popwreckoning updates |  |
- Chris Unck and the Black Roses – Ridiculous! Ridiculous!
- Tori Amos Hits the Northeast: the Fine Line Between Fandom and Press Coverage, Part I
- MP3 Minute: Polychromatic! “Good Enough”
- Passion Pit Announce Fall North American Tour
- Philly’s Hoots & Hellmouth US Tour
- Grand Archives tour dates, “Oslo Novelist” mp3
| Chris Unck and the Black Roses – Ridiculous! Ridiculous! Posted: 20 Aug 2009 01:16 PM PDT This week, Chris Unck and the Black Roses unleashed Ridiculous! Ridiculous! on the world. Their sophomore album, this collection of folky southern rock has a twang and a swagger running through it that will melt the heart of any true southern girl while maintaining enough of a rock edge so as not to scare off those anti-country rock fans. This record deviates from debut record Country Roads and Love, which was much more mellow, but it's definitely a change for the better. Ridiculous! Ridiculous! has a fuller sound both in the production and the composition that Country Roads doesn't have. Opening track “Ruby With Them Eyes” makes an excellent introduction to the record with a jangley guitar, harmonica, accompanying Chris's raspy voice. Chris claims the song “doubles as an aphrodisiac while drinking tea with that girl your [sic] swooning.” This is due in part to the driving beat that feels like a train and lends it self to being played at maximum volume, which is even suggested in the liner notes. From “Ruby With Them Eyes,” the record transitions into “My Bonnie Young Lass.” This song was written after a fan got into a bar fight at a gig. The song, with it's frantic melody, “Dixie” refrain, and promise for heading “out to the Rio Grande” feels like it should be playing over a bar fight in an old movie. There's also what I sounds like a kazoo playing through the track that would certainly led itself to a Monkees' style frolic through a saloon. Hey, maybe the record is called Ridiculous! Ridiculous! For a reason?! Easily the most country-fied track on the record is “Dirty Kuntry Girls.” It's got a stomp and a chant sprinkled with a “grab your partner by the hand” all wrapped up in a lap steal. It plays to every southern cliché, but it works and manages to sound like high school, to me and lots of other people I'm sure. “Turning Knives Into Steam” is the first single from the record and is captured in Chris' first music video, as he and a lady friend explore East Atlanta. This ballad of “shoulda, woulda, coulda” is all about first loves, getting drunk in the backseat, and sneaking around behind parents' backs. The infectious chorus grabs your and won't let go as have your own flash back to that “shoulda, woulda, coulda” moment. The record does take a more mellow turn on tracks like “Little Hummingbird.” The song was scribbled down in bits and pieces during a fever-induced delirium complete with hallucinations that resulted from a month long stint in a bed with a fever that he couldn't shake. Perhaps it's the delirium that lends the song it's airy and dream-like quality. Every song on this record plays like a soundtrack to a mini movie set off in you head from the first note of each track, while the record as a whole sounds like it should be the score to a cook out with a back yard full of friends. Of course, then you couldn't give each song the attention it commands. Chris Unck and the Black Roses: myspace Most Commented Posts |
| Tori Amos Hits the Northeast: the Fine Line Between Fandom and Press Coverage, Part I Posted: 20 Aug 2009 12:24 PM PDT Okay, so I may have gone a little crazy. I may have found myself in four different states in as many days. Both my body and wallet definitely still hurt from the excursion. You know what, though? I’m an unabashed fangirl, and this happens every time Tori Amos goes on tour. It’s like clockwork. Every two years or so, the world loses me to the redheaded siren with the Bosendorfer. It could be worse, I guess. I could be a Daughtry fan. I left work early the day of the local show at Radio City Music Hall, like my first day of “Tori Tour” was some special holiday. As I sat in the Russian Vodka Room during Attitude Adjustment Hour considering the spiciness of my Bloody Mary, I was surprised at just how excited I’d become. In the past, a live Tori show was the pinnacle of all musical experiences for me, but when the new album (Abnormally Attracted to Sin) came out and I hated it, I figured the shows I attended would be a sort of swan song; a goodbye to my angsty, tear-filled days worshiping at the altar of the faerie goddess or whatever. Unlike my other intensely devoted fan friends, I’d come to realize that Tori is not infallible, and it was a shock to my system. Either way, four shows later, I’m feeling better about the whole thing and I’ve called the divorce off. I still can’t find my faerie wings, though. The setlist for each show is written day-of and could be based on local themes, current events, or requests from fans during pre-show meet and greets, but does have a structural base. She opens with “Give” from Abnormally Attracted to Sin. The third song is the old standard, “Cornflake Girl.” Somewhere in the middle of the set is a two-song solo mini-set, dubbed “Lizard Lounge.” After that, the band (Jon Evans on bass/guitars and Matt Chamberlain on drums) returns for a few more songs, and they close out the set with another new/old pairing: “Precious Things” and “Strong Black Vine.” This tour sees one encore, with two to three songs, typically involving “Big Wheel” and “Raspberry Swirl.” Given that, the Radio City show was a slow start to things, as the fleshy bits of the set left something to be desired. There were bright spots, though, and they were almost blinding in their brilliance. There was “Space Dog,” a track which finds itself in my all-time top five, and which I only saw live for the first time during the 2007 tour. There was “Jamaica Inn,” a song I’ve never loved, but the live version of which is sad and sweet and perfect. Then there was “Lizard Lounge”, and Tori blew some minds with her cover of Nirvana’s “Smells Like Teen Spirit,” which I’ve heard plenty of bootleg versions of, but had never heard with mine own ears. And then there was “Winter,” and I officially lost my shit, which became something of a trend. Mostly, the show seemed full of safe bets.
But briefly, let me back up to that afternoon when I stood in line for the meet and greet with a bunch of other fanatics of varying degrees. The compulsion to have a relationship with your idol is an interesting one, and this becomes apparent with “Toriphiles.” I know the catalog, own plenty of bootlegs, and can discern differences in edits of live versions of songs from tour to tour, but sometimes fandom gets out of hand, and I have to say it: I don’t like other Tori fans. This could be a self-loathing thing, but probably not. The superfans are obnoxious, socially awkward, pushy, and a lot of them have a false sense of entitlement. For example, I’d like to briefly consider the very difficult life of Superfan X. Before I do that, though, I’d like to note that I’m not being hyperbolic. I could rattle off a list of at least ten people I’ve met who do this every time Tori tours. Anyway, Superfan X finds him/herself voluntarily jobless for three months every two years and has seen Tori 200 times in x number of states and countries. Superfan X doesn’t feel this is the slightest bit excessive. Good for them. Here’s where other people see a problem: Superfan X only ever buys tickets day of, if at all, and can be seen chasing down the tour manager before every show, looking for ticket upgrades. Somehow, there’s the expectation that Tori and her people are indebted and must give front row seats to the biggest, best, most visible fans. Interesting logic. Thing is, I always buy my tickets in advance and I’d like to check out a show from the front row sometime, too. And I’d like to do it without making a total ass of myself in the process. These people give a bad face to fans and to what passion and joy there is to be found in loving music that grows with you over time. Regardless, friend Mitch wanted to meet the redhead, so we forged on and persisted in the heat with the others. I didn’t mind having the chance to say hello and request that she play my favorite song in the entire world, either.
So, let's fast forward past the meet and greet, the vodka, the food, the Nag Champa incense I bought for my girlfriend (which smells of hippies and dirt) in some silly pagan shop, and the quaint small-town feel of Red Bank. Count Basie Theatre? It's perfect. It's small and intimate and the sound is wonderful. The first two-thirds of the set were intense, but I had no trouble rolling with the punches for awhile. There was "Beauty of Speed," "Horses," and "Siren," a selection of songs which spans her entire discography. And every set is like this. The focus is sprawling and doesn't just lie with the newest work; it's favored only slightly, which I can get down with. Here's the sucker punch: "Tear in Your Hand," the song I requested. I'd watched her write it on a notepad with a silver Sharpie. There are so many requests per day that, when you actually hear yours, it can be overwhelming, especially if you have an emotional attachment to the song. This is where the tears started to flow in these surprising, giant sobs. And they didn't stop, because then she played "Doughnut Song," "Taxi Ride" and Carly Simon's "Boys in the Trees" solo, and then "Josephine." Everything else fell by the wayside after that, which gave me a chance to breathe.
On the last train home, I encountered a stranger who'd been at the show. We got to talking, and she asked if I'd be going to Boston to see the last show of the tour. I shook my head no. I didn't have a ticket, I had to go to work, and my girlfriend's patience was waning. Stranger said, "Well, I have an extra ticket and it's yours if you want it." I gave no definitive answer, and soon after she'd given me her information, she got off the train (at the wrong stop). I got lost in my own thoughts about the possibility of seeing the Boston show, which is, apparently, always awesome. Then I found myself somewhere in the Bronx at 3AM, and it took another hour to set that mistake right. Oops. To Be Continued… Related Posts |
| MP3 Minute: Polychromatic! “Good Enough” Posted: 20 Aug 2009 10:55 AM PDT Polychromatic!, a new experimental electronica act by Robert Lake, has made available new track “Good Enough”. It opens darkly in a low minor chord but seconds later is punctuated with a catchy video game-esque beeping pattern joined with autotuned yet still flat male vocals. The catchy synth melody gets you bopping and momentarily lifts from that it’s-almost-Friday-but-I’ve-still-got-4-hours-of-work-left-today funk. Polychromatic! – “Good Enough” Dreams, Polychromatic!’s 15 song debut album, is out November 10th. Polychromatic! will also be releasing a free EP with five songs that didn’t make Dreams, which may also feature older tracks and some cover songs. Head over to Polychromatic!’s myspace page to hear more! Polychromatic!: myspace Related PostsThis posting includes an audio/video/photo media file: Download Now |
| Passion Pit Announce Fall North American Tour Posted: 20 Aug 2009 10:18 AM PDT Cambridge, Massachusetts electroband Passion Pit have announced dates for a mostly West Coast fall tour, their third outing this year. The first two dates at Central Park Summerstage are in support of French alt-rockers Phoenix. The band will also make appearances at the Austin City Limits Festival on October 4 and San Francisco’s Treasure Island Festival on October 17. Tour dates *supporting Phoenix Passion Pit: website | myspace | interview with Photo: Joshua Hammond Related Posts |
| Philly’s Hoots & Hellmouth US Tour Posted: 20 Aug 2009 09:49 AM PDT Philadelphia fellas Hoots & Hellmouth will be hitting the road tomorrow night to continue the support of this year’s The Holy Open Secret. If you love lively and boisterous performances, do NOT miss Hoots & Hellmouth when they pass through your ‘hood. Tour Dates: Hoots & Hellmouth: website | myspace | interview with | @ philly popped! 2008 | @ johnny brenda’s | mp3 minute Related Posts |
| Grand Archives tour dates, “Oslo Novelist” mp3 Posted: 20 Aug 2009 08:52 AM PDT Grand Archives are back with their second full length release, Keep in Mind Frankenstein, due out September 15th (pushed back from an original release date of September 8th). The band’s sophomore effort is much like that of its predecessor, having been crafted at Paradise Sound in Index, Washington with help from producer Ben Kersten (who also recorded the band's 2008 debut). Front man Mat Brooke's former Carissa's Wierd cohorts, Jenn Ghetto and Sera Cahoone, sing backing vocals on the record andtThe gorgeous streaks of pedal steel across the wistful sweep of "Oslo Novelist" (listen below!) come courtesy of Jason Kardong. Keep in Mind Frankenstein is a little darker than the first record and opens with the bittersweet elegy "Topsy's Revenge", inspired by the infamous 1903 newsreel footage of Thomas Edison electrocuting a rogue Coney Island elephant. Songs like "Dig That Crazy Grave", a buoyant ditty redolent of Southern California and summer afternoons, and the insistent, soaring "Silver Among the Gold" find their place here as well. It's an album made up of disparate elements artfully fit together and brought to life with affecting results. Grand Archives – "Oslo Novelist" Grand Archives – "Silver Among the Gold" Tracklisting: The band is also gearing up for their fall tour and the list of confirmed dates are below. Tour Dates: Grand Archives: website | myspace | The Grand Archives review | interview with | @ union hall | @ sub pop 20 | @ wonder ballroom Related Posts |
That’s okay, though, because risks are the polar opposites of safe bets, and the show the next night at 
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