Monday, June 1, 2009

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Remix Monday: Phoenix “Lisztomania”

Posted: 01 Jun 2009 01:45 PM PDT

The band that’s getting all the love from around the world right now is Phoenix. Our favorite French boys are back with a new album after three years living the quiet life. Wolfgang Amadeus Phoenix; their fourth LP and what an amazing LP it is. The group has already perfected the art of crafting lovelorn pop songs and this album only further demonstrates their ability to polish their art. Around lead singer ‘ romantically twined lyrics, the band creates a sound that perfectly meshes guitar rock and electronic dance, though with the last two albums they’ve leaned more on the former when compared to their earlier albums. Yet in each track Mars maintains his ability to sing with a youthful croon, which tugs at your heartstrings and runs nostalgia through your veins.phoenix

Some fun Phoenix facts for you as well. Lead singer is dating Sofia Coppola, they have a child together. And before Phoenix was formed, guitarist was in a Beach Boys inspired band called ’ with two guys named and Guy Manuel de Homem Christo. A review in British music mag “Melody Maker” called their sound “a bunch of daft punk”. ’ split up and Bangalter and Christo went onto form none other than the masterful electronic duo, Daft Punk.

.“Lisztomania”
Franz Liszt was a Hungarian virtuoso pianist in the 1800s. Liszt became famous throughout Europe for his skill as a performer. He is said to have been the most technically advanced and perhaps greatest pianist of all time. The term “Lisztomania” was created by the German romantic literary figure Heinrich Heine to describe the public’s response to Liszt’s piano performances. There were allegedly screaming women at these shows. He was the first true teen idol.

Phoenix’s track starts off with a quick bouncy piano piece that’s classical in style. Liszt inspired perhaps? The song picks up fast and becomes a sweet bopping jaunt filled with guitar staccatos, electric twangs, splashing percussion and Mars’ characteristically yearning croon speaking his tragically inspired lyrics “Darling, I’m down and lonely/When with the fortunate only/I’ve been looking for something else”. This song puts a smile on your face and makes you dance in your bedroom.

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My favorite . This mix brings a dark urgency to the track. It’s nighttime sleek; driving in a convertible on wet roads with your sunglasses on even though it’s 1 a.m. takes this song from an indie rock track to a deeply disco inspired dance kicker. The choppy, buzzing bass riff that underlies the song really gets your feet tapping. It comes with a little sleaze and really accentuates Mars lyrics, often reiterating “These days I gotta be someone else,” that fits in ever so well with the tune. The end tapers off nicely with only the staccato guitar riff playing out accompanied by the thumping bass beat, which eventually fades to a whisper.

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, Los Angeles duo Tyler Blake & Michael, brings things down a few notches from the original. It starts with airy synth beeps and jumps into a mélange of sounds; bells, bleeps, cymbals and lasery sounds that harken back to the decade of the 90s. The entire song has an underwater trance vibe to it that also accentuates Mars lyrics, which is a great thing to do. That man doesn’t need music to showcase his pipes and this mix drops all the guitars, drums and leaves bubbly keyboards and bass.

.Yuksek
The kickoff here is a little rushed and fast but Yuksek drive some grind into this track. Again, the original melody is stripped, goodbye guitars, pianos and drums, replaced by a grinding synth riff, Justice-esque. The vocals at times too are sped up, which tag a long nicely to the syncopated rhythms and pulverizing beat.

.Holy Ghost Loves Paris
DFA duo, Holy Ghost, is bringing island sounds to this track, with Caribbean inspired bongos and synths. In true DFA style they also bring to the table a disco inspired reworking of the song. The mix slightly muddles the vocals, since it has almost two rhythms flowing; a slapping percussion and a gyrating synth sound. It does stay strong though with its late 70s synth riff that feels a little Sylvester Stallone Cobra-esque.

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‘ mix is a pure Daft Punk copy. It actually sounds just like Daft Punk’s song “Phoenix”. I wonder if that’s a coincidence? Either way, it has Daft Punk’s late 90s house style to it and the signature sound from their album “Homework”; opaque music that builds up to eventually become clear and stream lined. The mix is slightly repetitive but it works if you wanted to know what a Daft Punk to a Phoenix track would sound like.

And lastly I have to discuss the music video for this song. Phoenix did an official video for “Lisztomania”, which was kind of boring to be honest. However, some enterprising individual decided to make his own music video to the track that utilizes footage from 80s Brat Pack movies; Footloose, Pretty In Pink, Mannequin, and The Breakfast Club. It’s amazing.

Phoenix: website | myspace | Wolfgang Amadeus Phoenix review

Wolfgang Amadeus Phoenix
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Ben Folds @ Crossroads, Kansas City

Posted: 01 Jun 2009 09:41 AM PDT

Before we dive into the show, I feel the need to call out the proprietor of Crossroads KC venue and owner of the adjacent Grinders restaurant, Stretch. Before the opening band took the stage, Stretch appeared in front of the all ages crowd, at least half of whom were under age, and told everyone to drink a lot of alcohol â€" even saying to use the “buddy system”, which is to make sure your buddies get really “fucked up”. With lax security and a no-maximum-drink-per-wristband rule, Stretch runs the risk having this great Kansas City venue shut down for liquor violations. Now, on to the show.

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is a master with the crowds. He’s willing to punish his hands (see the taped fingers), punish his equipment (see the often-repaired Baldwin piano), and reveal sometimes-embarrassing and usually-introspective feelings in his music. Through nearly constant touring since the release of Rockin’ the Suburbs nearly eight years ago, Folds has mastered his stage presence and performance abilities. Add that to the ability to bring in new teenage crowds every couple years and a stable of talented hired guns and you end up with a show everyone can enjoy. After hearing my daughter is now into , my wife and I decided to bring her along for her first Ben experience. She probably wonders how she subconsciously knows the words to almost every song has written up to and including “Rockin’ The Suburbs”. The answer is that we played almost nothing except (and Five) for a few years of her early childhood.

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After the third song, Ben came off the sage and up to the crowd barrier and took a request from a couple. That request was “Kate”, and Folds was even kind enough to substitute “Vanessa” several times during the song. In case you were wondering about the effect of having use your name in one of his most famous songs, this is what it looks like:

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Can you guess who Vanessa is?

Even with two distinct varieties of fans in attendance, Folds was able to craft a set list that pleased nearly everyone, and that, perhaps, is his greatest accomplishment on stage.

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Setlist (courtesy of the great review from Back to Rockville):
Effington
Brainwascht
Sentimental Guy
Kate
Lovesick Diagonstician
Battle of Who Could Care Less
Bitch Went Nuts
Annie Waits*
There’s Always Someone Cooler Than You
Dr. Yang
Hiroshima
Jesusland
Cologne
Free Coffee
Boxing
Best Imitation of Myself
Gracie
Narcolepsy
Errant Dog
Landed
You Don’t Know Me
Zak and Sara
Rockin’ the Suburbs
//
Army
Not The Same
One Angry Dwarf
200 Solemn Faces

: website | myspace

Way to Normal
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Patrick Wolf and Ladyhawke @ Dot to Dot Festival, Rock City, Nottingham, England

Posted: 01 Jun 2009 09:15 AM PDT

dottodotgraphicOriginally debuting in 2005, the Dot to Dot Festival is now an annual music festival taking place over the second May bank holiday (the same weekend us Yanks are off for Memorial Day). Dot to Dot prides itself on presenting a veritable feast of up and coming bands not just from England but from all over, and since they started the festival, thousands of music fans have been wowed by the eclectic lineups. The festival begins on Saturday in Bristol (in the geographical southwest of England), with most bands making the trip up to Nottingham (in the East Midlands) to perform there on Sunday. Nottingham is approximately a 4-hour drive north from London. I wonder what the city’s most fabled past resident, Robin Hood of Sherwood Forest, would make of the hordes that descended on Talbot Street for the festivities. He would probably think of it all as a spectacle â€" an event to see people and be seen. Above all, Dot to Dot is an opportunity to listen to great bands and have a blast. At least, that’s my highly nonobjective opinion of this year’s festival in Nottingham the 24th of May.

Through a mixture of luck and sheer persistence, I was able to have a front row view for a night of electropop at Nottingham’s premier music club, Rock City. Folk/electronic hero and New Zealand synthy songbird Ladyhawke were up first, to be followed by dancey indie electronica headliners Friendly Fires. For me, it was one of those “pinch me” moments, a dream lineup I never thought possible. True, I traveled from America and over 3,700 miles for Dot to Dot, but sometimes you’ve got to follow your heart and your ears. It was a little daunting at first, especially since I’d never been to Notts before. But I got over the initial worry and soon felt right at home with so many other passionate gig-goers.

By the time I got to Rock City and made my way through the crowd, I realized how packed the floor was. I spotted several red-headed dressed like circa his third album the Magic Position - short-sleeved shirt, suspenders (or braces as they’re called in Britain), short shorts, and glitter â€" the works. More recently, Patrick traded the red hair for slicked back platinum blonde, but still keeps up with the theatrical makeup. What I like best about Patrick is that he truly is a chameleon when it comes to music â€" he can write and sing beautiful ballads, but at the same time, he is just as good at writing and blasting out some great dance songs with a harder edge.patrick1

Wearing a white shirt covered in black buttons and a matching necklace, he arrived onstage to a noisy welcome from the fans before launching into a set that included tracks from his new album the Bachelor to be released in the UK Europe on 1 June, followed by a digital release on 2 June here in the U.S. followed by physical release on 11 August. Halfway through the set, he stripped down to what he called “a specially-made maternity jumper,” which caused everyone to laugh. For good measure, he incorporated “Bluebells” and “Accident and Emergency” (from the Magic Position) and “Tristan” and “the Libertine” (from the more pensive Wind in the Wires); on the latter, he strummed his ukulele like a man possessed, and the crowd danced, people twirling about. Before his last song, he quipped, “I heard you folks in Nottingham like this song!” (causing the crowd to erupt in cheers) before starting up with a spirited rendition of the upbeat and sexually ambiguous “The Magic Position”. Boy am I glad I will be seeing him headline the Nylon tour in June!

ladyhawke4 Ladyhawke â€" aka Phillipa “Pip” Brown â€" made a strong impression across Australia, the UK, and her native New Zealand with her self-titled debut album. Hearing her single “Dusk Till Dawn” last summer made me a believer â€" I admit it, the ‘80s synthpop sound got me interested, as well as her now-known obsessions with games and kittens (have a look at the cover of her album or her MySpace page and you’ll see what I’m talking about). Ms. Brown took the stage looking like the epitome of cool in a black t-shirt, denim vest, and jeans, her long blonde tresses spilling over her shoulders. With an electric guitar strung over her shoulder, she stood in front of her microphone, resplendent with white Christmas lights. The audience was hypnotized into a sea of bodies all swaying to Ladyhawke’s songs, including the recently re-released “Back of the Van”, “Paris is Burning”, and “My Delirium”, all of which turned into massive crowd singalongs, the voices ringing in my ears. In between the songs and in such a small, soft voice, she thanked us for applauding and listening. I love it when I’m seeing an artist for the first time and he/she is thoroughly enjoying performing and appreciative of the crowd responding so positively to the music. That’s what it was like seeing Ladyhawke for the first time â€" I hope she comes over to our side of the pond for some headlining gigs in the near future.

Stay tuned for the concert review of headliners Friendly Fires coming soon!

set list
Kriegspiel
Oblivion
Bluebells
Accident and Emergency
Tristan
The Libertine
Damaris
Hard Times
Vulture
The Magic Position

Ladyhawke set list
Magic
Professional Suicide
Dusk Till Dawn
Another Runaway
Love Don’t Live Here
Crazy World
Back of the Van
Paris is Burning
My Delirium

: website | myspace
Ladyhawke: website | myspace | remix monday: “back of the van”

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Photo Essay: Nine Inch Nails @Starlight Theater

Posted: 01 Jun 2009 08:35 AM PDT

Despite taking the stage during daylight hours and foregoing the usual laser-video-overload-extravaganza, Trent Reznor and Nine Inch Nails showed us all that the only things really necessary are talent and energy.

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Nine Inch Nails: website | myspace

Ghosts I - IV
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Kat Edmonson @ World Cafe Live, Philadelphia

Posted: 01 Jun 2009 07:34 AM PDT

kat-edmonson3Austin’s Kat Edmonson won me over before she’d even taken to World Cafe Live’s upstairs stage. I was excited to see bongos on stage, even more so when when the upright bass appeared, but it was the trumpet that assured me I was in for a great set. Edmonson’s introduction by headliner solidified just what the crowd was in for.  Schutt recounted the first time she saw Edmonson in Austin, saying she was “thoroughly impressed and overwhelmed” and that Edmonson is “on of the most importmant singers to come along.” It was a big build up but it was well deserved.

Edmonson, in Philadelphia for the first time, kicked off the set with wonderful jazz renditions of “Summertime” and “Just Like Heaven”, the latter featuring brushes on the drum, jazzy trumpet solos and Edmonson’s gorgeous lounge style vocals. Having recently released Take to the Sky, Edmonson continued to play other covers on the album including “Just One of Those Things” along with the older “Ruby”. Edmonson’s devastatingly beautiful and distinctive vocals perfectly suited the old 30s, 40s, and 50s cover songs she belted out on stage.

Edmonson’s musical inspiration came from old movies in which , Cole Porter, and Rogers & Hart tunes were sung by Fred Astaire and Bing Crosby and Frank Sinatra and Louis Armstrong. At 19, she tried out for the then second season of “American Idol” and made it to the final 48 before being told that she just didn’t look like a star.* Despite the shake up that a comment like that might cause, Edmonson thankfully continued her musical endeavors and is now bringing a wondrous  new old jazz to the ears of many.

New Yorkers can catch Kat Edmonson at the Jazz Standard at both 7PM and 9:30PM tomorrow, June 2nd. She then heads home to play Austin’s Elephant Room. And everyone can now pick up Take to the Sky, available now on iTunes and Amazon.

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Kat Edmonson: website | myspace

Take To The Sky
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*source

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at 5:37 PM