Yeasayer isn’t worried about the apocalypse. In fact, it has a song about it called “Final Pass.” Its advice is simple: When the end comes, dance. “There’s some article,” reports Yeasayer guitarist Anand Wilder, “about how some ridiculous number of congressmen believe it’s their duty to bring about the end…
It’s a safe bet that at least one member of Editors has a tattoo commemorating Ian Curtis. The act’s debt to the joyless Division is so elemental that lack of corporeal acknowledgement would almost seem disingenuous. Even so, Editors aren’t merely mired in slavish imitation. Building on a foundation of…
Anyone who saw Liars cover Nirvana’s “Territorial Pissings” during last year’s summer tour might have suspected that, despite the seemingly irredeemable freakiness of 2004’s They Were Wrong, So We Drowned and 2006’s Drum’s Not Dead, the New Yorkers hadn’t lost track of their more conventional roots. Sure enough, they brought…
“They say you can’t please everyone,” Talib Kweli declares at the outset of his latest CD, 2007’s Eardrum, and his career stands as proof of that maxim. Since the days of Black Star, a 1998 disc that teamed him with Mos Def, critics have championed Kweli as a rhymer whose…
Haven’t we heard more than enough dusky, moody post-punk? Even efforts to make the sound more relevant by updating it with electronic refinements have ultimately turned out to be bland and embarrassingly derivative. The members of Kansas City’s Roman Numerals have done their utmost to subvert this hackneyed trend by…
The post-Fall Out Boy school of rock that encompasses Cobra Starship doesn’t feature an especially hard-edged curriculum. Throughout ¡Viva La Cobra!, their latest disc, the New York combo’s members (joined on this bill by Metro Station, the Cab and We Three Kings) eschews killer riffs, lethal vocals and anything remotely…
The Kenny Chesney co-produced Moment of Forever seeks to modernize Willie Nelson’s iconic sound by inserting the Red Headed Stranger’s distinct vocals into a series of flush, Nashville-tinted arrangements. A decidedly bleak collection laced with dark tones and darker themes (social malady, death and Hurricane Katrina are all covered here),…
It’s easy to dismiss Cat Power’s covers CD Jukebox as a lazy way for a label to deal with its artist’s latest bout of writer’s block. But Chan Marshall is known for stuffing her live shows with other people’s songs and already has one Covers Record under her belt. Besides…
The men of Gallows, a rough-hewn throwback to the days when U.K. punk was perilous, not pop, are known for gigs at which music and injuries share the bill — and guitarist Laurent Barnard admits that this reputation is well-earned. “It’s always an accident. No one goes to a Gallows…
Eddie Van Halen’s son looks like Peppermint Patty. There’s no getting around it. I wish things could be different — as do, presumably, fans of Van Halen. This weekend, the long-beleaguered pop-metal behemoth pulls into the Pepsi Center with its disembalmed original frontman, David Lee Roth, for a long-threatened and…
Under the “sounds like” heading on DJ Forest Green’s MySpace page, it reads, “Electronic Dance Music Identity Crisis!!!” This seemingly humorous line says worlds about what Green brings to the decks. Her mixes and bio reveal a woman with an insatiable, voracious appetite for anything and everything danceable or electronic…
Dirty Projectors, Rise Above (Dead Oceans). Rise Above is probably one of the most creative — and subsequently insane — ideas out there. Take a classic album (oh, say, Damaged, by Black Flag) and then pull an Alec Baldwin on SNL on it and create something no one asked you…
In the following Q&A, conducted for a February 7 Westword profile, Gallows guitarist Laurent Barnard gets visceral in his descriptions of the U.K. punk act’s life and times. Barnard, who joins Frank Carter, Steph Carter, Stuart Gili-Ross and Lee Barratt in the band, kicks off with a preview of an…
Recently, I sat at the Old Curtis Street Bar and watched La Boom – a band I’d never seen before – rip through a tight, exciting set of Brit-inflected bouncers. The band members’ families and girlfriends clustered close to the stage while the numerous members of the headlining act, Birdy,…
Here’s a selection of the best of last week’s music blogging from around the Village Voice chain: Before there was rock opera, there was real opera and this review of Mozart’s The Magic Flute is a fine reminder that there was some pretty kick ass music around in the days…
Slide Show Stand By Your Band II Saturday, January 26, 2008, hi-dive Better than: Sitting at home and watching The Last Waltz again. What makes a scene great? Better yet, what makes a scene viable and important? One could say the quality of music, even still it could be said…
LOCALS ONLY When it comes to hip-hop, one of the main requirements in making the music is to represent where you’re from. Although Colorado may not seems as fresh as places like New York, Los Angeles, Atlanta or Chicago, most Colorado emcees are very proud to represent the state where…
Dwight Yoakam Dwight Sings Buck (New West) At first blush, the notion of Dwight Yoakam devoting an entire disc to the work of Buck Owens seems much too obvious. After all, he’s a well-established Owens acolyte and booster who often drops cover tunes into his live sets, and he famously…
It’s always darkest before the dawn. Or so the music industry has been reassuring itself lately. You really can’t blame record companies for that whiff of optimism: Over the past few years, they’ve been bleeding like a hemophiliac with a razor fetish. The numbers are indeed grim. SoundScan figures for…
The music business as we know it is dying. And as I witness its continued collapse, it’s gratifying to see a shift in the balance of power. For once, artists actually have some leverage, and it’s about damn time. If you ask me, the tail has been wagging the dog…
Recordings by the Mars Volta are almost always accompanied by extensive backstories. For instance, 2003’s De-Loused in the Comatorium was inspired by the late artist Julio Venegas, who jumped to his doom from an El Paso overpass, while 2005’s Frances the Mute reportedly sprang from the pages of a diary…
Last year, the sales of hip-hop albums dropped 30 percent, a figure that includes digital downloads. But going by recent rap lyrics, you’d think the average MC was too rich to stand up. Literally. Fat Joe’s latest single, “The Crackhouse,” begins, “I’m sleeping on a billion dollars.” Bear in mind…
