The Silver Tongue» Matt Fox

7inch Sunday: The Daredevil Christopher Wright / Cuddle Magic

Matt Fox — Sun, 18 Nov 2012 23:26:03 +0000

7inch Sunday is a segment devoted entirely to 7” vinyl and the all-encompassing experience surrounding it. Although most publications cover major releases, the vinyl single is often overlooked and given nothing more than a half-hearted nod of acknowledgement. This weekly feature is a hub for 7” reviews, exploring the B-sides and rarities of artists that may often go unnoticed.

Each Sunday I will review 7” vinyl from artists who venture this extra mile to hold their singles high above the sea of digital releases. I hope to embody the spirit of vinyl while sharing some fantastic music with you, the reader. Let’s get started.

How do you unintentionally subject two bands to be compared against one another? Put them on a split 45! Nobody listens with such a goal, but the endeavor often defaults to bitter debates on which 4-minute sample track reigns supreme. This week’s 7inch Sunday features a split single from The Daredevil Christopher Wright and Cuddle Magic, but instead of forcing listeners to pick a respective favorite, the split works entirely to both acts’ favors.

The cover of the single is minimalist, but impressively effective. Separating the two artists’ names with nothing more than a geometric see-saw, the artwork wastes no time with frivolous design or imagery. While it may not be the best attention-grabber on the end cap of a retail store, the contents inside are enough to sell the product to the pickiest of ears.

Occasionally there comes a song treated with such melancholy delicacy that can only be explained by the track itself. The Daredevil Christopher Wright – although including no one by such a name – accomplish such an undertaking with “A Man of the Arts.” Recently featured on NPR, the song floats through poignant observation with chopped-up, yet soothing vocal akin to Radiohead’s “Exit Music (For A Film).” The bass parallels the band throughout choruses, but takes on a mind of its own throughout each verse. All this combines to generate a timid and complex song teeming with emotion and haunting reflection.

The B-side, Cuddle Magic’s “Rabbit Time,” is not as somber as “A Man of the Arts,” but brings a couple entirely different elements: thick instrumentation and tasteful discord. A xylophone punches out a constant line of melody at a not so constant rate against drawn-out strings to create a phenomenal tension, and complementing the tension are vocal harmonies that lower in pitch like air slowly deflating out of a bike tire. Responding to these nuances is the dynamic range of instruments controlling the minute-long instrumental deviation. Comprised of trumpet and clarinet, this short break bleeds back into the Ben Gibbard-inspired vocals and returns only to conclude the track.

Check back next week for a look at Mister Lies’ Dionysian.

Old Crow Medicine Show Announce Winter Tour

Matt Fox — Wed, 14 Nov 2012 16:49:55 +0000

As of November 15th, OCMS will be back on the road through the end of the year. Starting in Wisconsin, the group will make their way through the center of the US and back to Nashville, wrapping up 2012 with three Grand Ole Opry performances as well as a New Year’s Eve celebration at Ryman Auditiorium. Accompanying the sextet will be opener Chuck Mead, founder of notable country act BR549. Also, OCMS will make their way to Europe this coming January and February with a handful of shows going on in Ireland and the UK.

Check out the tour dates below.

2012 Tour Dates:

Nov. 15 – Madison, WI @ Capitol Theater/ Robert Ellis
Nov. 16 – Minneapolis, MN @ Mill City Nights – w/ Chuck Mead
Nov. 17 – Milwaukee, WI @ Riverside Theater – w/ Chuck Mead
Nov. 18 – Evansville, IN @ Victory Theatre – w/ Chuck Mead
Nov. 25 – Memphis, TN @ Minglewood Hall – w/ Chuck Mead
Nov. 26 – New Orleans, LA @ House of Blues – w/ Chuck Mead
Nov. 28 – Austin, TX @ Moody Theater – w/ Chuck Mead
Nov. 29 – Dallas, TX @ House of Blues – w/ Chuck Mead
Nov. 30 – Houston, TX @ House of Blues – w/ Chuck Mead
Dec. 1 – San Antonio, TX @ Empire Theatre – w/ Chuck Mead
Dec. 3 – Oklahoma City, OK @ Diamond Ballroom – w/ Chuck Mead
Dec. 4 – Springfield, MO @ Hammons Hall (MSU) – w/ Chuck Mead
Dec. 5 – Columbia, MO @ The Missouri Theatre – w/ Chuck Mead
Dec. 6 – Tulsa, OK @ Cain’s Ballroom – w/ Chuck Mead
Dec. 8 – Nashville, TN Grand Ole Opry @ Ryman Auditorium
Dec. 14 – Nashville, TN Grand Ole Opry @ Ryman Auditorium
Dec. 15 – Nashville, TN Grand Ole Opry @ Ryman Auditorium
Dec. 31 – Nashville, TN @ Ryman Auditorium – w/Pokey LaFarge (SOLD OUT)

2013 Tour Dates:

Jan. 30 – Dublin, Ireland @ Vicar Street
Jan. 31 – Belfast, UK @ Mandela Hall
Feb. 1 – Glasgow, UK @ Barrowland Ballroom
Feb. 2 – Manchester, UK @ HMV Ritz
Feb. 4 – London, UK @ 02 Shepherds Bush Empire
Apr. 26 – Indio, CA @ Stagecoach Festival

Watch: Blur – Under the Westway (DVD Edition)

Matt Fox — Wed, 14 Nov 2012 16:17:15 +0000

In support of their forthcoming concert film, Parklife, Blur have released a promotional video of the “Under the Westway” performance Hyde Park this past August. Parklife, now available for preorder, is available via the band’s official shop in about twelve different mediums. So whether you’re wanting the experience via DVD, CD, a combination of the two or even a coffee mug, make sure to check out the shop.

7inch Sunday: Line & Circle – Roman Ruins

Matt Fox — Sun, 11 Nov 2012 20:39:00 +0000

Here at TST, we’re always on the lookout not only for fresh, innovative artists, but also the companies that represent them. White Iris, the counterpart of Black Iris, is a boutique label that boasts a respectable roster with groups such as Other Lives, Electric Guest and White Rabbits. While the aforementioned heavy-hitters have already proven themselves countless times to the masses, other White Iris artists have caught our attention: Only You, Cuckoo Chaos and – the act that originally intrigued us – Line & Circle. With their recently released debut single, Line & Circle genuinely comfort us without the easy-going plague of complacency.

The single’s cover juxtaposes outdoor serenity with a hint of distortion creeping up from below. With the image just blurry enough to illicit second glances, the songs behind the artwork convey a similar vibe. Neither side of the release is quick to reveal itself; rather, the songs are both slow-burning jams that last far longer than they sonically appear.

“Roman Ruins,” as vividly captured in the video below, embodies a playfully youthful spirit of blindly traveling. The song coasts through calming melodies without the need for straightforward answers or conclusions. Frontman Brian Cohen’s voice holds a familiarity that comforts and cohesively matches the reflective instrumentation.

The B-side, “Carelessness,” has an unexplainable complexity within its four minutes. Guitar progressions are often limited to a single chord, and the piano flirts quietly overtop the track, but the combination of these simplicities with the rest of the song creates an infectious energy that fluctuates with each member’s participation. To witness an outfit combine their skills with such precision is both a treat and pleasant surprise.

Check back next week for a look at The Daredevil Christopher Wright and Cuddle Magic’s split single.

Line & Circle “Roman Ruins” from Black/White Iris Music on Vimeo.

Watch: Green Day – Stray Heart

Matt Fox — Wed, 07 Nov 2012 16:22:30 +0000

For this week’s Green Day video, they are kicking things up a notch from figurative straight to literal interpretation. Following the tale of a hapless vinyl collector, the video for “Stray Heart” follows a man whose heart is actually missing… and chain-smoking… and having multiple one night stands. It’s fairly bizarre, but definitely worth a watch.

¡Uno! is currently available in stores now, ¡Dos! is currently available for stream here via Consequence of Sound, and ¡Tre! will be in stores December 11th.

Watch: The Black Keys – Sister

Matt Fox — Wed, 07 Nov 2012 16:00:56 +0000

Earlier today Noisey, Vice’s Youtube music channel, uploaded a new video to accompany The Black Keys’ “Sister.” Although not yet confirmed, it is rumored that the video depicting five rebellious schoolgirls is actually a fan-made accompaniment. Regardless, this El Camino track has received a well-deserved jolt, and we will announce if more information comes in regarding the creators of the video throughout the day.

Check it out below!

7inch Sunday: The Walkmen – Dance With Your Partner

Matt Fox — Sun, 04 Nov 2012 17:48:03 +0000

For the twelve years since their inception, The Walkmen have consistently impressed us with carefully-crafted songwriting and vintage instrumentation. Every release – maybe excluding their version of John Lennon and Harry Nilsson’s cover record Pussy Cats – has received rave reviews and even garnered the occasional nod for best album of the respective year. Because of the recent May release of Heaven, it is safely assumed their newest single does not suggest another full-length release in the future. It does, however, give fans the opportunity to have a limited-edition keepsake of two tracks that have only been heard via CMJ’s Soundcloud (see below).

The first track of the single, “Dance With Your Partner,” is best viewed as a three-part work. At first, the song is simply vocalist Hamilton Leithauser singing over a timid, uninvolved guitar accompaniment. It’s a slow-burning two minutes that prep us for listening to the rest of the song – an interlude of sorts. After this comes the full instrumentation that is expected from The Walkmen. Straightforward, but in a way that truly captures the group’s intention to create truly original, yet traditional music. The last section of the song eases into a west coast-inspired guitar part and vocals that are equally calm.

“Vermeer ’65,” the B-side of the single, while not as expansive as the prior track, showcases the group’s playful demeanor. Catchy melodies and guitar-heavy instrumentation ease the song along at an appropriate pace. This exposes The Walkmen’s special gift: they never direct too much attention to themselves. Many groups work tirelessly to attract listeners with contrived selling points and other frivolous quirks, but this outfit is more content presenting their quality music without senseless bells and whistles. It’s both refreshing and appealing, and in the end works entirely to their favor.

Check back next week for a look at Typhoon’s Common Sentiments.

For Sale: Nirvana’s Bass and Dylan’s Yearbook

Matt Fox — Wed, 31 Oct 2012 16:53:22 +0000

Are you a fan of Nirvana or Bob Dylan? If so, you may need to have a talk with your savings account. London-based auction company Christie’s is set to auction a bass guitar smashed by Nirvana’s Krist Novoselic as well as Bob Dylan’s 1958 high school yearbook.

According to the company’s estimates, the bass should run about £15,000-25,000, whereas Dylan’s yearbook will get around £6,000. Also included in the yearbook is a brief message from the troubadour himself:

Dear Jerry, Well the year’s almost all over now huh. Remember the ‘sessions’ down at Collier. Keep practicing the guitar and maybe someday you’ll be great! A friend, Bob Zimmerman.

The auction takes place in London on November 29th, so make sure to plan accordingly for your Dylan and/or Nirvana-inspired pilgrimage!

Watch: Andrew Bird on Letterman

Matt Fox — Wed, 31 Oct 2012 15:26:16 +0000

In a last-minute effort to replace St. Vincent and David Byrne’s Sandy-influenced cancellation, David Letterman was able to bring in Andrew Bird for a pleasantly intimate set. For those of you still wanting St. Vincent and Byrne, they are still set to perform this Thursday on The Colbert Report.

For the evening, Bird covered Townes Van Zandt’s “If I Needed You” accompanied by no more than a double bass (Alan Hampton) and guitar (Tift Merritt). His most recent record, Hands of Glory, dropped yesterday and is in stores now.

7inch Sunday: Saturday Looks Good to Me – Sunglasses

Matt Fox — Sun, 28 Oct 2012 20:01:00 +0000

If there is one label that I would trust with my musical life, it is Polyvinyl Record Co. The Illinois-based company blends boutique products with incredible prices and and equally stunning roster. Very rarely do I check out unfamiliar artists without a trusted recommendation, but if they come with Polyvinyl’s seal of approval, there’s no way I can pass them up. A couple weeks ago I was introduced to a reformed Saturday Looks Good to Me, and Polyvinyl has once again done us right.

For the first time in four years, Saturday Looks Good to Me have broken their silence. After a mysteriously unofficial hiatus, the Michigan indie fixture is back with a revamped sound and new singer. Sunglasses, the group’s single, proves that the band is ready for their second wind more than ever.

The A-side of the record, “Sunglasses,” is a complex and involved homage to the group’s own innovative approach to their music. Introduced with a horn section and Dick Dale-inspired surf rock guitar, Saturday Looks Good to Me is as hard to pin down as they are to ignore. Carol Catherine, the outfit’s newfound singer, quickly takes center stage as her vocal range reaches everywhere from whispery falsettos to an impressive baritone caliber.

“Give Me Your Hands” is a short-but-sweet complement to the A-side’s vibrant textures and nuances. Similar to Spoon’s “The Ghost of You Lingers” from Ga Ga Ga Ga Ga, this B-side’s electric organ accepts both the roles of rhythm and accompaniment. Catherine works out a brief duet alongside Fred Thomas (formerly of His Name is Alive) that retains equal simplicity to the instrumentation with a monophonic melody.

My only complaint from this single is that there is room for more. Saturday Looks Good to Me haven’t missed a step with their first release since 2008, and the added rumor of a 2013 release preludes what may be the band’s ultimate renaissance.

Check back next week for a look at The Walkmen’s Dance With Your Partner.

Listen: Harouki Zombi – Vacated Hunters

Matt Fox — Wed, 24 Oct 2012 15:36:45 +0000

Earlier today, Consequence of Sound debuted a track from Harouki Zombi’s recently-released EP, Object Petit A. Consisting of Azure Ray’s Orenda Fink and of Montreal’s Nina Barnes, Harouki Zombi is their stab at DJing and the art music scene. The duo dress up as geishas and presents a blend that is reminiscent of a more electronic Coco Rosie.

Check out the track below, and if you like what you hear, purchase the EP here.

Ra Ra Riot Announce New Record

Matt Fox — Wed, 24 Oct 2012 15:20:37 +0000

Serving as a follow up to 2010’s The Orchard, Ra Ra Riot have announced a new record. Titled Beta Love, the record is expected to drop January 22nd via Barsuk Records. Although lacking cellist Ali Lawn, the group is now working in Oxford, Mississippi with new producer Dennis Herring (Modest Mouse, Wavves) and session drummer Josh Freese (Nine Inch Nails, Devo).

Inspired my sci-fi writers William Gibson and Ray Kurzweil, the forthcoming record serves as a change of pace for the group. As explained by bassist Mathieu Santos:

We’d been used to arriving at a session with every song totally arranged and figured out. But in Oxford, a lot of the creative decision-making happened in the studio, on the fly.

The group has also announced a string of tour dates as well as the tracklist for Beta Love. Check both out below.

Beta Love Tracklist:
01. Dance with Me
02. Binary Mind
03. Beta Love
04. Is It Too Much
05. For Once
06. Angel, Please
07. What I Do For U
08. When I Dream
09. That Much
10. Wilderness
11. I Shut Off

Ra Ra Riot 2012-2013 Tour Date:
11/14 – Syracuse, NY @ Setnor Auditorium (Syracuse University)
11/28 – Providence, RI @ Lupo’s *
11/29 – Philadelphia, PA @ Liacouras Center ^
12/08 – Lancaster, PA @ Chameleon #
12/09 – Hartford, CT @ Arch Street Tavern #
12/11 – Clifton Park, NY @ Upstate Concert Hall #
12/12 – Buffalo, NY @ Mohawk Place #
12/13 – Ithaca, NY @ Haunt #
01/23 – Washington, DC @ 9:30 Club
01/25 – New York, NY @ Webster Hall
01/26 – Boston, MA @ Paradise
02/02 – Tokyo, JP @ Hostess Club Weekender &
02/03 – Tokyo, JP @ Hostess Club Weekender &
02/07 – Vancouver, BC @ Venue
02/08 – Seattle, WA @ Neptune Theater
02/09 – Portland, OR @ Wonder Ballroom
02/11 – San Francisco, CA @ Fillmore
02/12 – Los Angeles, CA @ El Rey
02/15 – Solana Beach, CA @ Belly Up
02/16 – Tucson, AZ @ Club Congress
02/17 – El Paso AZ @ Lowbrow Palace
02/19 – Dallas, TX @ Kessler Theater
02/20 – Austin, TX @ The Belmont
02/21 – Houston, TX @ Fitzgerald’s
02/23 – Oxford, MS @ Proud Larry’s
02/24 – Atlanta, GA @ Masquerade
02/25 – Carrboro, NC @ Cat’s Cradle
02/26 – Asheville, NC @ Grey Eagle
02/28 – Columbus, OH @ A&R Music Bar
03/01 – Chicago, IL @ Metro
03/02 – Madison, WI @ Der Rathskeller
03/03 – Minneapolis, MN @ Triple Rock
03/05 – Ann Arbor, MI @ Blind Pig
03/06 – Toronto, ON @ Lee’s Palace
03/07 – Montreal, QC @ Il Motore
03/08 – South Burlington, VT @ Higher Ground
03/09 – Northampton, MA @ Pearl Street

* = w/ Passion Pit and Joy Formidable
^ = w/ Passion Pit
# = w/ Guards
& = w/ Vampire Weekend and Ultraista

of Montreal – Daughter of Cloud

Matt Fox — Tue, 23 Oct 2012 15:22:08 +0000

There comes a time in every band’s life where scraps are compiled, rarities are unearthed and the infamous compilation is erected. While superfans are enticed by the prospect of new, unreleased material, the rest of the world rolls their collective eyes at what they picture another ploy for cash-strapped musicians. They are skeptical about wrangling in a batch of songs that didn’t cut it for their respective records. Thus is the stage for of Montreal’s first compilation since their unofficial Elephant 6 departure, Daughter of Cloud. Covering 2008 to the present – which includes Skeletal Lamping, False Priest and Paralytic Stalks – the record gives us a magnified look at Georgie Fruit and his equally bizarre escapades.

Be warned, this record is not for the light at heart. of Montreal’s variation of sexed-up-psychedelic-freak-funk is as prevalent on this compilation as ever, if not more. Many a critic cite this evolution as their ultimate demise, deviating too far away from Elephant 6 and focusing more on frontman Kevin Barnes. However, I find it to play directly into their strengths. The group’s ability to remain relevant since 1996 with no signs of slowing is a monumental feat, and throwing in theatrical flair only makes it more enthralling. That being said, this compilation will still challenge even the most devoted fans.

Needless to say, there are some stellar pop gems within the 17 tracks. “Psychotic Feeling” reverts to pop sensibilities found in their earlier records, and Rebecca Cash’s work on “Feminine Effects” has the blogosphere raving about of Montreal’s creative spin on alt-country. However, digging deeper into the record reveals some inexplicable and obscure moments that are equally hard to verbalize.

Major themes throughout the record include psycho-sexuality, vivid imagery and someone’s weaved getting tousled. Like chapters out of a homo-erotic Lynchian collage, the record teeters on the edges of novelty and surrealism. “Steppin’ Out,” for example, starts with what sounds like synthesized steel drums and transitions into heavy panting and date-rapers making macaroni art. Often the blitzkrieg of concepts make an heterogenous mixture that lacks cohesion and prevents the record’s most redeeming qualities to be noticed. This strategy has the ability to work wonders (“Georgie’s Lament” and “Micro University”), but for every zinger there’s a lapse of confusion that is hard to overlook (“Partizan Terminus” and “Hindlopp Stat”).

While this is undeniably one of the stranger releases from of Montreal to date, the compilation status must be factored. It is no surprise B-sides and rarities stray farther from the status quo; this is a major reason why they’re just now being released. Because of this, there is breathing room for the record’s jarring presentation. Daughter of Cloud doesn’t immediately give away its best kept secrets. Instead, it requires listeners to methodically pick apart the record and inspect it at every key change and falsetto voicing. Those who stay the course will find a pleasant batch of tracks to add to the prolific catalog that constitutes of Montreal’s archives.

★★★☆☆

Top tracks include “Feminine Effects,” “Psychotic Feeling” and “Georgie’s Lament.”

7inch Sunday: Fishing – Choy Lin

Matt Fox — Sun, 21 Oct 2012 21:55:10 +0000

When watching Fishing’s recently-released video for “Choy Lin,” a boatload (pun intended) of feelings run rampant. Aside from being a logistical nightmare of a Google search, Fishing utilize a unique variation of collage video art to parallel a brand of music equally hypnotic. Nestled in the Blue Mountains region of New South Wales, Australia, this duo crafted their drifting soundscapes to the rhythms of the South Pacific.

Melodrama aside, Fishing has seriously wowed us with the short-lived seven minutes that constitute Choy Lin. Utilizing a screenshot from the aforementioned video as the cover, the image is an intriguing blend of a serene landscape interrupted by an ambiguously oblong shape commandeering focus. Likewise, the two tracks on this single take steady grooves and merge them with sample blips that tastefully interrupt the constancy that previously would devolve into stagnation.

The eponymous A-side has a hint of eastern influence with what sounds like vocal samplings from The Knife’s Olaf Dreijer. The indiscernible words coming from the anonymous vocalist contribute to the grand goal of the track rather than give it a leading centerpiece. There is never a moment of pause nor acknowledgement of contentment; the group constantly evolves the work into the synth-laden fadeout.

“White Sheet Beach,” the B-side of the single, kicks off with a surprisingly emotional 8-bit keyboard bit. More static than its predecessor, this track is more unpredictable and varied in instrumentation. It’s melody is quickly recognizable and even gives us a run for our money with the challenging rhythmic groupings of the final bars. Fishing have set a very high bar for future releases, and we are excited to see what else these guys have in store.

Check back next week for a look at Saturday Looks Good to Me’s Sunglasses.

UR1 Festival adds Animal Collective, Jane’s Addiction and more

Matt Fox — Wed, 17 Oct 2012 15:41:53 +0000

After a previous announcement of headliners Lou Reed and Kanye West, UR1 Music Festival has announced its next string of artists. The new additions include:

- Animal Collective
- Dead Can Dance
- Flying Lotus
- Jane’s Addiction
- Zola Jesus
- Tanlines
- Peter Murphy
- Holy Ghost!
- Wild Nothing
- Glass Candy

UR1 Music Festival takes place December 8-9th on Miami’s Bayfront Park. Tickets are $150 and can be purchased here. Check out the video below.

Watch: Divine Fits cover Frank Ocean – Lost

Matt Fox — Wed, 17 Oct 2012 15:32:19 +0000

Last night at the Met Cafe in Pawtucket, RI, indie supergroup Divine Fits surprised the crowd with a cover that wasn’t Tom Petty’s “You Got Lucky.” Headed by Spoon’s Britt Daniel, they punched out a cover of Frank Ocean’s “Lost.” He informed the crowd this was the first public performance, and according to an anonymous crowd member, “[it] was great!”

Check out the video below as well as upcoming tour dates for Divine Fits.

Divine Fits 2012 Tour Dates:
10/17 – Boston, MA @ Royale
10/18 – Washington, DC @ 9:30 Club
10/19 – Northampton, MA @ Pearl Street
10/21 – New York, NY @ Webster Hall $
10/22 – Philadelphia, PA @ Union Transfer $
10/24 – Columbus, OH @ Newport Music Hall $
10/25 – Chicago, IL @ Logan Square Auditorium $
10/26 – Indianapolis, IN @ Deluxe $
10/27 – Asheville, NC @ Moogfest
10/28 – Raleigh, NC @ Lincoln Theater $
10/29 – Atlanta, GA @ Terminal West $
10/31 – Austin, TX @ Stubbs $
11/02 – Tucson, AZ @ The Rock $
11/03 – Pioneertown, CA @ Pappy & Harriet’s $
11/04 – Los Angeles, CA @ Fonda Theater $

# = w/ Hooded Fang
$ = w/ Cold Cave

Hundred Waters to play Exit/In in Nashville, TN

Matt Fox — Mon, 15 Oct 2012 23:09:48 +0000

Listening through Hundred Waters’ forthcoming and self-titled debut LP is like traversing a winding maze of harmonies and instrumentation. From the opening track “Sonnet” to the final “Gather,” the group presents themselves as an ethereally complex project that demands our attention. Deviating from other electro-heavy artists littering Skrillex’s OWSLA label (Porter Robinson, Zedd, M Machine, etc.), the music of Hundred Waters is far more challenging to pigeonhole into simple genre titles. The ambience of Sigur Ros, the vocals of Coco Rosie and electronic nuances of Glitch Mob are all found within Hundred Waters, and their live shows only accentuate it.

Hundred Waters are set to perform at Exit/In in Nashville, TN on October 22nd. Tickets can be purchased here.

7inch Sunday: Hot Chip – Look at Where We Are

Matt Fox — Sun, 14 Oct 2012 16:49:42 +0000

If any electronic group is familiar with remixes, it’s Hot Chip. With over 45 remixes of other artists, the electronic septet have reworked efforts from everyone ranging from Queens of the Stone Age to Junior Boys to Gorillaz. In an effort to return the remixing favor, Major Lazer tried their hand at one of the more recent Hot Chip hits.

Hot Chip’s fifth studio release, In Our Heads, is arguably the group’s most complex and philosophical record to date. Although not officially a single, “Look at Where We Are” has garnered the attention of fans and critics with its emotional melodies and poignant lyrics. Major Lazer took the track, sprinkled in their token signatures and left us with a dubbed out original limited to 500 copies.

Unfortunately, unlike the Major Lazer remix of Beastie Boys’ “Don’t Play No Game That I Can’t Win,” this 7” does not have album artwork or colored vinyl. Instead, the packaging is just a white sleeve, and the record itself black. While collectors may be surprised (let down) by a limited edition being so plain, the tracks themselves make up for any disappointment.

The A-side, featuring the aforementioned remix, blends the original vocals with a dub beat that works off the track’s initial progression. While not as reflective as the original, the newly created work makes up for it with an amped reggae synthpop that commandeers the song from the halfway mark until the end. Major Lazer created a track that is entirely their own, but have done it in a way that pays homage to the original composers.

While the B-side does a better job retaining the original format of Hot Chip’s version, it is unable to compare against its counterpart. The Major Lazer vs Junior Blender mix has a similar intro as the dub mix, but doesn’t deviate throughout the track. However, the opposite approaches by both mixes create a duality that helps depict the single as a multi-faceted framework for DJs.

Check back next week for a look at Fishing’s Choy Lin.

Watch: Jack White – I’m Shakin’

Matt Fox — Wed, 10 Oct 2012 16:54:42 +0000

Today, Jack White released the video for his cover of Little Willie John’s iconic “I’m Shakin,’” the fourth single from Blunderbuss. The video features White vs. White in a back-and-forth between his two selves and their respective backing bands, The Buzzards and The Peacocks. Check out the video below and let us know what you think in the comments section.

Also, make sure to keep an eye out for White’s forthcoming 7” for the track. The single will feature an unreleased B-side, “Blues on Two Trees,” and will be available for pre-order October 16th via Third Man Records.

The Shins come to Nashville (Part II: Ryman Auditorium)

Matt Fox — Wed, 10 Oct 2012 16:18:27 +0000

After Saturday night’s performance/recording session with The Shins and securing our pre-order of the resulting black and blue vinyl, we were refreshed and ready for another evening with Mercer and his ragtag gang. Sunday’s show, which took place at the historic Ryman Auditorium, was a significant departure from the previous night. With a capacity of 2,362 – how’s that for investigative journalism? – The Shins would now be under their usual parameters: production-heavy concert halls with thousands of adoring fans.

Instead of the previous night’s lovably egocentric Low Cut Connie, we were greeted by White Rabbits, a Brooklyn-based group who have proved themselves time and time again in their eight years. Known for their energy and live performances, the group showcased all three of their records, showing a pinch of extra love to March’s Milk Famous. Tracks such as “It’s Frightening” took no more than a single line of lyric and a steady dose of rock instrumentation to captivate the audience, whereas “Everyone Can’t Be Confused” transitioned from a slow electric organ intro into a complex drum beat interwoven into the track’s nuances.

As expected, all the standard White Rabbits hits were present; “While We Went Dancing,” the single from 2008’s Fort Nightly and “Percussion Gun,” arguably the outfit’s most recognizable number, got the previously stoic crowd loosened up and on their feet. After ending the night with “I Had it Coming,” the group received a standing ovation from the entire audience. The takeaway from this performance? The Shins have a knack for selecting openers.

Then came The Shins. The first two tracks, “The Rifle’s Spiral” and “Caring is Creepy” were met with minimal crowd interaction. Audience members were back in their designated pew spots after a brief intermission, and it appeared they were more comfortable seated than on their feet for the second portion of the night. When the band moved into the first notes of “Australia,” however, the entire room’s mood shifted. The audience quickly jumped to life, and from here on each passing song maximized this exuberance.

While the setlist remained similar to Saturday night, there were a handful of refreshing deviations. Oddly, all five aforementioned deviations revolved around their newest and oldest (excluding Flake Music) efforts, Port of Morrow and Oh, Inverted World. “It’s Only Life,” one of the more notable Morrow tracks, was placed in the middle of the set, and “September” served as the alt-country flair required when performing a Ryman gig. “New Slang” B-side “Sphagnum Esplande” snuck its way into the list, simultaneously igniting deep cut superfans’ collective desires and confusing everyone else who thought they knew all the tracks.

Highlights include Mercer’s emotionally gripping performance of “Port of Morrow,” which showcased a wide vocal range rarely boasted with The Shins’ recorded catalogue, and an encore-turned-ten-minute-jam-fest version of “One By One All Day” that was welcomed from a group that resides comfortably around the four minute mark.

So what did we learn after seeing The Shins two nights in a row? A.) Even with a reconstructed group, they are as incredible – if not better – as ever. B.) White Rabbits and Low Cut Connie set high bars for future openers we watch. And C.) Whether in a tiny venue or old-fashioned megachurch, The Shins know how to read a crowd and get them on their feet.

Setlist

The Rifle’s Spiral
Caring is Creepy
Australia
Simple Song
Bait And Switch
Know Your Onion
Pam Berry
Phantom Limb
Saint Simon
It’s Only Life
So Says I
Sphagnum Esplanade
Kissing the Lipless
Port of Morrow
New Slang
Sleeping Lessons

No Way Down
September
One By One All Day