popwreckoning updates

Posted: 12 Feb 2009 04:43 PM CST

Look for New York’s Ratatat to hit the road in late March on a second stretch of support for their recently released album LP3. You should also feel free to pick up the band’s new 12″, Mirando, which includes a remix by Animal Collective, also touring soon.

Tour Dates:
Mar 21 - Bogarts / Cincinnati
Mar 22 - The Crofoot / Pontiac
Mar 23 - Metro / Chicago
Mar 24 - Blue Note / Columbia, Mo.
Mar 25 - Slowdown / Omaha
Mar 26 - Aspen Gondolda Plaza / Aspen
Mar 28 - Boise Knitting Factory / Boise
Mar 29 - Showbox SoDo / Seattle
Mar 30 - Crystal Ballroom / Portland
Apr 01 - The Fillmore / San Francisco
Apr 02 - The Fillmore / San Francisco
Apr 04 - Hollywood Palladium / Los Angeles
Apr 08 - Meridian / Houston
Apr 16 - 9:30 Club / Washington DC
Apr 20 - House of Blues / Boston
Apr 21 - Terminal 5 / New York City

Ratatat: website | myspace | LP3 review | @ granada theater

LP3
Price: USD 13.99
50 used & new available from USD 3.95

Photo: Joshua Hammond

November 8, 2008 — Animal Collective Tour Dates (0)
February 11, 2009 — The Faint and Ladytron to Co-headline Tour (0)
February 11, 2009 — Ryan Adams releases previously unheard track (0)
February 11, 2009 — The Decemberists Post Spring Dates (0)
February 9, 2009 — The Dig @ The Khyber, February 26th (0)
February 9, 2009 — New Felice Brothers Record “Yonder Is The Clock”, 2009 Tour Dates (0)
February 6, 2009 — Harlem Shakes to tour with Tokyo Police Club, “Technicolor Health” out March 24th (0)
February 5, 2009 — Ray LaMontagne 2009 Tour Dates (0)
February 5, 2009 — 2009 Bonnaroo Music and Arts Festival Confirmed Artists (0)
February 5, 2009 — YACHT March Tour, New Album “See Mystery Lights” (0)

The Naked Hearts - These Knees

Posted: 12 Feb 2009 03:15 PM CST

The first song on New York group The Naked Hearts These Knees EP gives a pretty good indication of what you can expect. “Cat & Mouse” plays back in forth with male and female vocals from Noah Wheeler and Amy Cooper, and while their harmonies and the bass heavy instrumentals sound good, they come off as a little lackluster.

This EP had the potential to be great. Everything is in pitch and produced well. Yet, both Wheeler and Cooper fail to convey enough interest and emotion behind their own songs. So while Cooper sings what should be a painful heartfelt line, “You hand me a heart that’s broken, then tell me it is a token of love,” you might have to suppress a yawn. This happens again and again.

However, I might be mistaken about this group because people seem to enjoy bands like The Kills who also are skilled vocally and decent enough musicians, but also lack self-interest. I just feel that if the band fails to show that they care, why should we as listeners? Perhaps, the full-length will have a little more emotion.

These Knees is available now.

Tracklisting:
01. Cat & Mouse
02. Call Me
03. No One Nothing
04. One False Move
05. Crashing Horses
06. Only For You

The Naked Hearts: website | myspace

These Knees
Price: —
1 used & new available from USD 5.94

Written by: Bethany

February 5, 2009 — The Odds - Cheerleader (0)
February 2, 2009 — Built By Snow - Mega (0)
February 1, 2009 — Readymade Breakup - Alive on the Vine (0)
January 30, 2009 — Dead to Me - Little Brother (0)
January 29, 2009 — Testing For Echo - Renaissance EP (0)
January 19, 2009 — East Hundred - Passenger (0)
January 19, 2009 — Sara Lov - The Young Eyes EP (1)
January 17, 2009 — Auburn - Basic Instructions Before Leaving Earth (0)
January 15, 2009 — Boxer Rebellion - Union (0)
January 12, 2009 — Mark Mallman - Loneliness in America: Best of 1998-2008 (1)

Lily Allen’s Secret MySpace Show CD Release Party

Posted: 12 Feb 2009 01:44 PM CST

This past Tuesday, February 10th, MySpace held a special Secret Show concert with Lily Allen at The Bowery Ballroom in New York City. This show, to celebrate the release of Allen’s new album It’s Not Me, It’s You kicked-off the first of 3 Secret Shows on 3 continents headlined by the British poptart.

Her upcoming Secret Show performances are scheduled for Tokyo and London. During her show, Lily thanked MySpace by saying “God knows they’ve helped me considerably in my career.”

Set List:
Everyone’s At It
LDN
I Could Say
Not Fair
F*ck You
Who’d Have Known
22
Him
Never Gonna Happen
Back to the Start
Littlest Things
Smile
The Fear
Womanizer (Britney Spears)

Allen also unveiled her exclusive playlist, “Songs I Like Today” (a new MySpace Music feature):

“Songs I Like Today” by Lily Allen
“The songs I like today will be a different list when you ask me tomorrow and it’s really hard to pick just 10! That’s the essence of music- the soundtrack to your life changes every day.”

· Hercules and Love Affair - Blind
· MGMT- Kids (soulwax remix)
· Beyoncé- Single ladies
· Kitty, Daisy & Lewis- Buggin’ Blues
· Mujava- Township Funk

Lily Allen: website | myspace

It’s Not Me, It’s You
Price: USD 12.99
22 used & new available from USD 8.99

Photos: Steve Jennings

February 10, 2009 — New Music Tuesday! (0)
February 9, 2009 — Interview with: Cary Brothers (0)
January 28, 2009 — Under Cover: Britney Spears’ “…Baby One More Time” (6)
January 23, 2009 — Stream New Franz Ferdinand Album (0)
January 15, 2009 — All-American Rejects CD Giveaway! (7)
January 6, 2009 — MTV & Gallic Wars: Luis Vuitton & Prada Mixtape - Free Download (0)
December 31, 2008 — Most Anticipated Albums of 2009 (1)
December 12, 2008 — Listen to Fall Out Boy’s “Folie à Deux” on MySpace Music (0)
November 20, 2008 — Seal’s MySpace Karaoke Contest (0)
November 12, 2008 — Beyonce Exclusively Premieres New Album on MySpace (0)

The Story Of - Until the Autumn

Posted: 12 Feb 2009 12:33 PM CST

I respect a band with a message. It’s difficult to discern what the message usually is in these “oh so modern” of times. At times, there is no message: just a cry for attention, a desire to make people dance, a means to survive in the music industry. But when a band is genuine in its musical creativity, and uses its music to notify others of reality and its vices, it’s an interesting listen. The Story Of, an experimental pop/rock band hailing from Ohio, yet residing in Texas, fuses its artsy creativity and willingness to openly express opinion and perspective to create its 5th self-released album, Until the Autumn.

The album emotionally and emphatically covers a broad range of themes from war, the hardships of Mideastern farmers, the presence of unearthly life forms and the quest for belonging. Their laid back tracks are punctuated with unprompted quickening of tempo and random outbursts of sound that hit you like a brick wall, then mellow out once more with such speed that, it’s almost as if, you had never even perceived the transition at all. Their lyrics are intelligently and artfully gathered, as if the phrases were chosen delicately to maximize emphasis.

“Veteran’s Day”, a solemn ode to war, its counterparts, and the conflict it brings, is a prime example of how this band structures their tracks. The instruments almost always cater to the theme of the song; “Veteran’s Day” is accented by drum rolls similar to those played en route to battle, punctured with sudden and unknowing guitar riffs for edge, and ends climatically in a synonymous up-tempo mesh of instrumental goodness that parallels the chaotic nature of battle. Each individual track is enhanced with effects that serve as a smoking gun, left in strategic points to, once more, emphasize.

Another superb facet of this album is the band’s unique instrumental qualities and its familiarity with change. The tone and atmosphere of the songs are almost dictated by the lyrics. Sure, the initial playing of instruments begins the song, but once the lead singer begins to unfold his lyrical musings, the music commences to evolve and change along with the story’s intentions, which tends to make each track appear to be a resounding statement, rather than merely a melody with words tacked onto it. Heavily influenced by The Beatles, Until the Autumn covers the recurring theme of “Come Together” (which is referenced quite a few times in several songs on the album, notably in “Lights on the Landing” and particularly on “Hawk Gospel”).

Until the Autumn is available now.

Tracklisting:
01. Berkeley
02. Hawk Gospel
03. The Flock
04. Lights on the Landing
05. Veteran’s Day
06. Sparrow
07. Anniversary
08. How It Is
09. Dodge City
10. Centralia

The Story Of: website | myspace

Written by: Tatum Hengel

February 10, 2009 — Intricate Machines - Intricate Machines (0)
February 5, 2009 — The Odds - Cheerleader (0)
February 2, 2009 — Ladyfinger (ne) - Dusk (0)
January 31, 2009 — PT Walkley - Mr. Macy Wakes Alone (0)
January 27, 2009 — I Am The Branch - Drink Tea (1)
January 26, 2009 — Canadian Invasion - Three Cheers for the Invisible Hand (0)
January 22, 2009 — Interview with: John Moen of Perhapst (1)
January 16, 2009 — Sweet Water - Clear the Tarmac (5)
December 29, 2008 — The Delicious - The Delicious The Delicious (0)
December 17, 2008 — Love Is All - A Hundred Things Keep Me Up At Night (0)

Meg White Returns to Play Final Conan Show

Posted: 12 Feb 2009 11:19 AM CST

Pitchfork is reporting that The White Stripes will make an appearance on the final Late Night with Conan O’Brien. As far as we can tell, this is Meg’s first performance with The White Stripes since cancelling their appearance at the 2008 Austin City Limits music festival.

November 1, 2008 — Ray Lamontagne - Gossip in the Grain (1)
January 15, 2009 — M83 to Perform on ‘Conan’, Tour with The Killers (0)
December 16, 2008 — Fleet Foxes on Conan, Album Stream (0)
October 4, 2008 — Ben Folds to Release Live Performances (1)
October 2, 2008 — Ben Folds & Regina Spektor on Conan Tonight! (0)
May 21, 2008 — Everest on Conan, Tour Dates (0)
May 16, 2008 — Mates of States on Conan, Tour Dates (0)
May 14, 2008 — The Black Keys on Conan, Tour Dates (0)
April 23, 2008 — She & Him on Conan (0)
January 7, 2008 — Strike Watch! Life With Conan (0)

Under Cover: Sophie B. Hawkins’ “Damn, I Wish I Was Your Lover”

Posted: 12 Feb 2009 09:44 AM CST

I’ve been listening to a lot of early 90s rock lately, hence this week’s 90s-riffic post. In doing research for interesting cover versions of this incredible song, I stumbled upon many a humorous YouTube videos that featured “Damn, I Wish I Was Your Lover” as a backdrop to a photo collage of the poster’s sex symbol of choice. There was a Bon Jovi e-shrine, some Mr. Latino 2000-type shirtless telenovela stars whose names I can’t recall, and also my personal favorite: an ode to Gerard Butler (good golly, mother may I!?). I highly recommend checking out some of these fan collages, they are pretty hysterical. And sad. In that order.

–

Sophie B. Hawkins, 1992: original version from Tongues and Tails
Damn, to say I love this song would be a gross understatement! “Damn, I Wish I Was Your Lover” by Sophie B. Hawkins is one of my favorites from the 90s, which is funny since I remember hearing it (and liking it) while I was in elementary school but I wouldn’t truly appreciate its genius until I was in college. As a kid, I thought it was just a love song written by a woman who really wanted to be with someone, presumably a man. I also felt discomfort at the word ”lover” being used, and funnily, I still don’t really like the word. It sounds so serious, so awkward, so… adult, and not my affectionate term of choice. Quite frankly, I don’t know how people can use the word “lover” and take themselves seriously without bursting into laughter? Anyway, I rediscovered this song way later and that’s when I started to peel away the layers of the song as I listened. Not only was the subject matter more relatable, it was actually an entirely different meaning and essentially an entirely different listening experience. There’s the basic theme of desire (“Damn, I wish I was your lover”); well, not just any desire, I’m talking Bruce Springsteen’s “I’m On Fire”-like desire that’s the only kind worth having, in my opinion (“I’ll rock you til the daylight comes, make sure you’re smiling and warm”). Then there’s wanting to love a particular someone (“For me there is no other, you’re the only shoe that fits”), feel the happiness (“Walk through Heaven’s door, I’m sure”) and maybe even a little obsession (“Walked for days with no one near, and I returned as chained and bound to you”). These themes were still there, but I picked up on another type of desire– I had NO idea Hawkins was bisexual! Nor did I know she had fallen in love with a straight female friend who was rumored to cry on her shoulder about domestic violence in her heterosexual relationship (“This monkey can’t stand to see you black and blue”), that she wanted to save her (“I had a dream I was your hero”), treat her right (“We don’t need no doctor to feel much better” ), and maybe cajole her into taking an extended vacation to Lesbian Town (“Free your mind and you won’t feel ashamed”).

I love the intensity of this song. The fireworks, the urgency, the brief hesitation (“Feelin’ like a school boy, too shy and too young”), but throwing caution to the wind and succumbing to the pursuit of passion and this woman (“Open up, I wanna come inside, gonna fill you up, gonna make you cry”). Whoa, I guess that’s what she meant by “I lay by the ocean making love to her with visions clear” but when you’re ten years old you don’t realize everything in life (and/or music) is usually about sex, love, love disguised as sex, sex disguised as love, or the lack of any of the aforementioned. Oh, and apparently bisexuality as well. The intensity of her lyrics and delivery are only made more inflammatory by the incendiary music that carries Hawkins’ message in a pulsating, throbbing, electric kind of way. My favorite lyric in the song, “Give you something sweet each time / Come inside my jungle book / What, is it just too good,” is made even more awesome by virtue of the fact that the song really does have a jungle feel to it. I don’t blame Hawkins’ for gyrating on-stage, her animalistic and raw singing, and the fact that she crawls around on-stage in the music video, I think the music elicits this kind of uninhibited behavior. Whether it’s the jagged guitar, moody synth, tribal drumming, or Hawkins’ visceral performance, it all creates a fantastic song that culminates in a mess of beats, big band style music, background singers, and an incredibly lush sound. I’m not even sure if this song could ultimately be about unrequited love because Sophie B. Hawkins makes an offer that is “Damn…” hard to refuse. Trust me.

Sophie B. Hawkins - “Damn, I Wish I Was Your Lover”

Sophie B. Hawkins: website | myspace

–

Melissa Etheridge (feat. Sophie), 1995: from Vh1 Duets
Damn, let the LGBT musical lovefest begin! Duets are exciting when they are comprised of two equally dynamic performers who each bring something amazing to the collaboration. Such is this performance at Melissa Etheridge’s Vh1 special, Duets, where she brought out a slew of relevant female favorites of hers, one such being Sophie B. Hawkins. I love how Etheridge squeals in excitement to Hawkins "Man, I love this song!" as the intro kicks in because nothing stokes me more than when awesome musicians sound off on how much they love another awesome musician's music. Then, to see both of these women basically get off to this song on-stage for a powerhouse duet is even cooler. Remarkable to me as well is watching two chicks who are into chicks practically fellate their microphones. This rendition has a much jazzier feel, with scratchy guitar and some funky piano/keyboard licks. I swear I hear a massive horn and brass section, but can’t seem to locate any of these musicians on-stage in this clip. But it’s the vocalists who make this version truly sizzle because you can hear how much they’re really into the song. I expect enthusiasm from Hawkins since this is her own creation, but enjoy watching Etheridge’s jubilation in recreating someone else’s magic. I mean, why bother covering a song unless you dig it that much that you really, really wish it were your own? I particularly love the way Hawkins’ sweet vocals contrast beautifully with Etheridge’s husky tones. This would totally have brought the house down at some Lilith Fair mash-up where all the festival’s musicians hopped up on stage and belted out ”Damn” in unison and completely gorgeous harmony. I bet the Indigo Girls are kicking themselves and saying to each other, "Damn, why didn't we cover this song first!"

Melissa Etheridge: website | myspace

–

Eels (live): B-Sides & Rarities
Damn, I love this cover! Eels front man Mark Everett has such a devil-may-care voice usually, but it’s still chock full of emotion and hints at a lot more bubbling right below his surface. Known to be a total jackass and trouble-maker and spending years crafting songs about loneliness and unrequited love, it seems only natural Everett would develop an affinity for this amazing song and want to create his own little unique cover. I love the slower pace, bongo-like drumming, and melancholic guitar. In fact, if guitar sounds could aptly represent human emotion, that subtle strumming in the chorus would best describe dejection and utter sadness, especially how the notes quickly drop from high to low. They almost sound like his mood. Oh, but his voice is great. I love how during the verses it’s almost the soft foreplay that allows him to really heat things up as he transitions to the chorus. I also get a kick out of how he kept the original lyrics. It’s funny when he sings “If I was your girlfriend, believe me / I’d turn on the Rolling Stones, we could groove along and feel much better” to one presumably lucky girl. Too bad he wasn’t serenading me because who doesn’t want to make out to the Stones!?** Hawkins actually sings “girl” in lieu of Eels’ use of “girlfriend” in the original but either way, Everett clearly chose to not make this cover gender-appropriate. It’s equally silly when he sings my absolutely favorite lyric “Give you something sweet each time you come inside my jungle book / What, is it just that good” because I’m not sure that’s even physically possible for a girl, dude. But honestly, who cares. It’s still pretty damn hot.

The Eels - “Damn, I Wish I Was Your Lover” (Sophie B. Hawkins)

Eels: website | myspace

–

Ben Marwood, acoustic cover:
Damn, singer-songwriter types and their unrelenting need to perform acoustic covers! I stumbled upon this version from British musician Ben Marwood and found it to be the best acoustic cover I have yet to hear. But that’s not saying much considering I didn’t really find many others. To be honest, he's not really selling me on how bad he wants to be the lover of the object of his affection. This cover is so vanilla, granola, boy-next-door throwing pebbles at my window. Don’t take no for an answer, Ben! Don’t ask my permission, never mind what I said, just break into my house, barge into my room, and interrupt what I’m doing with your sense of urgency and all-consuming desire. That’s the only way to sell a song like this that’s got intensity oozing at its seams. This is a one-note cover and it’s this lack of any kind of real expression that makes his cover pale in comparison to the compelling nature of the original. It seems like he's just performing a cover for a cover's sake, not because he necessarily identifies with the song or because any of Hawkins’ sentiments are actually mirrored in his soul. At least with the Eels cover, Mark Everett was able to come across overcome by the situation even during the moments where his whiny vocal drawl is delivered in its most removed fashion. I’ve actually heard annoying Subway commercials urging you to buy five…five dollar…five dollar foot-longs with much more soul and feeling. While Marwood successfully hits all of Hawkins’ notes and what-not, this one just didn’t make me feel anything at all.

Ben Marwood - “Damn, I Wish I Was Your Lover” (Sophie B. Hawkins)

Ben Marwood: website | myspace

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Black Kids, 2008: from I’m Not Gonna Teach Your Boyfriend How To Dance With You (single)
Damn, this cover is just so terribly wrong on so many accounts! No offense to Black Kids, but does The Cure’s frontman Robert Smith know that you so shamelessly pilfered his vocal stylings and subjected them to weird synth pop meets indietronica? I had heard that this cover was on the “I’m Not Gonna Teach…” single and was admittedly really eager to hear their rendition. And now? My curiosity killed the last few minutes of my life that I’ll never get back. Lead singer Reggie Youngblood’s voice doesn’t really seem to make any sense and it sounds displaced. He hits strange notes that don’t coincide with the original or even hold up well on their own. Quite frankly, I’m not even sure if he knows he’s supposed to be singing Hawkins’ “Damn…” at all? His voice alone isn’t bad at all, but maybe he needs to cover more guitar-driven, Futureheads-style songs, and not this tacky danceable indie crap. I can’t even find anything I like about this one, except that this is an excellent example of songs that work better in theory, just not in reality. Damn, Black Kids! Why you gotta waste Sophie B. Hawkins’ flavor?