Tuesday, February 3, 2009

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Remix Monday: Kid Cudi’s “Day ‘n’ Nite”

Posted: 02 Feb 2009 05:18 PM CST

“Day ‘n’ Nite” is the debut single released by Kid Cudi in February 2008. The song garnered significant attention over the last year; particularly through it’s remixes. It also helps that Kid Cudi is under Kanye West’s wings on West’s G.O.O.D. Music record label and therefore has been marked as the hip-hop artist to watch out for in 2009. Let’s hope he doesn’t disappoint, but if this single is anything to go by, Mr. Cudi won’t fall short.

website | myspace

“Day ‘n’ Nite” is a down tempo track with spaced out beats. The vocals are soft and speak with sincerity. Though it’s a hip hop track for sure, evidenced through its heavy percussionized beats, it has a little bit of an electronic edge to it provided by the synthesizers.

Kid Cudi “Day ‘N’ Nite”

Crookers Remix
This mix is really what’s shot the song to international stardom. Overseas it is significantly more popular than the original, much to the chagrin of Kid Cudi, which he has expressed on his blog. It just comes down to the different tastes on both sides of the Atlantic. The Crookers remix is faster, more house heavy and dance floor ready, which explains it’s popularity in Europe. The song continues with its spacey sound but is far more bass heavy, garage rock, intricate and interesting. The mix breathes new life into the original.

Kid Cudi “Day ‘N’ Nite” (Crookers Remix)

Agent X Remix
So how many worthwhile remixes can you have of one song? Agent X in my opinion doesn’t really alter much from the Crookers mix. The spacey riff that is the most interesting part of the original is the highlight of this mix, which just floats right on top of all the layers. The mix is broken into the same segments as the Crookers one, but with sounds that are more lushfully synthy, which doesn’t really mesh with the garage flavor of the Crookers version. Towards the end this mix gets ridiculously out of control with its electronica.

Kid Cudi “Day ‘N’ Nite” (Agent X Remix)

Jayou Hold The Phone Remix
The Jayou mix keeps the hip-hop flavor of the song. It remains down tempo but adds eerie church bells and a distorted and Justice-esque electro line. It starts to pick up pace in the middle with the addition of further house distortions, club beats and stripped raw vocals. It gets pretty wild at the end.

Kid Cudi “Day ‘N’ Nite” (Jayou Hold The Phone Remix)

Jori Hulkkonnen Remix
This is an interesting one. Down tempo for sure, the vocals are also very stripped and raw and everything else that surrounds is a melodious arrangement of basses, bells, synths and beats. They are all underplayed but fit well together to create an eerie but enjoyable spacey sound, which by now you’ve guessed is the crux of this track.

Kid Cudi “Day ‘N’ Nite” (Jori Hulkkonnen Remix)

Written by: Ali Hussain

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Built By Snow - Mega

Posted: 02 Feb 2009 04:26 PM CST

I’m amazed by the whole nerd movement that seems to have been going on for the last few years. Musically it has even been spinning off into even more defined nerd rock genres like “video game rock” or “wizard rock” (Harry and the Potters). The novelty of the dorkiness of this movement has not worn off and as a frequent reader of XKCD and a self-proclaimed “Orch Dork,” I’m still quite enthralled by this genre. So it may not be a surprise that I was quite amused by Austin band Built by Snow’s latest release Mega.

Built by Snow is like listening to Weezer with moog. They lack some of the rushed emotional anxiety of some other moog heavy bands like Motion City Soundtrack, but they still manage to stay fun in a dorky sort of way. Every lyric is just dripping with their sense of humor like in “All the Weird Kids Know” when they sing, “Just like  Pacman, my brain eats beats.”

Because of their quirky beats and silly lyrics, they are at their best on overly cheerful numbers. Fortunately, that is most of the album, but every once in awhile a downer slips in. “A-beta” loses the crispness of the other songs. “Attachment” ends up being a poor closer with its unattached and too-soft vocals. A better closer would have been the almost too cute “Science of Our Love” where they basically repeat the fact that “The science of our love” is that “We are magnets” over bombastic percussion and a sweet opening riff.

For the most part the album will put listeners into a cheery, hand-clapping mood that is sure to win the boys lots of fans. And if all that science lingo also wins these guys the ladies, then more power to them.

Built by Snow’s Mega is available now.

Tracklisting:
01. Giant Robot Attack
02. Something in 3D
03. All the Weird Kids Know
04. Implode Alright
05. A-beta
06. Algometric Touch
07. Invaders
08. Science of Love
09. Attachment

Built By Snow: website | myspace

Mega
Price: —
1 used & new available from USD 8.99

Written by: Bethany

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Offspring Video for “Kristy, Are You Doing Okay?”

Posted: 02 Feb 2009 02:50 PM CST

So, to be 100% totally honest, I stopped listening to the Offspring after Americana. But today, the guys have released a new music video for since “Kristy, Are You Doing Okay?” and I kind of like it.

Is The Offspring still relevant?

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Interview with: Amie Miriello

Posted: 02 Feb 2009 01:45 PM CST

Boobs, beer and stab wounds. This interview has it all. With the recent release of her debut album, I Came Around, Amie Miriello’s name should be on more people’s lips. If you haven’t heard of her yet, a good place to start is with her interview with Joshua. Then be sure to swing by this sassy songstress’ MySpace page to hear her powerful songs. Even if her genre of country-rock isn’t quite your thing, you are sure to fall for her charming personality.  Check out the interview here:

Joshua, Popwreckoning: You recently released your album I Came Around. How would you describe your sound?
Amie Miriello: My sound? Like poppy, peppy, soulful music that girls and guys can relate to and probably more female type music, but something that your boyfriend wouldn't mind going with you to see. I don't know. I'm drunk. Drunk music. It's drunk music.

PW: What musical influences have driven your musical career?
AM: Joni Mitchell a lot, a lot. Joni Mitchell is like my god. Um, Ani di Franco, Radiohead, Pixies. A lot of stuff, but basically rock.
PW: All that sounds awesome. You said the Pixies, I love them.
AM: Oh God, I adore the Pixies. I've watched a lot of the documentaries.
PW: I saw the Breeders just a few months ago. I was really surprised that they were so crowd interactive. They talked to everybody. And I was like, "You don't need to do anything. You're a Pixie."
AM: Yeah. They don't need to do a thing. Kim Deal is awesome. Does she have a twin sister?
PW: That's what I hear.
AM: Whenever I see her…I always see them and I can't tell if they're girlfriends or twins. I think they're twins maybe. I think they're twin sisters.

PW: You recorded the song "Disarm" by the Smashing Pumpkins, how did you come about choosing that song and are there any other covers in your future?
AM: Well, the Smashing Pumpkins were getting different bands together to do their tribute albums and they asked me, well not them specifically, but the management asked me to do it. They were going to give me some random one that I had never heard of and I was like, "Nooo, “Disarm”." And finally they let me do it. I wanted to do kind of an acoustic kind of feel to it.
PW: How do you feel about them getting back together?
AM: I feel pretty positive about it. I'm a fan and I'm a fan of stuff that people don't like, too. So, although I'd never get to talk to Billy Corgan, I think he is amazing. I haven't really heard the new songs. Just bits and pieces. I'm always a fan of people trying to branch out and continue trying their thing. I feel like the real fans will support their stuff.

PW: Next question. Hm, it's supposed to say which track off your new album do you like the most to play live, but it looks like it says which cat.
AM: Which cat? Haha. Hm. I don't like cats. I like dogs. My favorite to play live is "Brand New" because people freak out. People know the words and I don't know why or what it is about the song, but there's always a group of girls yelling the words to "Brand New". As a performer, you get random people that come to the shows and sometimes I'm playing for people who don't know or give a fuck who I am or they don't care. "Brand New", regardless of whether it's a crowd of people that know it or they don't, it gets everyone's attention.

-enter Amie’s guitarist, Jay-
Jay: I bought you a present.
AM: What did you get?
-Jay holds up A Confederacy of Dunces-
AM: [gasps] I'm really excited. I'm pumped. I have to finish my David Sedaris.
PW: Which one?
AM: When You Are Engulfed in Flames.
PW: The new one, right?
AM: Yeah.
PW: This is like one of my favorite interviews. We got to see him in Kansas City. He sat down in this tiny ass bookstore, like no bigger than this bus, and read from his book to the people. He is really funny live.
AM: I love him. And I love gay humor, pretty much all of my friends are gay and my sense of humor is gay. I want to be Bette Midler. So his books to me, any kind of gay humor, is just hilarious.
PW: It was so amusing. So many people showed up that they couldn't fit them in the store, so they set him at the front door with a microphone. The front door was shut and the a crowd of people surrounded the store.
AM: That's awesome. That will make you feel cool.
PW: It was so weird. He was reading from a fucking glass box. I had a feeling that anytime somebody was going to knock on the window. He was really funny and really cool. He stopped reading at like seven and stayed there until like 1:30 in the morning to talk to people and make sure that every person that came got an autographed book.
AM: That's awesome.
PW: It's cool that he's not a diva and he has every right to be a diva because he's a fucking genius.

PW: You've played with a band, but what's the biggest challenge between going solo and playing onstage by yourself?
AM: I think it's definitely, it's got its ups and downs, but the biggest challenge is the vulnerability that I do feel up there. First and foremost, I'm a writer and I have to play in front of people and I have to play by myself with just a fucking guitar and be really vulnerable especially when people are drinking and are waiting to see someone else, you know? And kind of overcoming that anxiety every single night without a group of guys behind you saying let's do it or without drums and electric guitar…that commands attention. And me by myself, I have to rely on my wit, my personality and my voice. So my fabulous guitar playing, which is mediocre at best, it's really vulnerable. So it's like I'm like a chubby teenager with braces getting on that bus and it makes you feel like that guy again. Sometimes I have to look in a mirror and say, you're a big kid now you have to have a drink, shut the fuck up and get on stage.
PW: It is weird how vulnerable it is to get on stage and that's the most uncomfortable feeling in the world. Yet if you didn't have it, you'd miss the fuck out of it.
AM: Yeah. If I didn't have it, I'd be like ‘Oh my God, what's going on,’ but even playing in a basement I'd have the same feeling as playing at Radio City Music Hall. I'd have the same vulnerability no matter who I'm playing in front of.

PW: Of course we have to talk about the entire theater thing. You probably get asked all these questions all the time, don't you?
AM: Yes.
PW: Of course. How much does that suck?
AM: It beats bartending.
PW: Really?
AM: Nah, I had a lot of money.
PW: I bet the questions are better when you're bartending, too.
AM: Bartending was awesome. I had all this money from tips.
PW: There it is. You were probably bitching about the economy the entire way here.
AM: We're not going to bitch about the economy. We're going to drink our sorrows away.
PW: I want to work at a bar and listen to bands that don't suck.
AM: I want to open a bar and be a bartender and just get drunk all the time.
PW: There it is. We could be business partners.
AM: Yeah. Let's do it. We've talked about music and jobs.

PW: Creating music, blah blah, musical theater, What's the difference between being on stage there and on stage here?
AM: I'm sorry, musical theater?
PW: Yes.
AM: I don't know how much you know about me, but it's like a known fact that I'm a terrible actor. I'm terrible. Not because of any other reason than if I'm stage then I can't pretend like I'm crying and shit. So every part, I'm just blank face, but I would get all these parts because I could sing really well. But I'd get up there and totally butcher shit.
So after awhile, I was like this is embarrassing for everyone. Let's just cut this acting shit and I should just do music. But what I liked about theater is the immediacy. You get on stage and it's not like film where you can take a million cuts. You have to be on and you have to be good at the last minute. If you knock over the microphone, you can't be like cut. Redo. You have to be like, there's the mike stand. Sorry. I like that. I like living things in the moment, so I like that about theater, stage, everything.

PW: I think this crowd works better for you than the scripted life.
AM: Yeah. Oh my God. I was in talks with MTV for awhile because they wanted to do this reality show of this girl in a band and I was all about it. If it exposes my music then fine. I have no qualms about who I am. But what I do have qualms about is sucking at acting. And at the last minute they were like, oh it's scripted. And I was like, that shit's acting. That's what actresses do. I suck at that. Then they had that show and I remember seeing that come on and being like, ‘I think that could have been me.’ It was a show about this girl in a band like Kyla or Kya or whatever the fuck her name was. It sucked. And I was so thankful because that was just one of many opportunities that I feel really great about they sucked. I think I have good intuition about what could ruin my career totally.
PW: MTV would be good at ruining your career.
AM: Exactly. If decided to become like a TV singer or in a movie. That would ruin my chances of being credible.

PW: The crossover works for some people. I think with acting you have to be an actor first and then come over to music.
AM: Well I think if you're a serious musician. But your company wants to exploit you as a sex symbol or as a beautician act, because for some reason you can't be a sex symbol or a musician you have to be either. I think that there's a fine line. As long as that line exists, I can't take the chance of making myself a sex symbol.

PW: You think that there aren't exceptions to that rule where you can be both?
AM: I think that there are so many exceptions. I think that Tori Amos is one of the sexiest women.
PW: Me, too.
AM: I think especially on stage. I think Madonna is amazing, but it is ownership of your sexuality.
PW: That's true.
AM: And because I am in the public, but nobody knows who I am yet except for like some random people, to come out as a sexual being is totally not what's going to get me covered. You are what you are and you come out and people respect it because your sexuality then becomes just another facet of things that they like about you. That's great. Sexuality can ruin music. They're not going to listen to it objectively.
PW: Yeah and for some, sexuality comes first.
AM: Then you get those guys at every show who just want to bang me and I'm like buy the fucking record and I'll talk to you for like 10 minutes. Buy the record, but your drunk ass doesn't even like my music, so please.
PW: Buy 35 records, then you've got a shot.
AM: Yeah. Buy 1,000 records and I might let you touch my butt.
PW: If you make me go aluminum then you might stand a chance.
AM: Exactly. I'll show you my boobs if you buy 100 records. And that is a promise. How much money do you have on you?
PW: Not 100 bucks. Did you not miss the economy talk where we were going to open a bar?
AM: Sorry guys, not going to get it. Can he borrow some money? Haha.

PW: Wow. That's going to be fun to transcribe. This is going to be like the time that we made fun of Ingrid Michaelson's boobs and she read the review and I was like “fuck!”
AM: What did you say about her boobs?
PW: We took some photos at the Hotel Café Tour and she was wearing like this open ended shirt that like shit was falling out of, so we were making jokes like we missed the entire show; we were seeing Ingrid's boobs.
AM: Are they good boobs?
PW: They were pretty great, yes.
AM: What's the problem then? I'd be like schweet.
PW: We tried to interview her later and she was like, you don't care about my music, you care about my boobs. I remember your blog. You're the boob blog.
AM: You know how many boob blogs I've had? Come on. You get over it.
PW: She was kidding, but it was not a good moment for me.
AM: She is funny.
PW: She is really funny.
AM: And she's so fucking talented.
PW: She is. I wish she would take a little less of a commercial route.
AM: Singing in q pretty spot on Michaelson impression. “I just want to be OK, be OK, be OK. I just want to be OK, be OK, be OK.” I'm like, you know, you could have done without that song, but on her verse, it's fucking great.
PW: She does balance it out. She does her one commercial song and then she has her seven other brilliant songs.
AM: She's amazing. When she's on stage, I don't think she's traditionally that hot, but on stage, she's sexy. She has this sex appeal.
PW: She's librarian hot.
AM: Like she's like that librarian in a porn that's like what and takes off the glasses and the hair comes down and you're like ohh. Where the hell did that come from?
PW: She's like I'll punch you in the balls hot.
AM: Totally. Her guitar player is awesome. I love her.
PW: Her name. What's her name? [Ed. Note: Allie Moss]
AM: It's in that second song, what is it?
PW: I can't…
AM: She's bad ass. What is it?
PW: Bess something. Bess Rogers? Betsy was on our tour. Betsy was fun, you should check out Betsy.
AM: No, it wasn't it. The female voice to me is just so beautiful.

PW: I prefer female music.
AM: I mean other than like Elliott Smith.
PW: Elliott Smith is basically female music.
AM: Yeah. I have a picture of like the Great Wall in LA. I walked by it and I have to say, I actually cried when he killed himself.
PW: It's tragic.
AM: I never cry either. You listen to his music and he hates himself so much. We can all relate to that. I can. There's 50 percent of the days that I hate myself, but then there's like this person who is so amazing and talented who just hated himself.
PW: The way he went out!
AM: Oh stabbed!
PW: Stabbed himself in the chest.
AM: That's the most hardcore way to kill yourself.
PW: Jabbed himself in the heart, pulled it out and jabbed himself again.
AM: And to get through the breastplate, it's so hard, you to have such fucking determination. You can't just be like hmm, you have to be like, I am fucking stabbing myself in the heart. Twice! I'm going to pull it out and do it again.
PW: Unreal.
AM: It is pretty hardcore.

PW: Let's see. You've opened for a lot of pretty big names like INXS, how has the opening slot taught you to perform?
AM: It has taught me a lot. You see some performers that people are going to cheer for them regardless. They can get on stage and take a shit in a fucking CD case and sell it for a $100, it doesn't matter, people will buy it regardless because they're famous. Famous people are going to be loved and hated and cheered for regardless.
PW: And their shit doesn't stink.
AM: And their shit doesn't stink. But then you open, and not to be an ass, but when you open for someone like that, you realize what it is to be a musician and have music running through you and coming out of you. And for me, it's humbling listening to a Beatles record or a Pink Floyd record and seeing that like I suck. I hate myself and I hate my music. A great opener can make you very insecure. The insecurity guides you to be better and work harder.

PW: I think one of the greatest live experiences has been when somebody comes along and is like I'm doing this. I love to see an opening slot kick a headliner's ass. There's nothing better than that.
AM: And it's hard to do.
PW: Kevin Devine did it. He's just balls to the walls energy and he's a lyrical genius. The next band comes out and they're just flat. The only band I've ever seen him hang with emotion-wise is when he's on tour was with Brand New. Jesse Lacey is the same way. Pure emotion. It's amazing to watch.
AM: It's amazing. If me and Jay suck ass, it is hard because it is hard to play acoustic. It is hard to play acoustic for this crowd especially when on a tour with INXS. Yet what I do commands the attention, and I make it so. I'll play random shit and I'm ready to take my boobies out if people don't shut the fuck up and they'll shut up. But then I'll be like I'm not taking them out. But they'll shut up.
PW: ‘I have your attention now.’
AM: It sucks that you have to use that, but I had a to do it when I was on tour with INXS, but they have a new singer from that show with them, but whatever, they're them. They're so great. They can give the shit. If something went wrong on stage, they made it funny. Before I toured with them, when something would go wrong, it ruined my show. Oh my God. I messed up that note. But nobody knows. First of all, nobody knows, you're not that fucking important and then these people are here to fucking party. They're not here to judge you. The girls sitting in the front that hate you because you're a girl, they're going to hate you regardless. If you can get past all that or be opener that could give two shits about all that, then they'll like you. I guess I realize I'm not that important and if I can get through the show and make fans, then that's great.

PW: I think that a lot of people don't realize that the opening slot, your job is to come back here and if there's 300 out there, impress 10. That way when you come back through, those 10 bring 10 more.
AM: Absolutely. I feel like I would get so upset and even now sometimes, when half the crowd wasn't even there waiting for my set. But you know what? Things to know about myself: A. I barely showed up to see the opening act. I was going drunk and getting there in time for the headlining band. Now it's different because now I'm an artist, but you know, whether you're impressed by the opening act or not, it takes a lot to get somebody out of their seat and spend $15 to listen to music. And they have their seat right there and they know that's where the band is playing next. It's a lot. If you can get a couple of people to do that, that's cool. If you can get a lot of people to do that, that's fucking great. And it is hard to get anybody to leave their spot, because they're there and the don't want to lose their spot to get a CD, but they'll do it at the end and come and hang it is cool. I'm learning to deal with that.
PW: I see a lot of bands doing the guilt thing to get people to buy their CD. The "We're running out of gas money, buy our CD."
AM: I don't care about that stuff. I don't have any money either.

PW: I just have a last crap question, so we're just going to keep talking. I wonder how the economy is going to affect the live music.
AM: You know what I heard is that statistically, it is really not affecting the live scene because people want to go and see theater and see live music. So instead of buying that extra pair of jeans, they'll want to go to a live concert. As opposed to getting the jeans and the concert, they'll just do the concert. It's the certain things that people will allow themselves to do and I think music will be one.
PW: That's true. It won't affect small shows.
AM: It might affect Rihanna.
PW: That's true. It will hurt the Green Day tour. No one will spend $50 a ticket.
AM: My shows barely cost anything for a ticket.

Amie Miriello: website | myspace | I Came Around review

I Came Around
Price: USD 12.99
55 used & new available from USD 0.10

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Duncan Sheik - Whisper House

Posted: 02 Feb 2009 12:15 PM CST

Duncan Sheik teamed up with the beautiful Holly Brook to create the album Whisper House. Having already won a Grammy for his past work, Sheik is quite the experienced song writer. This album is nothing less of those standards than we’ve come to expect considering his discography.

In nearly all of the songs on Whisper House, Brook makes an appearance that is akin to the beauty you might find in Mother Nature’s most famous works. Most notably is the first song on the album “It’s Better to Be Dead”, which casts a spell on the men and women listening.

One thing I found through out all the album is that Sheik likes to tell stories through song. For the most part, many artists can only pull off one epic song on an album. As for Duncan Sheik, telling stories through song is like breathing to him; it’s in his nature to. Almost every song on this album is worth listening to just to hear what happens to each character. The only song that turned me off was “The Tale of Solomon Snell”. I feel that the lyrics were pushing it a little too far.

Other than the one rotten apple in the bunch, I would give this album a solid 6 stars. Whisper House is available now on RCA Victor.

Tracklisting:
01. Better to Be Dead
02. We’re Here to Tell You
03. And Now We Sing
04. The Tale of Solomon Snell
05. Earthbound Starlight
06. Play Your Part
07. You’ve Really Gone and Done It Now
08. How It Feels
09. I Don’t Believe in You
10. Take a Bow

Duncan Sheik: website | myspace

Whisper House
Price: USD 11.99
31 used & new available from USD 8.04

Written by: Kyle Thurin

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New Cursive Album to Drop March 10th

Posted: 02 Feb 2009 10:44 AM CST

Cursive has confirmed that their sixth full-length studio album, Mama, I’m Swollen, will be released March 10, 2009 on Saddle Creek Records. The long awaited follow-up to 2006’s Happy Hollow - which was heralded as an adventurous and triumphant evolution of the band - the new album was recorded this past summer and fall at ARC Studios in the band’s native Omaha.

Front man Tim Kasher and company had a brief touring stint this winter to preview some new material, of which EIC Jessica caught in their stop through Philly, and will hit the road again in March (dates below) to promote Mama, I’m Swollen. Wrestling with life’s miseries and mysteries, Mama, I’m Swollen is an album brimming with the universal, questioning the human condition, social morality, and the ‘Peter Pan Syndrome’ of grown men.

Cursive - “Bad Sects” (Jameson Whiskey Mix by Optronisx)

Tracklisting:
01. In The Now
02. From The Hips
03. I Couldn’t Love You
04. Donkeys
05. Caveman
06. We’re Going To Hell
07. Mama, I’m Satan
08. Let Me Up
09. Mama, I’m Swollen
10. What Have I Done?

Tour Dates:
Mar 09 - Music Hall of Williamsburg / Brookyln (Sold Out!!)
Mar 10 - Bowery Ballroom / New York City
Mar 13 - The Troubadour / Los Angeles (Sold Out!!)
Mar 14 - The Casbah / San Diego
Mar 15 - Rhythm Room / Phoenix
Mar 16 - The Launchpad/ Albuquerque

Cursive: website | myspace | @ the barbary
Saddle Creek Records: website | preorder Mama, I’m Swollen

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Ladyfinger (ne) - Dusk

Posted: 02 Feb 2009 08:45 AM CST

Not too bash on individuality, but upon hearing the first 10 seconds of leading track, “Over and Over”, I couldn’t help but make parallels to the Foo Fighters, at least melodically. Ladyfinger (ne), a hard-hitting quintet out of the Midwest, drops Dusk, their sophomore album, on February 3rd.

Despite its heavy adrenaline-driven facade, Ladyfinger (ne)’s lead singer Chris Machmuller’s vocals are quite unique, and have a tendency to gather emotion quickly and effortlessly,which separates his voice from the remainder of noise emanating from Dusk. The entrance of vocals almost soothes over the aggressive nature concentrated in the instrumental aspects of the album, making it reflect almost all of the major sub-genres of rock (progressive, a little math rock, some elusive indie, garnished with punk for flavor).

Songs like “Plans”, “Born in the 80’s”, and “Over and Over” implicate Ladyfinger (ne)’s focus on their riffs, beats and effects with heavily emphasized, lengthy instrumental breaks. Although the album is extensively heavy and favors an assertive edge, there’s still an inkling of sensitivity mulling about. “Plans”, a track that alludes to drug use and the pain and suffering it breeds provides this emotional outburst in it’s presentation. The placement of low-key breaks wedged in between heavy riffs and a speedy tempo dictate the anger, confusion, and grief that accompanies such heart break. The epic introductions of “Born In the 80’s”, “Let’s Get Married”, “Work Party”, “A.D.D”, and “Over and Over” are what really give this album it’s vitality.

Ladyfinger (ne) - “A.D.D”

Ladyfinger (ne) - “Little Things”

Ladyfinger (ne) is currently on tour throughout the Midwest. Dusk is available February 3rd on Saddle Creek Records.

Tracklisting:
01. Over and Over
02. A.D.D.
03. Little Things
04. Two Years
05. Read the Will
06. Work Party
07. Bones
08. Plans
09. Let’s Get Married
10. Born in the 80’s

Ladyfinger (NE): website | myspace

Dusk
Price: USD 11.99
2 used & new available from USD 11.98

Written by: Tatum Hengel

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at 3:37 AM