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| Remix Monday: Franz Ferdinand’s “Ulysses” Posted: 26 Jan 2009 04:35 PM CST Franz Ferdinand; stylish, unique, fun and a little rogue. Skinny ties and slim suits. A band must be loved for not only their music, but also their style and character, which these Glaswegians dispel with attitude. And they release their third album, Tonight: Franz Ferdinand today in the U.K. and tomorrow in the U.S. However, all of it can be streamed on their MySpace page now. The kick off single from the album takes its name from our favorite Homeric hero Ulysses a.k.a Odysseus and fulfills the style that this album is supposed to be; a bolder, aggressive dance-punk shot mixed with funky disco and lashed with electronica. “Ulysses” starts off with an addictive 4/4 synth/drum/bass bounce and is a return to form for the boys with its dirty, scratchy guitar riffs, Alex Kapranos‘ voice oscillating between a subtle whisper to an energetic brashness. But what makes this track a new, edgy, sexually filled romp is the addition of distorted and cracked keyboards, which is a clever move forward from their pure guitar punk signature. Here we get a sleek and dark gritty dance track. Disco Bloodbath Remix Beginning with a clatter of wood drums (or plastic paint buckets, your call) that fills a silence that is able to move you. The percussion rollicks throughout the track, which is met with trancey-house beats that are opulent in their pulsating effect. Your head just nods forward and back. Try to stop it, you probably can’t. This mix sounds nothing like the original, but it’s something unique on its own merits. Added to the aforementioned layers are choppy and distorted synths that grind the track. Franz Ferdinand - “Ulysses” (Disco Bloodbath Remix) Black Apache Remix A syrupy and beat heavy mix that is an intriguing blend of hip-hop and electronica. This mix exudes a sleek mystery, with its dark guitar riff, deep synths and syncopated keyboards that are lush in their abilities a long side wooden percussion. Franz Ferdinand - “Ulysses” (Black Apache Remix) Beyond The Wizard’s Sleeve Remix This is the first remix I’d heard of the song. It’s great, it’s opulent, it’s synth and bass heavy, yet I don’t even hear any semblance to the original. All there is is a lyric “Let’s get high” in a deep, robotic-esque voice, which is certainly not Mr. Kapranos. For what it is though, this is a pretty excellent track either way. It bubbles because it's so magnificently layered with at least three percussion beats, soul and funk bass lines, loud and wide synths, crashing snares, glittering guitars and bleeping keyboards. Franz Ferdinand - “Ulysses” (Beyond the Wizard’s Sleeve Remix) Full Duplex Remix This sounds like a remix that Justice would do. It has their characteristic syncopations, cut up and grinding synths, the dirt and grittiness of everything Ed Banger chews up and spits out. It’s matched by an underlying and purely rock n’ roll guitar riff, that scratches like an 80s rock song should. I think of Daft Punk on guitars. Then it hits you heavy with its driving beats and sliding synths. Franz Ferdinand - “Ulysses” (Full Duplex Remix) Professor Dust’s Confused at Ithaca Remix This is a pretty simple mix (despite the title) that is purely comprised of a disco beat and bass joined on by the typical and stated scratchy rock guitars, which add speed when they start coming in full force. And of course we have spacey synths. I think if Studio 54 existed today this would be a regular on its speakers. Franz Ferdinand - “Ulysses” (Professor Dust’s Confused at Ithaca Remix)  Written by: Ali Hussain Related Posts |
| The Ting Tings “That’s Not My Name” Posted: 26 Jan 2009 03:35 PM CST Check out a new vid for The Ting Tings‘ hot single “That’s Not My Name” from We Started Nothing. Tour Dates: The Ting Tings: website | myspace | @ johnny brenda's  Related Posts |
| Norman Jay MBE [DJ Set] @ Eighteenth Street Lounge, Washington DC Posted: 26 Jan 2009 01:15 PM CST Well, inaugural shenanigans brought Norman Jay MBE to D.C. for the first time this past weekend. While Norman’s been to the States before, only the lure of history could bring him down to the capital for a DJ set at famed Thievery Corporation’s Eighteenth Street Lounge. Norman Jay has been on the UK dance music scene for the past three decades. He’s famed for coming up with the term “rare groove,” he’s worked with Gilles Peterson and helped set up Talkin’ Loud Records, and he and his “Good Times” shows are a regular part of London’s Notting Hill Carnival — Europe’s largest street party. Known for his uplifting and eclectic sets, it seemed well worth it to check him out on one of the coldest Saturdays this winter. Now, your correspondent was slightly wary of the ESL — I’d not been there before, had heard the door staff can be pretty snooty and that the dress code is nothing to mess with. Many DCers also whine about the cover charge — meaning they whine about the fact that there is one. Those of us who’ve been out in more worldly cities won’t find that surprising though, so a few dollars wasn’t going to put me off.
I rolled up at an earlyish 12:30am thinking things would barely be getting started — it was inaugural weekend after all, the cities drinking holes had permission to stay open til 4am (or was it 5?), and the ESL promo listed warm up sets and a live jazz band. There was a small line and much shouting of “single ladies to the front!” but despite the snooty rep and apparent packing of the place it all moved along pretty swiftly and before I knew it $20 admittance was being demanded of me! Now, $20 is pretty high for D.C., and I can only assume that the ESL decided to do what all the other clubs in DC were doing — overcharging all the out-of-towners. Sad to see but I suppose business is business, and being on the guest list meant nothing past 11pm. I handed over the grubby note and headed on up. The ESL set up is like a big funky house that we all wish we could live in, so as I went upstairs and get on the landing, who did I see but Norman Jay! Right there! DJing in what must’ve been a converted bathroom? There he was in his little space, with his decks and records, between two larger rooms — a bit like a small back bedroom, a large front lounge, and then to the side, with pumped-in sound, a big bar. A unique set up, but not a bad one — lots of space for lounging and plenty of space for dancing too, both of which were being done. So much for showing up early though, as things seemed to be in full swing by the time I got in.
The set itself was great — all of the warm funky sounds I had been expecting. Jay mixed in house a Stealers Wheel remix, disco, funk, soul, reggae, MLK samples, John Legend mashed with Donell Jones, and even some Ellen Allien style minimal. Basically, the good eclectic mix I’d been expecting, even if it at times things seemed a little disjointed and got the dancers a bit confused (well, this dancer anyway). Highlights were a dub version of the “Pink Panther” tune and some nicely dropped, crowd-pleasing Obama samples — a direct play on the MLK samples as well as a reference to classic early house records. Not bad at all really. As for the crowd, well… I’d say the $20 entry fee was trumping the dress code as I saw many blazers and even some REI sourced outfits — though few, if any, sneakers! It was pretty diverse, though my guess would be that most were just looking for a place to be rather than for any particular style of music — I don’t think many knew much about Norman Jay and they paid little attention to Rob Garza of Thievery Corporation, who was wandering around throughout the night. Having said that, the dancing areas were as busy as the lounging bits, and there were at least a few souls who were out simply for the funk and were getting down in a big way (girl dressed as a librarian — I’m talking to you). All in all a good night, with good vibes, and a good venue, even if their dress code is a bit off (how about sneakers - yes, fleeces - no?) and the fees are a little high. Norm did his thing and we were surely pleased — let’s just hope he doesn’t wait for the next big moment in history to come back to DC. Norman Jay’s latest compilation is Good Times - London on Azuli Records. You can get a podcast preview here. Norman Jay MBE: website | myspace  Written by: Fahad Ashraf Related Posts |
| Canadian Invasion - Three Cheers for the Invisible Hand Posted: 26 Jan 2009 11:55 AM CST The first couple times I ran through this album, I was very skeptical. It’s not that the music didn’t hit me right away, but I was just not interested in the perceived repetitiveness. After re-considering and listening to it a couple more times, I started to notice the complex layering of melody which encompasses Canadian Invasion’s album, Three Cheers for the Invisible Hand.
The power-punk quintet out of Philadelphia combines pop rock hooks with an underlying sense of forlornness and sarcasm in their latest album to mock life in suburban America. Lead singer Andy Canadian’s mellow vocals and somewhat unanticipated remarks, complimented by guitarist Chris Morita’s harmonization with Andy, provide their tracks with an inexplicable charm and pleasantness. Oddly enough, these tracks represent an aspect of American society that Canadian Invasion intended to attack. Their musical content is much more critical, dark, and deep than the melodies initially imply. Three Cheers creates the illusion of a happy-go-lucky record when, in fact, it is attacking the vile superficiality that exists in suburban America. Their lengthy song titles and witty lyrics enable them to communicate that the album is intended to show the ugly side of humanity, yet with humor, irony and sarcasm. Canadian Invasion - “Standing on the Shoulders of John Mayer” Three Cheers for the Invisible Hand will be released February 17th. Tracklisting: Canadian Invasion: website | myspace  Written by: Tatum Hengel Related Posts This posting includes an audio/video/photo media file: Download Now |
| Blind Pilot @ Aladdin Theatre, Portland Posted: 26 Jan 2009 08:45 AM CST Three groups with a total of 30 musicians — as Blind Pilot’s Israel Nebeker said, this was a “night of huge bands.” Apparently, one benefit of being a local band is having a pool of friends to join you on stage and fill out songs with violins, cellos, and horns. It’s hard to imagine that these up-and-coming indie bands can afford to tour with this many people, but for a local show, the more the merrier. The Old Believers kicked off the evening with their 11-piece indie folk band. The band’s songs were full and boisterous, if a bit loose and sloppy. This approach worked well for some songs, turning the stage into a lively party, but others, felt rough and in need of some polish. Overall, I liked the new direction that accentuated their youthful and fun sound. The second band, Loch Lomond, has been playing together in Portland the longest of the three. They play lush and folky indie pop, in the vein of Sufjan Steven’s Michigan, and occasionally incorporated the theatrics of The Decemberists. Lead singer and songwriter Ritchie Young has a slightly androgynous voice, like a whisper, reminding me of early Belle & Sebastian, though my friend thought he sounded a bit like Billy Corgan of Smashing Pumpkins. Between songs the musicians switched instruments back and forth, trading in drums for a wind instrument, or the keyboard for a flute. Loch Lomond’s songs were packed full of harmonies, almost to the point of losing the lyrics. However, their music was beautiful.
Although the two openers were obviously loved by the crowd at this sold-out show, it was Blind Pilot that delivered the stellar performance. Like the other two bands, they play acoustic indie pop, but their songs are catchier and more immediately accessible. It’s easy to see why they are starting to get some national attention. Even with a full stage of 10 musicians, the focus was clearly on Nebeker and his guitar. The audience seemed to know each song, recognizing all of the new additions, and applauding every time they got the chance. Horns added punctuating bursts and a slide guitar filled out the sound wonderfully. The crowd erupted in cheers when banjo player Katie Claborn joined Nebeker for rousing choruses, her voice perfectly complimenting his and providing additional energy on stage. With only one album out, Blind Pilot played most of their songs, including all of my favorites, as well as a new song “White Apple”. Judging from the squeals and cheers, they were playing everyone else’s favorites too. The Old Believers: website | myspace | interview with  Written by: Jesse Gelwicks Related Posts |
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