meaningful way to Urban Hymns, this is British pop rock in all it’s semi-brooding finest. It’s upbeat, driving and subdued. While Ashcroft may never get the solo success he feels he deserves, I for one thoroughly enjoyed this effort when I was about to give up on him. Check out: ‘Break the Night with Colour,’ ‘Keys to the World,’ and ‘Cry ‘Till The Morning.’

#43: Coldplay/X&Y (2005) — love or hate Coldplay, you have to admit they are some talented musicians. While, at times they can come off a bit pretentious, I’d challenge that their music is more heartfelt than anything Jack White’s done. Such is the case of apples and oranges or in this case, X’s & Y’s. This album upped the band’s ante and produced their most complete album of the decade. While overlooked from a Grammy standpoint, this album featured more heart than anything U2 has put out this decade – and you can quote me on that. Check out: ‘Fix You,’ ‘Speed of Sound,’ and ‘Swallowed in the Sea.’

#42: Killswitch Engage/Killswitch Engage (2009) — finally, on their third album, KSE live up to the potential I’d hoped they had. This is arena rock in 2009 in all of it’s anthemic glory. Howard’s vocals soar, Adam’s melodies outshine the darkest corners, and the drumming is spot on. Eff Roadrunner for not doing more with this record. These guys should be out on tour with either Metallica or Slayer right now. Check out: ‘The Return,’ ‘A Light in a Darkened World,’ and ‘In a Dead World.’

#41: Kings of Leon/Because of the Times (2007) — I remember getting this album just prior to my Placebo roadtrip with McCabe and Sarah and terrorizing them with it in the hotel room in Boston. I was just blown away by how good it was and wanted to play it over and over again. Any confusion as to whether this band was going to fall into obscurity after 05’s Aha Shake… were quickly dispelled. Caleb Followhill managed to learn how to enunciate just enough for listeners to understand what he was singing about and the backdrop of sound helped paint the stories. Check out: ‘Knocked Up,’ ‘Charmer,’ and ‘On Call.’

#40: Low vs. Diamond/Low vs. Diamond (2008) — I’m alive today because of this CD. They’re a more earnest/less pretentious version of the Killers. In the midst of a deep depression, this CD landed on my desk and kept me playing ‘air drums,’ and brooding on a pair of headphones until I snapped… out of it. It’s a theme record about recovery and lifting up the spirit and soul without being a Christian record. We need more bands like Low vs. Diamond. Check out: ‘Killer B,’ ‘This Is Your Life,’ ‘Actions are Actions,’ and ‘Song We Sang Away.’

It’s that time of the decade again. Making lists of favourite things from the past ten years. 

So, I’ll start with my top songs… note this will be subject to change…

1. Doves – There Goes The Fear (2002)

2. Arcade Fire – Rebellion (Lies) (2005)

3. Modest Mouse – Float On (2004)

4. Ian Brown – F.E.A.R. (2001)

5. Elbow – Forgot Myself (2005)

6. Sigur Ros – Hoppipolla (2005)

7. Glasvegas – Geraldine (2008)

8.  Radiohead – There There (2003)

9. Interpol – Not Even Jail (2005)

10. Charlatans – Oh Vanity (2008)

11. Arcade Fire – Neighbourhood (Power Out) (2005)

12. Arctic Monkeys – A Certain Romance (2006)

13. The Coral – Goodbye (2002)

14. Black Rebel Motorcycle Club – Whatever Happened to my Rock n Roll (punk song) (2001)

15. Libertines – Don’t Look Back Into The Sun (2003)

16. The Strokes – The Modern Age (2001)

17. Sufjan Stevens – Chicago (2006)

18. The Shins – Mine’s Not A High Horse (2003)

19. The Delays – Long Time Coming (2004)

20. Arcade Fire – Wake Up (2005)

21. Doves – Pounding (2002)

22. Radiohead – Everything in it’s Right Place (2000)

21. Four Tet – Unspoken (2003)

22. Bon Iver – For Emma (2008)

23. Badly Drawn Boy – The Shining (2000)

24. Elbow – One Day Like This (2008)

25. TV on the Radio – Wolf Like Me (2006)

26. M.I.A. – Paper Planes (2008)

27. South – Paint The Silence (2001)

28. The Music – The People (2002)

29. Grandaddy – Now It’s On (2003)

30. Oasis – Falling Down (2008) 

31. The Cribs – The Wrong Way To Be (2005)

32. Justice vs Simian – We Are Your Friends (2006)

33. Yeah Yeah Yeahs – Zero (2009)

34. New Order – Crystal (2001)

35. Ranconteurs – Steady As She Goes (2006)

36. Kasabian – LSF (2004)

37. Queens of the Stone Age – No One Knows (2002)

38. Kings of Leon – The Bucket (2003)

39. Portishead – The Rip (2008)

40. U.N.K.L.E. – In A State (2003)

41. U.N.K.L.E. and Ian Brown – Reign (2003)

42. Clap Your Hands Say Yeah – Upon This Tidal Wave of Young Blood (2005)

43. The Electric Soft Parade – Silent to the Dark (2002)

44. The Verve – Love is Noise (2008)

45. The Killers – Mr Brightside (2004)

46. The Courteeners – Not Nineteen Forever (2008)

47. Mansun – I Can Only Disappoint U (2000)

48. Lupe Fiasco – Kick Push (2007)

49. Richard Ashcroft – C’mon People (Making it Now) (2000)

50. The View – Wasted Little DJ’s (2006)

Every time a 0 is involved with the turning year, people tend to go crazy over “the best _____ of the decade”. Lists come out about music and movies and tv shows and whatever. Well, I decided to do that. Because I’m a dork. What I ended up doing is a list of things for every year since the year 2000. I will talk about some of them and leave links to others that I think are fantastical and that I belive you (whoever you are) might enjoy. So. Here we go. Expect to see some bands that repeat, and some that you know I like, if you like me:

2000
Does anyone remember how fantastically catchy ‘Bohemian Like You’ was? The silly video with the karaoke-thing, etcetera? There was a lot of decent music coming out around this time, and I remember being consistently barraged by good albums. This wouldn’t continue through the rest of the decade. Californication would be the last time I would enjoy RHCP as a band.

Dandy Warhols (song – Bohemian Like You); Red Hot Chili Peppers (album – Californication); Smashing Pumpkins/Foo Fighters/A Perfect Circle(show – Summersault – Winnipeg Stadium); Nine Inch Nails (video – Into the Void)

2001
In 2001 I succumbed to sexy pop for a favorite song. Seriously. That song is awesome. Frusciante’s album was magical, and I think my video of the year is really the only choice.

Kylie Minogue (song – Can’t get you out of my head); John Frusciante (album – To Record only Water for Ten Days); Tragically Hip (show – Winnipeg Arena); Fatboy Slim (video – Weapon of Choice)

2002
Dave Grohl makes the list twice as a drummer in this year, and probably would have taken the album too, but from out of nowhere came what would change my mind about Canadian music in that I ended up following almost every project that Broken Social Scene had outside of it’s main band after hearing the album and seeing them live.

Queens Of The Stone Age (song – Go With the Flow); Broken Social Scene (album – You Forgot it in people); Broken Social Scene – (show – Pyramid Cabaret); Tenacious D (video – Tribute)

2003
I remember the moment I fell in love with Sit down Stand up. It was on the eve of the album coming out, and Radiohead played a live show that was broadcasted to Silver City theatres in Canada. When that song reached the crescendo into the fast ‘raindrops’ part, I was almost on the edge of my seat. Which I could also say about the Metric show. They were second on a bill of three that featured Hot Hot Heat as the main act, and were still relatively new, but downright sexy and exciting to watch. I’ve since seen them six more times.

Radiohead (song – Sit Down, Stand Up); Mars Volta (album – De-Loused in the Comatorium); Metric (show – Pyramid Cabaret); Buck 65 (video – Wicked and Weird)

2004
The second time a John Frusciante album makes my favorite albums. This album is widely regarded as his most ‘mainstream’ and is a fantastic, great-amazing thing, just like the Bowie concert, which was the last concert I ever saw at the ol’ Winnipeg arena.

Secret Machines (song – Nowhere Again); John Frusciante (album – Shadows Collide with People); David Bowie (show – Winnipeg Arena); DFA 1979 (video – Black History Month)

2005
I’ll never forget how many phone calls I got when Nine Inch Nails annouced that they’d be coming here. It was the first time I was going to see them, after being a fan since 1994. My phone rang off the hook, and for one song during that show, so did my emotions. I kinda quietly, completely lost it, and felt like a dummy. Ha! By the way, that Esthero video’s freakin’ hot, and I agree with every sentiment in it.

Sufjan Stevens (song – Come On! Feel the Illinoise!); Fantomas (album – Suspended Animation); Nine Inch Nails (show – MTS Centre) Esthero (video – We R in Need of a Musical Revolution)

2006
I saw Wintersleep by myself in front of about 30 people, and skipped work to get there. When I talked to the singer about this, he dedicated a song to me. How nice. As far as Nausea goes, I don’t know what it is about that song, but something in it drives me nuts. It’s way too good and it doesn’t even realize it.

Beck (song – Nausea); Regina Spektor (album – Begin To Hope); Wintersleep (show – The Collective); Eagles of Death Metal (video – Boy’s Bad News)

2007
National Anthem of Nowhere has become my most listened to track on last.fm, and I think the Wintersleep album has since become one of my most listened to albums. They will both continue to rise in numbers. If I did a song by song and album by album breakdown, these two would make somewhere within the top three. And it’s pretty cool that I got to see Mike Patton in any of his 34i83902439024 bands, but Peeping Tom blew me away.

Apostle of Hustle (song – National Anthem of nowhere); Wintersleep (album – Welcome to the Night Sky); Peeping Tom (show – Trocadero); Feist (video – 1234)

2008
God, In Rainbows is great. And Secret Machines live, that’s something so completely underrated, I don’t even know how to describe it to you. The power that they have to get an audience going, is a sight to behold and yet there were so few people there that I was kind of disappointed in the turnout. Oh, and yes, I realize that Feist gets the video 2 years running for the same album, but they’re both great videos.

Kaki King (song – Montreal); Radiohead (album – In Rainbows); Secret Machines (show – Pyramid); Feist (video – I feel it all)

2009
I know, it hasn’t been that long, but Them Crooked Vultures was exactly the album I wanted it to be. So there.  And as far as Spookey’s song goes, this is the second time I’ve talked about it in my blog. Previously appeared in my “songs you won’t see in Guitar Hero or Rock band“, and it’s just something to behold. Metric’s video was perfect, it was the video that I wanted them to have. Something sweet and cute instead of overtly dorky like all of their other videos. As far as Leonard Cohen’s concert goes, I hadn’t been a huge fan beforehand, but was introduced, and BECAME a large fan because of how amazing that concert was. Everything he did was perfect. The singing, the sounds, the engagement with the audience was fantastic. Top five concerts in my life, that one.

Spookey Ruben (song – Mechanical Royalty); Them Crooked Vultures (album – Them Crooked Vultures); Leonard Cohen (show – MTS Centre); Metric (video – Gimme Sympathy)

Making Twilight movies cool since... the first Twilight movie.

I’m going to request that you do something that may be difficult for many; I need you to put away all your preconceived notions about Twilight. Yes, I know it is our sacred duty as Bohemians to hate anything and everything popular (I’m being sarcastic, which is very Bohemian of me) but how many of us can honestly say we’ve even given the Twilight books a chance? I can. And they suck, but that’s not the point. If there’s one thing that can make a Bohemian change their stance on something, it’s Radiohead. Therefore, I recommend you check on Thom Yorke’s track from the New Moon soundtrack.

“Hearing Damage” may sound pretty sophisticated and dense to some, but Radiohead fans know that this is actually pretty simplistic music for Thom. A pulsing backbeat and a programmed drum sample are pretty much all that drive the music. However, Thom’s voice and killer sense of melody paint a strikingly sincere picture of love on the cold, electronic canvas.

I, like many, was a little apprehensive when I heard Thom Yorke was not only contributing music to New Moon (as he did with the first Twilight movie), but that he had written a song specifically for the movie. I formed my lips to scream “sell out,” but just as the lyrics of “Hearing Damage” speak to an unnamed love, I will now speak to Thom: “You can do no wrong in my eyes.”

tk weighs in:

What is the most important band or artist of the decade?

I pondered this question during my entire stroll down Gower Ave. from Sunset to Santa Monica (all 0.5 miles) and here’s what I came up with. These aren’t controversial choices but who needs controversy when there’s a possibility for accuracy?

First of all, let’s address the other decades.
50s- Elvis, hands down
60s- Beatles, hands down
70s- Led Zeppelin (or Pink Floyd)
80s- Michael Jackson
90s- Nirvana

And that brings us to this decade. As of now, I have narrowed it down to these artists:
Radiohead
Animal Collective
Eminem (or Lil Wayne or Jay-Z… consumers of important rap, help me out here)

Thoughts? Ideas? Nuggets of insight?

ck weighs in:

It’s hard for me to go against your selections. Radiohead is definitely up there. In the 2000s, they released the phenomenal Kid A, the incomprehensible Amnesiac (I never really ‘got it’), the return-to-prominence Hail to the Thief, and the overrated (but revolutionary) In Rainbows. Those four albums can stand up against any artist’s production in the last 10 years. Regardless of whether you think they’re the best band of all time or hopelessly overrated, the “pay-what-you-want” marketing campaign for In Rainbows definitely stuck Radiohead in the cultural lexicon for good and symbolized the downfall of the music industry throughout the decade.

Animal Collective is another exciting choice. Their entire discography is in the 2000s. Since the turn of the century, Animal Collective has released studio albums Spirit They’re Gone, Spirit They’ve Vanished (2000), Danse Manatee (2001), Campfire Songs (2003), Here Comes The Indian (2003), Sung Tongs (2004), Feels (2005), Strawberry Jam (2007), and Merriweather Post Pavilion (2009), as well as four EPs, two live albums, and eight singles.

In addition to being prolific, however, Animal Collective has been one of the most creative outfits of the decade. I am admittedly a latter-half AC fan; I hardly listen to anything before Sung Tongs. That being said, even listening to just those four albums shows the width and depth of their creative sound. Who can you possibly compare them to? Who are Animal Collective’s influences? Neutral Milk Hotel, maybe? The Beach Boys? Where does a song like Peacebone come from? Animal Collective’s importance is wrapped in the creativity of their output. They get better and better with each album, as they careen toward accessibility without leaving behind their weirdness.

I’m not sure if I can agree with you on Eminem. Yes, he was huge. Yes, he was culturally relevant. And yes, he was a pretty good rapper. But he was inactive for 3+ years, and he was a shell of his former self on 2008’s Relapse. He was also the “shocking musician” du jour, which can help with publicity, but rarely leads to a lasting legacy. He seems more interested in being controversial than being innovative.

I would, instead, submit for your consideration, one Justin Timberlake.

At the turn of the decade, there was no bigger pop group than ‘N Sync. Their second album, No Strings Attached, dropped in 2000, driven by the success of initial single Bye Bye Bye. 2001 saw the release of disappointing third album Celebrity, and the group went on hiatus in 2002.

Timberlake took this hiatus as an opportunity to conquer the music world on his own, with 2002’s Justified. The album took the world by storm, propelling JT to immediate stardom. Since then, he’s been dating movie stars, hosting Saturday Night Live, causing wardrobe malfunctions, voicing characters in Shrek sequels, and generally living large.

After the death of Michael Jackson (RIP), the world is starving for a superstar musician. I have long believed that Justin Timberlake is that man. I even wrote a column for my college newspaper titled, “Justin Timberlake: The new King of Pop“. His music is ubiquitous and his presence can make even the Black Eyed Peas sound respectable. What more do you need from the MOST IMPORTANT MUSICAL SPECIMEN of the 2000s?

What do YOU think? Register your opinion in the comments.

Spin magazine  has compiled a list of rock’s most notorious myths. Everything from whether or not Nirvana killed hair metal  to Marilyn Manson is a puppy killing nazi to whether or not Radiohead  is the greatest band ever! A lot of Spin’s take on these myths will straight up PISS you off, but, that’s the point!  Agree to disagree and have fun with it! Myth or reality?

Click here for the 16 rock myths.

Hoyas 3-0! Yeah, buddy.

Speaking of which, it was nice to see our old homeboy Jeff Green on the court against the Wizards last night…

…Looking for an act of devotion in honor of the Solemnity of Christ the King?

Consider adding your e-signature to the Manhattan Declaration…

…After I finished high school, I got a job typing the reports of a company of local archaeologists.

The company specialized in pre-historic archaeology–that is, the study of artifacts produced by people who did not have writing.

In our area, you can discover a pre-historic artifact while you are out for a walk. There are still Algonquian arrowheads and potsherds lying on the surface of the earth.

Contrast this with archaeology in the Old City of Jerusalem. On Monday evening, we walked down four flights of steps from street level. We emerged into a cistern that was built to hold water for use in the Temple in the fifth century B.C.

Chiesa Nuova in Rome

There are books written about the building of that temple–they can be found in the Old Testament. My point is: In Jerusalem, archaelogists have dug and dug and dug, and they still have not gotten to the pre-historic level.

And here is some more perspective: In our day and age, since the beginning of the Digital/Organic Era (which began when Bill Gates’ net worth reached $1 trillion), “new” refers to something that came into being in the last half-nanosecond.

In Rome, there is a beautiful church called Chiesa Nuova, the “New Church.” It was completed in 1606.

In Jerusalem, the Nea, the “new” church in honor of Mary the Mother of God, has lay buried beneath the rubble of earthquake and Persian destruction for 1200 years.

Today is the day the Nea was dedicated in A.D. 543.

Our Lady was born in Jerusalem. She was among the girls who cared for the Temple paraphernalia.

When Mary brought the newborn Jesus to the Temple to present Him to the Father, she encountered the priest Simeon and the prophetess Anna. The three of them may already have known each other.

The above is a mosaic map of Christian Jerusalem. It is not easy to read. The Cardo, or main street, runs left to right through the middle of the city. The huge ancient basilica of the Holy Sepulcher is below the main street, the Nea is above it, to the right. There was an annual procession between the two churches.

…I am sorry that I allowed the following “Bests” list to get as stale as five-year-old granola bars. It is retired. An exciting new edition is available behind the Bests tab above.

SPECIAL “MY iPOD” EDITION

Best Rob Thomas Song: “Real World” (Matchbox 20)

(“I wish the real world would just stop hassling me” is not a bad motto.)

Best Paul Simon Song:
The Obvious Child

Best Radiohead Song:
Talk Show Host

Best Bruce Springsteen Song since 1979: Radio Nowhere

Best K.D. Lang Song: Constant Craving

Best Rock Band Alive Today: Switchfoot

Best B–n–d Ladies Song: Falling for the First Time

Best Cover Ever: The Boys of Summer by the Ataris

Best Nineties Band that No One Has Ever Heard Of: World Party

Best Taylor Swift Song: Teardrops on My Guitar

The list is almost finished. My main task has been to re-listen to albums I haven’t heard in a while and figure out how much I like them, or if I like them as much as I once did. Also, since the decade isn’t actually over yet, I’m still getting a feel for some new releases, most notably the new Baroness, Raekwon, Krallice, and Flaming Lips albums. In the meantime, here’s an introduction piece that spells out the list’s thorny issues, themes, structure, and easiest omissions.

Thorny Issues

The biggest issue I’ve struggled with while finalizing the list is what to do about compilations. Some of my favorite albums from this decade were either DJ mixes or artists’ collections of previously released material. The conclusion I arrived at was this: DJ mixes are eligible, single artist compilations are not.

The best DJ mixes — and only the absolute finest of DJ mixes could ever be considered for my list, naturally — eventually become their own entities. The sequencing of the songs, and the very selections of the songs, reflect the curator’s aesthetic at least as much as the original artists’. With that being said, any DJ mix had to be commercially released in some form to be considered for inclusion.

Including individual artist compilations, however, struck me as unfair. This means my list will not be containing The Upper Cuts by Alan Braxe, Oh You’re So Silent Jens by Jens Lekman, Inches by Les Savy Fav, or Dopesmoker by Sleep.

Themes

When my full list is published, it’s going to reek of tokenism, so be warned. This is usually a problem that lists culled from sort of consensus face, but not so often individual lists. I’m wary of seeming like my list seeming manufactured or manipulated; nothing’s worse than people who pretend to like certain types of music more than they actually do, or even worse, music that they don’t like. Hopefully if I lay out my criteria, it will seem more sincere.

My list truly is an albums list, so artists I generally like don’t score any points just for existing. (This statement will seem like a bald-faced lie when you see how a certain Smashing Pumpkins album fared.) Also, I place a high priority on how original an album or an artist sounds to me, so there is a fairly sizable contingent of selections that placed well just because when I listen to them I think, “Wow, I don’t know of anything that sounds quite like this.” (Obviously I still have to like said albums.)

Much of what is being written in retrospective decade music writings recently has revolved around “the death of the album.” This is understandable, since artists like Radiohead and Billy Corgan have flirted with giving up on albums completely. Supposedly youngsters now barely have any patience for albums, and only want individual songs. To me, this is a tragedy. No matter how music evolves commercially, I will always love the album — it will always be the primary medium through which I listen to music, and I will always value artists who treasure the album as much as I do more than those who don’t. Above all else, my list aims to be a celebration of the album.

Structure

The list is going to be released in eight separate posts, each one consisting of a different tier. I felt this was a more honest and accurate way of ranking my 100 favorite albums from the past ten years. While each album will have an individual number ranking, what tier each album falls in is what’s most important. All tiers will be explained in their respective posts. Also, I’m not going to force myself to write an entry about every album. If I don’t have anything interesting to say beyond “I like this album,” then I’m not going to say anything.

Easiest Omissions

I think it’s stupid when people or entities include crap alongside lists like “Hardest Omissions” or “Honorable Mention.” It devalues a list’s definitiveness to include some sort of charity subsection. If you define a list as consisting of the 100 best albums, then I don’t want to know what finished 101st. In other words, if you’re going to be indecisive, then why make a list?

So I’m not going to effectively expand my list by letting you know what just barely missed an obviously artificial cut line. I think there’s more value in listing what albums I had no problem excluding, because if you’re going to be a full on music geek, the stuff you hate is just as important as the stuff you love. So in that spirit, here are the six easiest omissions from THE PUSHING PAPER TOP 100 ALBUMS OF THE DECADE.

6. Arcade Fire — Funeral

Some people hate this album for how much some other people love it. I am most definitely not one of those people, because thinking that way, while it might have been something I used to do to a degree, is really stupid. In fact, when my list was in it’s earliest stages, Funeral was on the candidates list. But I hadn’t listened to it in a couple of years, so I needed to give it a fresh spin. It turns out this was a good move. I don’t know if my tastes have changed enough that Funeral no longer appeals to me that much, or if, in Funeral’s early days, I was so taken by my favorite tracks (I still think “Rebellion” is thebomb.com) that I glossed over the ones I was bored by. I’m almost certain it’s the latter case, because I can definitely see why Funeral is so beloved. It’s just not entirely for me.

5. Radiohead — Amnesiac

I like Radiohead as much as the next guy (so long as the next guy isn’t one of those people who thinks Radiohead is THE GREATEST BAND OF ALL TIME — I don’t like Radiohead as much as him), but I fail to see how anyone can think Amnesiac isn’t beneath them. A few great songs does not a great album make.

4. Pearl Jam’s self-titled return to rawk

Arguably (and I don’t think anyone is arguing about this, but still), no band has meant as much to my life in totality as Pearl Jam. As they say, you never forget your first true love. By the time I got to college, I was following Pearl Jam primarily out of a sense of loyalty. Deep down I knew I was lying to myself about how much I liked Binaural, and I also knew their ability to create exciting music had expired. However, I did find Riot Act to be enjoyable enough that I wasn’t anywhere close to completely writing them off. Then their self-titled album came out amidst joyous mainstream press echoes of “Pearl Jam is back!!!!!!!” (Bill Simmons even wrote an enormous NBA playoffs preview/Pearl Jam career retrospective at the time.) It’s not like I expected anything on the level of Vs., but I did allow myself to get roped in a little bit. I listened to Pearl Jam one time, and hated every second of it. I will never listen to it again, and yes, I’ve completely written Pearl Jam off.

3. Animal Collective

I don’t think there are nearly as many people who actually like Animal Collective as there are people who pretend they do. Like many people in the I Don’t Get Animal Collective Club, I’ve spent the better part of a decade listening to their albums way more than I should have, constantly wondering what I’m missing. I understand why people like Merriweather Post Pavillion and Sung Tongs; I cannot for the life of me see the appeal of Feels. And anyone who says they like Here Comes the Indian, but doesn’t normally listen to any noise at all, is a total liar. I just don’t buy that this band is universally loved.

2. M.I.A.

Of all the popular music artists who have come and gone over the last twenty years, none have befuddled me as much as M.I.A. Unlike Animal Collective, I have no idea why people like her. It honestly feels like I’m living in some sort of Truman Show alternate reality where everyone has agreed to like M.I.A., with the sole aim being to confuse me. In the summer of 2008, I kept hearing “Paper Planes” in bars, initially assuming that I happened to be occupying the same space as some M.I.A.-loving hipster, which seemed wholly feasible. Then I heard it every single time I went out, which really threw me for a loop. THEN, I heard it on B94, the whitest (they would play a version of Usher’s “Love in This Club” without Jeezy’s verse), most brainless pop radio station imaginable. It was then I knew that the whole world had turned upside-down.

1. Zwan — Mary Star of the Sea

In 2000, the almighty Pumpkins broke up, something I grew progressively sadder about for a while as it slowly dawned on me that they really were gone forever. (Of course, now I would give anything for Billy Corgan to stop bastardizing the Pumpkins’ good name. Life sure is mystifying.) But no worries, Billy and Jimmy Chamberlin, the only two members of the Pumpkins who mattered at all, had formed a new band! Called Zwan! I remembering downloading early live tracks and leaks like a maniac, with “Chrysanthemum” in particular standing out. And then, I heard “Honestly.” Hearing “Honestly” was one of my life’s JFK assassination moments; I will always remember sitting at my dorm room computer, receiving the file from my friend Adam, and having my mind completely blown by how shitty it was. The rest of the album sucked almost as much. Mary Star of the Sea is — by a wide margin — my least favorite album of the decade.

I’ve been having a thought recently on songs I love, that if they came out between ‘77 and ‘81 would be deemed as Punk Classics. To me they all have the right combination of noise and attitude and have carried the musical side of Punk into other genres.

I know that they will not be everyones choice of a Punk tune, and I am not saying that they are…just that they would have been if they had come out in 1977.

Here is my list, let me know if you agree or not. Come up with a top five and I will post it as a seperate topic.

Song 2 – Blur

I can feel myself going absolutely mental as the chorus kicks in. Whoo Hoo.

I Predict A Riot – Kaiser Chiefs

It contains the word riot – always a good start – and the immortal line ‘if it wasn’t for chip fat she’d be frozen’, absolute genius.

Buck Rogers – Feeder

Fuckin stupid lyrics but a great riff, a real jump about tune.

Headshrinker – Oasis

The Gallaghers have a definate Punk attitude and some cracking tunes alongside some absolute shite. Headshrinker is one of their best.

Creep – Radiohead

Sums up my teenage years…or at least what most people thought of me. Still am a weirdo.

Killing In The Name – Rage Against The Machine

Political, Purposeful and Powerful. An amazing tune that builds to a great finale and captures the Punk attitude to life in general.

Richard III – Supergrass

Simply great pogo music.

Fell In Love With A Girl – White Stripes

This song could have been written by Pete Shelley. It would not have been out of place in 1979.

Zane Lowe in Teignmouth. Photo by tj.moore at Flickr.

Setlist:

1. Kasabian – Clubfoot
2. Biffy Clyro – That Golden Rule
3. Chemical Brothers vs. Party – Galvanise The Empire
4. Black Sheep – The Choice Is Yours
5. Radiohead – The National Anthem
6. U2 – Sunday Bloody Sunday
7. Pink Floyd – Another Brick In The Wall (Part 2)
8. Public Enemy – Fight The Power
9. Whateverman – P.E. Theme
10. Old School Break
11. John Lennon – Power To The People
12. Led Zeppelin – Immigrant Song
13. Rage Against The Machine vs. Whateverman – Killing It
14. Rage Against The Machine – Killing In The Name
15. Edwin Starr vs. Whateverman – What War
16. White Stripes – Seven Nation Army
17. System of a Down – Chop Suey
18. Sex Pistols – Anarchy In The UK
19. The Prodigy – Firestarter
20. The Prodigy – Warrior’s Dance
21. Ian Brown – F.E.A.R.

A radio rip is available to download for free here.

The above is not a setlist as much as this year’s most exciting megamix – and there’s a phrase I haven’t bandied around with complete abandon since 2004. Previously, I mentioned something of writing about my favourite remixes of the year and although perhaps this isn’t the ’something’ I was expecting to write, c’est la vie. This year has been fucking awful for good remixes. I could only find three that met my flaky standards. One was the Stuart Price remix of Paparazzi which I overplayed anyway and don’t really enjoy any more, and doesn’t exist much outside of the middle eight anyway. Another was the Does It Offend You, Yeah? remix of Uprising that sometimes is better than the album version – a claim which is completely reliant on my mood at any given moment in time. But I’m a complete whore for DIOY,Y remixes anyway, so it’s a completely predictable anticlimax. The third was the Filthy Dukes mix of To Lose My Life that I thought was fun for a few weeks but it dulled quickly. Thinking about it, I only really liked it because it sounded like Orchestral Manoeuvres in the Dark, White Lies and Bimbo Jones in one big melting pot, then I realised that they all do their own thing independently and it sounds better than this track. And with that thought, this brief flirtation was o-v-a-h.

I was reminiscing about the Teignmouth weekend a couple of days ago and realised that Zane Lowe’s warm up set for the evening was, not only one of the best openers I’ve seen for a band, but it fit the bill for resuscitating this dismal commentary. I’ve seen Zane DJ in a couple of other venues before, but he didn’t leave any kind of impression on me. This clicked. He actually did two half hour sets sandwiched between some really happening local bands, and the second was superior to the first, which is above. Rather annoyingly, the audio of the second never surfaced, and I don’t remember much of it other than an amazing remix of Bonkers, so I can’t even describe it. It was amazing. But back to the first set – Zane made me dance. I never dance. Ever. I’ve never understood the appeal behind DJing, or how some people are into it in the same way that I’m into peanut butter M&Ms (you’re pressing play on a track someone else created? Inspirational.) but I have a new found appreciation for it all now. Kind of.

I loved the way it was put together – though I will say that the airhorns all the way through got me excited for a play of the Freemasons remix of Ring The Alarm, which Zane obviously did not play: it was so not the audience for the Freemasons (myself aside, and I would have danced for everyone else there if it had come on),  but I loved all of the thought which had gone into each track and how it would work best in the mix. It was a great blend of genres, alongside music from today and music from ye olden days as well that provided an education for some of the younger audience members there (“Isn’t this from that Fatman Scoop song?”). It created an air of context for the set Muse went on to play, both musically and emotionally, and that’s a beautiful thing.

I would have taken System of a Down out though. I hate that song. Flobots would have worked just as well there.

Nice work Zane Looooooooooooooooooowe. I’m on board.

Well, NME are near the Top of the BEST MUSIC WEBSITES for a reason and have once again given us a glimpse into their minds with their(DUH DUH DUH!!!!!)

LIST OF THE 50 GREATEST ALBUMS OF THE DECADE~ I hate to say it, but I am going to make my first Proclamation as a Music Blogger = This is THE LIST THAT MISSED!!

I Don’t Know If I Agree With The TOP 10 & I am going to check out the #1 Pick again to make sure that I completely disagree~

This Is About YOU THOUGH, SO GO AHEAD & CH-CH-CH-CHECK IT OUT —–>  Stereogum’s 50 Greatest Albums Of The ’00s

If Nothing Else, There Should Have Been AT LEAST ONE ALBUM BY A CERTAIN BAND WHO I BELIEVE IS THE GREATEST AMERICAN ROCK BAND OF THE LAST 13 YEARS

(Funny Number I Know, But That Is How Long They Have Been Putting Out Albums)  – I mean, even if you are part of the crowd that believes they “Sold Out,” Their 3rd Album & The First Of The Thousands SHOULD BE IN THERE, NO QUESTIONS ASKED. I will write more soon enough, I don’t want to ruin it for anyone who hasn’t seen it yet and I know how pi$$ed I can get if there is a Massive Spoiler in something I am reading about something that I am about to Hear, Watch, See or Read  (Does that make sense?! Just think about it 

Woo Hoo!!  My 2nd PoST~!!

Respect~

Cheers~

xo

KNiFA

Estos son algunos de los rockeros postulados para que participen este año en el festival que se realiza en Madrid, España en junio de 2010.

La organización lleva trabajando desde hace tiempo para confeccionar el cartel de la nueva edición , por eso en la web se abren las votaciones.

Asi que , a esperar, hasta ahora se nota que el cartel esta muy bueno.

MUSE vs. RADIOHEAD: the big debate.

For many years, rock fans from all over the world have been arguing as to who are better: Muse or Radiohead? I have been both a Muse and Radiohead fan since I was very little. From the age of 8 or 9, infact. I recall inviting my friend Jimmy to come round, and we danced around my parents’ room to the song “Fillip” by Muse off their debut, Showbiz. But I also remember my parents playing OK Computer and me really, really liking it. I used to scribble all over my books at Primary school “Muse”. I did prefer them. But only when I properly listened to Radiohead, did I discover their sheer, undeniable genius.

So, let’s compare.
Albums: Radiohead brought out their first album “Pablo Honey” in 1993. Muse brought their first album “Showbiz” out in 1999. A 6 year gap between the debut albums. Radiohead could be a definite influence for Muse. In the NME, Radiohead have an average of 8.14 for their 7 album reviews, whereas Muse received an average of 7.8 for their 5 album reviews. 1 point to Radiohead.

Live: Evidently, shown by the pictures above, Muse are much more developed and interesting stage-wise. Their gigs are a thousand times more energetic than Radiohead’s are. No doubt of course; Radiohead are amazing live. Thom’s signature “convulsions” whilst performing make their gigs unique. Radiohead are extremely passionate when it comes to their music, but at times, when playing their “hits”, Thom doesn’t seem to care or to want to perform them. Compared to Muse, they put every inch of effort into their performances, and they really prove to their fans how much they care. 1 point to Muse.

Awards & Achievements: Altogether, Muse have recieved 25 awards, including Brits and EMAs. Radiohead have only won 10 awards. But in those 10 awards, 3 of them are Grammys, which Muse have failed to receive. Muse have had 3 number ones for their albums. Radiohead have had 5 albums as number ones. 1 point to Radiohead. 1 point to Muse.

I surveyed 50 friends about who they prefer; Muse or Radiohead?
Muse: 19 votes.
Radiohead: 31 votes.
It is evident who teens prefer out of the two.

Muse are a lot more mainstream than Radiohead are. If you mentioned Muse to a 16 year old who listens to pop, they would have heard of them. However, if you mentioned Radiohead to the same person, they probably wouldn’t have heard of them. You could argue that this makes Muse better than Radiohead. But fame does not justify which band is better. Muse are explorative with their approach to music. As are Radiohead, they are known for their electro style experimentations such as the song “Idioteque”. Muse explore classical music, and in the song “Undisclosed Desires”, it sounds a lot more pop-py and mainstream compared to their other music, but ironically they use a slap-bass technique which wouldn’t really be considered mainstream… sometimes it phases me as to how they can even be compared or put up against each other in an ongoing debate.

Who is the winner? I am a massive Radiohead fan. And I’m trying my best not to make this post biased. But in my honest opinion, I would vote Radiohead as the better band. I have a lot more respect for them as a band, they aren’t pretentious or “up their own arses”, and some may argue that is what Muse are. Muse’s theatricality may be mistaken for arrogance and self-indulgence, partially true, but they’re famous so they may aswell do what they can get away with. Radiohead are a lot more developed musically, and they create such beautiful songs.

So, the winner is: Radiohead.
If anyone objects to this statement, speak now or forever hold your peace.

Jessie Hutchings.

Dal sito francese Digital Music/Don’t Believe The Hype ecco le 10 tappe fondamentali che riassumono la rivoluzione del marketing musicale degli ultimi anni:

1.Myspace

2.CD Baby

3.Arctic Monkeys – Internet buzz

4.OK GO – Youtube

5.Napster

6.Radiohead – In Rainbows

7.Nine Inch Nails – Ghosts

8.Jill Sobule – fanziamento dai fan

9.David Byrne & Brian Eno – Top Spin

10.Amanda Palmer – marketing su Twitter

If a genie magically granted me three wishes, one of them would be to erase any knowledge in my brain of Miley Cyrus. I know way too much about this teeny popper than I should. The sad part is that I purposely avoid her, but, much like those stalker Jo Bros, she’s everywhere, spouting absurdities to anyone who will listen. This week, she invaded my realm again inciting a media frenzy when she told Q92 that she hated all things Twilight. So, why does this teeny popper hate the single thing that girls her age around the globe are drooling over 24 hours a day? Well, she claims that she doesn’t believe in it, leading people to think that Cyrus isn’t a fan of mythological creatures, but that can’t be true. She signed on to play a teen fairy in an upcoming film. I suspect there are other reasons behind her weekly outburst. Hmmm, could it be that her arch nemesis Thom Yorke, whom she threatened to destroy because he didn’t want to do a meet and greet with her, is on the New Moon soundtrack? Or could it be that New Moon is all any one can talk about this week and the trailer for Cyrus’s new movie Last Song has been virtually ignored? Who knows the real answer. Remember, this a girl who gave an interview in a locker room dressed like Pocahontas and said she doesn’t like pop music. And there was also that time she posted that picture of her and her little friends making slant eyes and being all derogatory towards Asians. And that other time she said she hated Twitter, which she uses all the time. Seeing a pattern? As Paris Hilton breathes a sigh of relief, Cyrus is turning into the media’s favorite new joke. There is too much going on behind the music for her to be taken seriously. Why can’t the music industry push the serious artists into the mainstream and leave the teeny poppers in the land of indie obscurity? It’s because intelligence is not so easily manipulated nor exploited, duh.

And now a Band of the Week I wish was mainstream…Miike Snow!

I just discovered this super-sweet, Swedish trio. Just one listen and I was hooked. Their sound is very nostalgic yet fresh and new. I love the fusion of 60s reverb, poppy beats, and funk. They released their self titled album earlier this year. You must check out the disco worthy “Animal” and the poppy track “Song for No One.” If you’re looking for something a little slower, check out “Faker.” This band is gaining a following in Europe and we are so lucky they will be touring the states in the spring. Don’t miss them on their small club tour. It’s sure to sell out. And you don’t want to miss their fabulous mustaches in person.

Until next time, “Is that all you really have to offer?” Bad Religion - K