Heartache With Hard Work

I’m jumping the gun a little bit here, but I’ve been listening to a ton of Nellie McKay the last few days, so I wanted to post while I’m in the mood.

Her 2004 album Get Away From Me was an astonishing work from someone younger than I am (she was born in 1982), merging jazz, rap, disco, funk, showtunes, and pretty much anything else you can imagine, and then topping it off with deliciously biting lyrics. Billie Holliday, Doris Day, Eminem, Kate Bush, and countless others. You like something? It’s probably here. Given the wide diversity, it’s definitely an album that deserves to be heard in its entirety, but I’ll provide two samples:

Change the World
Waiter

A number of reviewers have complained about the lack of depth in her lyrics (or, perhaps, the lack of an emotional core), but I think that misses the point. As these songs demonstrate, it’s a record about being 21 and having no idea who you really are. “Change the World” in particular is as honest a song as you can imagine, in part because it uses ironic distance to keep itself from truly descending into the emotional abyss of selfhood. After all, isn’t that how most of us actually understand ourselves?

Songs about cosmic meaning and catharsis are all well and good, but there are surprisingly few songs about the unique brand of ironic self-depreciation that, precisely in its effort to erase the emotional core, reveals the existential zeitgeist of living in 21st century America. Simply put, lots of people can do irony, but very few can do it well. Nellie McKay is one of the few.

I wouldn’t want all of her albums to inhabit this space, as I think that she has a lot of potential for writing songs that delve into the personal, but while she wants to unleash her biting wit and storytelling ability in this direction, I say more power to her.

Her follow-up album has been done for quite some time, but she was dropped from Columbia Records over a dispute about what version to release (she wanted a 23 song/65 minute long version while the label insisted on slicing it down to 16/48). It was claimed at the time that she would release the album herself, but so far nothing has materialized.

Amazon now has a page (Pretty Little Head), saying it will be released in October on the Black Dove label. I’ve also heard it’s going to be released on SpinART, but haven’t heard anything more about that. Anyone have any more info?

Anyways, here’s one song (released almost a year ago but still not officially out) from the new disc. It’s as good as anything she’s done and has me anxiously awaiting the full release:

Columbia is Bleeding

Despite her troubles with the Columbia label, the title is just a coincidence. In fact, the song is a scathing protest of the animal testing at Columbia University. As if I needed more reasons to love her, she is a committed animal rights activist and has been a vegetarian since she was 8. Not to start a big fight over animal rights (you can save the invective for when I do the big “songs about vegetarianism” post I’ve been thinking about for awhile), but is there anything sexier than vegetarianism? I say no.

For your listening pleasure today: some neat songs from Abandoned Love Records.

Luis Bunuel – Grumpy Bear

I found about this song from You Ain’t No Picasso, who called it one of his favorite songs of the year. I wouldn’t go quite so far, but it certainly is very enjoyable. It’s a bit of a suite, with a number of mood and tempo changes. Simple and uncomplicated without being even a little bit boring – which is a difficult balance to maintain. It’s off the Songs from the Abattoir EP, released earlier this year.

Chemicals Change – The Lovely Sparrows

A fine slice of indie-folk, it starts out with a slightly crooked, quiet guitar, and it picks up the pace about a minute in. In a genre with about a million participants, this song still manages to sound fresh. The album is Pulling Up Floors, Pouring on (New) Paint, and it comes out October 10.

Daughters of History – Morning Spy

Morning Spy actually have a lot of the same vibe as the Silversun Pickups, who I talked about a couple days ago. They both embody a lot of what made early 90s rock great, which in turn means they draw quite a bit from the 70s. This song is actually pretty mellow, but you can sense the attitude.

Midnight Shakes the Memory – Parker Street Cinema

This one goes outside my realm of expertise (well, that’s a bit of a strong word, how about “realm of familiarity) a little. It’s instrumental post-rock, I think. And it certainly generates some atmosphere. It reminds me of Don Cabellero, I guess, though it might just be because I don’t know too many bands that are even in this genre.

For all these bands, you can order their albums directly from the Abandon Love Records store.

Who doesn’t love Antarctica? I mean, it’s a continent, but it’s uninhabited. It’s on a pole. They’ve got penguins. It’s home to the Antarctic Treaty System, the first arms control treaty of the Cold War, which required that it be left free of military incursions, to remain a home for scientific exploration and inquiry. And then there’s the fantastic “Scott of the Antarctic” sketch by Monty Python. I mean, seriously.

Movies of Antarctica – Stars of Track and Field

I like movies. I like Antarctica. So I should like “Movies of Antarctica,” right? Fortunately, Stars of Track and Field do not disappoint. This song is a drenching burst of 90s-inspired rock, with just enough of the shoegaze mentality to keep it unique. Their album Centuries Before Love and War won’t be released on CD for quite a while, but you can pick it up on iTunes right now.

I started with just a quick post about this song, but then I got all excited about Antarctica and had to share a few more of my favorites about that southernmost of continents.

Antarctica – Antarctica Takes It!

What a fantastic song! Antarctica Takes It! certainly deserve that exclamation mark! At times soft and tender, at others gloriously carefree, it careens through a number of different tones but never loses its pure beauty. It’s lo-fi as can be, but is astonishingly well-constructed. This is one of my favorite songs I’ve heard in the last couple months. You can order the album from their myspace page.

Our Retired Explorer (Dines With Michel Foucault In Paris, 1961) – Weakerthans

A great song from John K Samson’s post-Propagandhi band from their best album Reconstruction Site. The subject (as the lengthy title suggests) is an imaginary meeting between Michel Foucault and a member of the Shackleton expedition to Antarctica. The interplay between a postmodern icon and the weary explorer is delightful. As much as I love Foucault, I do appreciate the sentiment that perhaps we might be better detaching ourselves from the study of biopower and getting back to Antarctica.

Oh Larsen B – British Sea Power

British Sea Power has an amazing ability (similar to the Decemberists) to sing songs about obscure or bizarre subjects and give them an emotional heft you could never expect. This song, from their album Open Season, which was my 5th favorite album of 2005, is a great example. It’s an ode to the Larsen B ice shelf in Antarctica which collapsed in 2002. It has the feel of a sincere, and touching, love song, and it’s only when you realize that he’s singing “Oh Larsen B, desalinate the barren sea” that you realize what’s going on. But somehow, it fits.

Antarctica (My Beloved Home) – Page France

I’ve never gotten that into Page France, but it’s more because of laziness on my part than any problem with them. Those songs that I have heard have been (for the most part) quirky, fun, and personable, like many Mountain Goats songs. This track fits that mould well.

And, finally, while I won’t post a song, I would be remiss to neglect mentioning Modest Mouse’s Moon and Antarctica (not my favorite but perhaps the best of their albums), devoted to the subject of the alienation of the pysche, fittingly titled after the two most desolate locations left to us.

For a site with more on the subject of Antarctic-themed music than you could even imagine existed, check out The Antarctic Circle.

We’re getting into the seriously busy time of year for me, so updates may get a bit more sparse (and entries will certainly be shorter than my usual novella length). Today, it’s just two songs from bands you probably already know about, which I’ve been meaning to post for awhile but haven’t quite had the time (or the inclination) for.

The President’s Dead – Okkervil River

Okkervil River is one of my favorite bands these days (as I’ve talked about before). This song, while not as good as their best songs on previous albums, includes much of the traditional Okkervil charm. Will Sheff’s voice is ragged and broken, and the pain and hopefullness are readily apparent. It’s off the Overboard and Down EP, exclusively released on their current tour. So go see them and get your own copy!

Speaking of, their upcoming dates:

09/03/06 Auckland, New Zealand – Schooner Tavern w/ Lawrence Arabia
09/04/06 Melbourne, Australia – East Brunswick Club
09/06/06 Brisbane, Australia – The Zoo w/ Jack Ladder
09/07/06 Sydney, Australia – Newtown RSL w/ Jack Ladder
09/08/06 Melbourne, Australia – East Brunswick Club w/ Jack Ladder
09/09/06 Adelaide, Australia – Fowler’s Live w/ Jack Ladder
09/10/06 Perth, Australia – Rosemount Hotel w/ Jack Ladder
09/15/06 Austin, TX – Austin City Limits Festival
09/16/06 Austin, TX – Austin City Limits After Party @ The Parish w/ Deadboy + Elephant Men
10/03/06 Little Rock, AR – Revolution w/ Elvis Perkins
10/04/06 Columbia, MO – Blue Note w/ Elvis Perkins
10/05/06 Ames, IA – The Maintenance Shop w/ Elvis Perkins
10/06/06 Madison, WI – High Noon Saloon w/ Elvis Perkins
10/07/06 Chicago, IL – Schuba’s w/ Elvis Perkins
10/08/06 Chicago, IL – Schuba’s w/ Elvis Perkins
10/09/06 Ann Arbor, MI – Blind Pig w/ Elvis Perkins
10/11/06 Columbus, OH – Little Brother’s w/ Elvis Perkins
10/12/06 Buffalo, NY – Soundlab w/ Elvis Perkins
10/13/06 Northampton, MA – Iron Horse Music Hall w/ Elvis Perkins
10/14/06 New York City, NY – Bowery Ballroom
10/15/06 New York City, NY – Bowery Ballroom
10/16/06 Baltimore, MD – Ottobar w/ Elvis Perkins
10/18/06 Durham, NC – Due Coffeehouse w/ Elvis Perkins
10/19/06 Athens, GA – Caledonia Lounge w/ Elvis Perkins
10/20/06 Asheville, NC – The Grey Eagle w/ Elvis Perkins
10/21/06 Memphis, TN – Hi-Tone w/ Elvis Perkins
10/22/06 Houston, TX – Warehouse Live w/ Oakley Hall

I’m hoping that I’ll be in New England for their Northampton show. I’ve never managed to see them, but would really like to.

Lazy Eye – Silversun Pickups

Remember the 90s? The Silversun Pickups do. And it’s pretty much a blog cliche to rave about this song and mention the Smashing Pumpkins (who are “reuniting” by the way) or Dinosaur Jr. or Veruca Salt or any one of 100 bands from 1993. Well, sometimes the hype is totally right – this song rocks. And you should listen to it. And then get yourself the album Carnavas.

But seriously, this song is awesome, from the quiet opening to the graceful fadeout the same riff holds, but the variations in tone over the course of the song give it tremendous depth. And those 20 seconds of volatality starting at 2:45–it’s like catching lightning in a bottle.

The first album from Heartache With Hard Work-favorites She, Sir is out today. In case you missed it when I first talked about them, check out this song.

It’s My Way of Staying Connected

As I said in July:

It’s not too often that I’ll hear to something and instantly love it–usually it takes a few listens before I really get into a song–but this song by the Austin-based She, Sir is one of the rare ones that absolutely blew me away from the first second. Shades of My Bloody Valentine, Mogwai, and pretty much any other band known for creating layers of sound, but there’s something beyond that. This is not your typical fare; this is what would’ve happened if shoegaze was around when Bach was growing up. “Intricately crafted” doesn’t even begin to describe it. Every sound has its counterpoint, every note is in place.

And I love it even more after a month.

This song alone would be worth the price of admission, but they’ve also got a number of other fantastic ones, with “I Love You, Blowtorch Eyes” and “You Can’t Change a Thing” being especially good. And here’s one more to whet your appetite:

The Clandestine

It’s got a bit more of the rocking feel. I want to use a bunch of words like “drenched” and “shadows” and “resonance” but it would just be a little too cliche. You get the point, though. This is seriously good stuff.

You can buy Who Can’t Say Yes from their website (go to the “audio” section), and if you’re lucky enough to live in Austin, check them out on September 7th at Trophy’s or September 15th at Ruta Maya.

I wrote about Gran Bel Fisher last month, talking about the song Edible off his debut record Full Moon Cigarette. I said that song wasn’t “that much different from your traditional 70s-rock-influenced alt-country fare,” but that it grew on me after a few listens as I began to sense a greater depth.

I concluded by saying “He could turn into a unique and truly interesting artist. Or he could turn into Coldplay-lite. One will probably be better for him commercially, but the other will make me happier.” I have to admit, after hearing the whole record, I’m still just a little perplexed. I definitely like it, and would recommend it, but I can’t quite get a handle of the feel of it. Is it country? Folk? Am I totally crazy for hearing a lot of Paul McCartney (post-Beatles, pre-bad songs)? What about Elton John? Or Sinatra? Or kd lang? And it’s certainly not jazz, but maybe it’s a little jazzy? I know that ultimately these labels don’t matter too much–if you like it you like it and it doesn’t matter why–but it’s a little frustrating trying to write about it.

I can say that my fears about Coldplay-lite were misplaced. If I’m not totally sure what it is, I know it’s not that.

Another track so you can form your own opinion:

Crash and Burn

As on most of the songs, the highlight is definitely his voice which is strong but supple, and emotive without being overly emotional. This is another piano-driven tune, which provides some essential gravity, and strengthens the anthemic moments in the chorus.

Some final thoughts: the genre-bending not only makes it tough to write about but also kept me from ever really getting a cohesive feel for the album. He’s got worlds of talent, but I’d like to hear future albums with a little tighter focus (and with less of the most directly 70s-rock influenced numbers, as those tend to be the weakest).

Head over to Pitchfork to get “Summersong,” the first legally released track from the upcoming Decemberists album The Crane Wife. I have to say, it’s pleasant enough, but doesn’t really do a whole lot for me.

Which leads me to something I’ve been thinking for awhile: I may just have to accept that the Decemberists are a great band who happened to strike a cosmic connection with me on Castaways and Cutouts. I’ve liked their other work, but my three favorite songs by them (“Grace Cathedral Hill,” “California One/Youth and Beauty Brigade,” and “Here I Dreamt I Was an Architect”) were all on that album–and they haven’t really written much in the dreamy-chamber-pop genre since. They’ll remain one of my favorite bands, but I probably should stop expecting another life-altering album.

Take your pick of the alt-country heroes: Westerberg, Wilco, Petty, Ryan Adams, Wilco, Rhett Miller, the Byrds. Whatever you like from those guys, you can probably find something pretty close on the new Damnwells record: Air Stereo. Especially Westerberg. It’s their sophomore effort, and it expands in every way on 2003’s Bastards of the Beat. That album was rough and raw, which was a great deal of its charm.

This time around, they’re not exactly polished, but they put the finer touches in where necessary, giving the whole affair a more complete feel. They hit all the cliches (the drunken tearjerkers, the drunken rumblers, the laments for a lost home), but they fill the spaces in between, as well. It’s not a political album, but it does not ignore these questions either. Similarly, it’s not an academic album, but neither does it reduce everything to the lowest common denominator.

One review that I read said “Air Stereo is the kind of album where your favorite track will likely change by the day,” which I think is completely accurate. So I’ll choose a couple to post, but there are probably 8 or 9 songs that might be my favorite depending on my mood.

Louisville

Homesick, lonesome, and touching. A heartfelt ballad that shows their quiet and contemplative side. I don’t care too much for Louisville, though one of the very best nights of my life was there (well, just across the border into Indiana to be exact). The piano and string flourishes really make this song.

Sell the Lie

Sounding a lot like a good ol’ Replacements song, this song immediately follows “Louisville” on the album and picks up the pace a bit. It’s a loser’s anthem with lines like “Don’t call me tonight, I can’t make it right.” It’s also probably the most radio-friendly song on the album.

Heartbreaklist

It took me a few listens to really get into this one. But the more I listen, the more it really gets inside me. It’s the most bluesy song on the record, dark and brooding.

Other great songs include “Golden Days,” (which would feel right at home on Rumours) “Keep a Little Organ,” “I Am a Leaver,” “Graceless,” and…most of the rest of the album. The one strange thing is that pretty much everyone I’ve read has cited “Shiny Bruise” as a highlight, but it’s one of the few songs on the whole record that doesn’t really do much for me. Still, a number of other folks like it, so it might be worth exploring.

On the whole, I’ll need some more time to listen to it to be sure, but chances are this will make a strong appearance among my favorites for the year. In the meantime, they’re on tour, hitting most of the country over the next few months. Check out tourdates here.

Finally, they’ve got a link to the USGS page on dinosaurs. And anyone who can’t respect that clearly wants the terrorists to win.

The Submarines, who put out the best album I’ve heard all year, finally have some tourdates up on their myspace page.

Aug 31, 2006 House Of Blues Sunset Strip, West Hollywood, CA
Sep 05, 2006 Plaza Club, Vancouver, BC
Sep 06, 2006 Doug Fir Lounge, Portland, OR
Sep 06, 2006 The Fillmore, San Francisco , CA
Sep 07, 2006 The Music Box @ Henry Fonda, Los Angeles, CA
Sep 11, 2006 Gothic Theatre, Englewood, CO
Sep 13, 2006 Metro/Smart Bar, Chicago, IL
Sep 16, 2006 Paradise Rock Club, Boston, MA
Sep 17, 2006 World Cafe Live, Philadelphia, PA
Sep 19, 2006 Webster Hall, New York, NY
Sep 21, 2006 Variety Playhouse, Atlanta,, GA
Sep 22, 2006 The Social, Orlando, FL
Sep 23, 2006 Studio A, Miami, FL

Go see them! I will definitely be at the Boston show. And if you haven’t bought Declare a New State yet, you probably also hate puppies and sunshine and happiness and love.

MP3s:
This Conversation
Darkest Things
Vote

Finally, for a tale of underwater love and adventure, check out the video for “Peace and Hate”

I talked about The Thermals earlier this month, reviewing “Pillar of Salt,” the lead single from their new record The Body, The Blood, The Machine. Now that I’ve heard the whole thing I wanted to recommend even more strongly that you get yourself a copy. I’m not positive it’s my favorite Thermals album, but I am positive it’s their best. While my heart may always reside with the lo-fi crackles and raucous noise of More Parts Per Million, this album is more ambitious and more fully realized than anything else they’ve done.

After a few listens, I still think the best song is “Pillar of Salt,” which I talked about in a lot more detail in that previous post. Still, there isn’t a bad song and a number of other killer ones.

The frantic the-music-can’t-possibly-go-fast-enough feel of their past work has been replaced with a bit more nuance. They still let loose in a few places but also experiment with a number of different tones and paces. There is the grungy “I Might Need to Kill You,” the crushing “Returning to the Fold,” the pop-tinged “An Ear for a Baby,” and the bittersweet “Test Pattern,” to name a few.

One major highlight is “Power Doesn’t Run on Nothing,” which is as damaging as anything they’ve ever done. But if “No Culture Icons” is a stick of dynomite, this song is the rising tide as it bursts the dikes and washes over you. The first is more explosive but the second is implacable and ultimately more overwhelming. A study of modern fascism: exploitative, wreaking havoc, and using up resources (the environment, its citizens, the planet itself) as fast as it can. It also features some of their best lyrics: “our power doesn’t run on nothing / it runs on blood / and blood is easy to obtain / when you have no shame.”

This song (and the album as a whole) is profoundly pessimistic. The convergence of fascism and religion is a terrifying one, and it makes for a great (almost) concept album about Manifest Destiny, escape, blood, capitalism, and destruction. Anyone can kill and destroy, but when it is done in the name of God, it becomes an imperative. No real answers are provided, apart from a note on the back of the booklet: “Now’s the time. Take a powder. Skip the country. Run away.”

But ultimately, providing answers isn’t really the point. This is a punk band, not SDS. I’m not sure they’re that interested in laying out a progressive agenda–their job is to be pissed off and make songs about it. And they do a mighty fine job of it.

Taking things in a different direction is the aforementioned “Test Pattern,” which is almost pretty. No, scratch that, it’s definitely pretty, partly because it doesn’t go over-the-top maudlin, but retains just enough of the patented Thermals snottiness to sound completely without affect. A breakup song in the middle of an album about fascism, blood, death, and destruction? Sure, and it works perfectly.

If there is any weakness in the record, it’s that the slower pace occasionally feels plodding. I know it’s a little absurd, but there are times (on “Back to the Sea” for example) when it feels closer to prog than anything else. Which isn’t necessarily bad, but I can’t help but think that one or two under-two-minute pure punk assaults could have jolted me back to reality when it was needed. Still, this is a very minor complaint about an album which for the most part delivers on its promise and displays a band at the height of their creativity, making an album that deserves to be heard.

MP3s:
Pillar of Salt
No Culture Icons (from More Parts Per Million)