FULL POST
I’ve managed to squeeze the Naked and Famous’s “Serenade” onto just about every playlist I’ve made in the last month. And I make a lot of playlists. To be honest, I’m kind of in love with it. A breezy retro-pop jam this song perfectly suits just about any summertime activity. It wasn’t released with their debut “Passive Me, Aggressive You” and I’m pretty sure it hasn’t been released in the US but that shouldn’t be an excuse not to download it. It’s got a nifty video to go with it, check it out.
It’s summer so basically that means that I am committed to two things: Keeping up with the Kardashians and digging for choonz. Just kidding about that first thing. Music being an obsession of mine, in the summer time I often find myself spending hours scouring the internet for new bands/artists/one-hit wonders. I stumbled across this song yesterday. By now, Canadian natives Arcade Fire ought to be a trusted household name. Despite post-Grammy-victory haters, they continue to do what they do best: make awesome music. They recently released two new singles as a sort of extension to The Suburbs and they’re both pretty good. I’ve linked Culture War below. Check it out.
FULL POST
It’s summer so basically that means that I am committed to two things: Keeping up with the Kardashians and digging for choonz. Just kidding about that first thing. Music being an obsession of mine, in the summer time I often find myself spending hours scouring the internet for new bands/artists/one-hit wonders. I stumbled across this song yesterday. By now, Canadian natives Arcade Fire ought to be a trusted household name. Despite post-Grammy-victory haters, they continue to do what they do best: make awesome music. They recently released two new singles as a sort of extension to The Suburbs and they’re both pretty good. I’ve linked Culture War below. Check it out.
FULL POST
If there’s one thing that Canada’s got right it’s indie music. Probably to make up for musical terrorists of early 2000 like Nickelback and Simple Plan. And Justin Bei—forget it. Near the top of my essentials list (forget the fact they’re Canadian) are Tokyo Police Club and Born Ruffians; both bands released (awesome) albums last year. As much as I obsessed over those albums for some reason I never heard their colab. To be honest, I never imagined I’d hear the two together. It just sounded too good to be true. A few weeks ago when I was revisiting Champ I stumbled across this song. I wish I’d known about it earlier. It’ll make up for the fact that I just reminded you of Nickelback.
YOLO Mentions bring attention to special
songs featured in that week’s YOLO List. Get the latest list here!
Hopefully by now those three letters are more familiar to most of you. Lots of these guys’ remixes have been all over the blog world and for good reason. Remix Artist Collective are remix professionals. Not sure if you recall how I feel about a truly great remix, but in my opinion, it’s one that showcases the remixers sound and ability without compromising the original vibe of the remixed. Andre Allen Anjos started RAC on his own with the release of RAC Vol. 1 but expanded by adding Andrew Maury and Karl Kling for help on later releases. Their main focus lies on indie tracks, which they convert into disco dancy goodness. Time and time again, RAC delivers some of the most fun renditions of a lot of songs we love and a lot of songs we should know. Best part is, all their stuff is free on their website.
RAC is spinning a local set in Costa Mesa on June 15th that you can definitely count on me being at. More details here. Tickets here. I jumped on the opportunity to meet them, and it looks like their management is going to hook up an interview for the date. STOKED! Here’s their soundcloud player along with links to download all their album releases directly.
click the links to DL
RAC Vol. 1
RAC Vol. 1.5
RAC Vol. 2
FULL POST
YOLO Mentions bring attention to special
songs featured in that week’s YOLO List. Get the latest list here!
Hopefully by now those three letters are more familiar to most of you. Lots of these guys’ remixes have been all over the blog world and for good reason. Remix Artist Collective are remix professionals. Not sure if you recall how I feel about a truly great remix, but in my opinion, it’s one that showcases the remixers sound and ability without compromising the original vibe of the remixed. Andre Allen Anjos started RAC on his own with the release of RAC Vol. 1 but expanded by adding Andrew Maury and Karl Kling for help on later releases. Their main focus lies on indie tracks, which they convert into disco dancy goodness. Time and time again, RAC delivers some of the most fun renditions of a lot of songs we love and a lot of songs we should know. Best part is, all their stuff is free on their website.
RAC is spinning a local set in Costa Mesa on June 15th that you can definitely count on me being at. More details here. Tickets here. I jumped on the opportunity to meet them, and it looks like their management is going to hook up an interview for the date. STOKED! Here’s their soundcloud player along with links to download all their album releases directly.
click the links to DL
RAC Vol. 1
RAC Vol. 1.5
RAC Vol. 2
Two sold out LA dates in July along with making the bill of massive music festivals world wide had the line for this free show at Amoeba Records in Hollywood down the building and around the block. After getting through bullshit LA traffic and making it to Amoeba 2 hours prior to Foster the People‘s set at 6:30, I just had my hopes set on getting in. They began to slowly let in the seemingly endless line around 5:30. Filled with fans of much anticipation to see the biggest thing to hit KROQ since Audioslave’s “Like A Stone.” Hahah I’m not entirely sure about that, but I haven’t been tuning in recently. As they filled in the aisles of the store, the excitement began setting in. Foster’s equipment was up and ready to go, and they placed us dead center a few rows back. It was only a matter of time before the sound of banter would be substituted with tracks I’d been itching to hear live off Foster’s latest album Torches, which had just been released the day before.
I had never been to Amoeba for one of these free shows. The whole experience was very fresh, and I just sat back and observed, waiting as the clock ticked towards 6:30, and the aisles got closed one after another. So many different people. Hipsters, teens, bros, greasers, hispanics, babies, blacks. It just goes to show how approachable these guys’ music is and how it can bring everyone together. While in line earlier, Amoeba reps had everyone sign off all their info to enter for a chance to win gift certificates, a huge poster of the new album cover, and the opportunity to meet the band. At 6:25 the announcer yelled out my friend’s and my name as the winner, and let me tell you, there is no better way to start a show with knowing that you’ll be able to thank the band for everything afterwards.
After being 30 minutes late at their Coachella debut only to be booed through their intro, one can only assume they’d do everything to avoid that from happening again. The boys strutted on stage right as the clock struck 6:30 and were greeted with the utmost satisfaction from all in attendance. They went straight into their set, starting off with “Warrant,” the closing track on Torches. I love this track and I think it’s a great opener if you’re familiar, but they should have started with “Houdini” or “Helena Beat” just to get Amoeba going. Of course, saving “Pumped Up Kicks” for the middle or last song. Needless to say my crew and I were already tearing up the aisle as Foster went through various new tracks off the album. I took time in between recording videos to admire their live recreations of tracks I got so used to hearing. And inevitable dance breaks with my friends ensued, despite a less than energetic Amoeba. The multi-instrumentalist band performed with 5 members, yet only consists of the three main guys. They needed that whole team otherwise there’s no way they’d get that same live sound. Everyone switched between keys, synths, guitars, singing, and banging on drums. One of the guys got down with the cowbell and I’m pretty sure that’s about the time Amoeba put their dancing shoes on,a and I can’t blame them! The highlight of the day was “Pumped Up Kicks.” I know how overplayed that song is, but it still just doesn’t seem to do any wrong. At the middle chorus Foster stopped playing and singing as all of Amoeba chanted together:
“All the other kids with the pumped up kicks better run, better run, outrun my gun.
All the other kids with the pumped up kicks better run, better run, faster than my bullet!”
Seriously awesome all around. They played a full and complete set for us for free. I wanted to start an encore chant but I knew it was asking for too much. After it all was said and done, my friend and I went to collect our respective prizes and got to meet the band for a signing. Real stand up dudes and I couldn’t stress how happy for them I was. We’ll meet again at Outside Lands. No way Witler and I are gonna miss them there. I got videos of two of my favorite new songs from their album that you can scope after the jump. Be sure to support them the next opportunity you have! They deserve it.
Foster the People – Color On the Walls (Don’t Stop)
WINNERS!
FULL POST
Two sold out LA dates in July along with making the bill of massive music festivals world wide had the line for this free show at Amoeba Records in Hollywood down the building and around the block. After getting through bullshit LA traffic and making it to Amoeba 2 hours prior to Foster the People‘s set at 6:30, I just had my hopes set on getting in. They began to slowly let in the seemingly endless line around 5:30. Filled with fans of much anticipation to see the biggest thing to hit KROQ since Audioslave’s “Like A Stone.” Hahah I’m not entirely sure about that, but I haven’t been tuning in recently. As they filled in the aisles of the store, the excitement began setting in. Foster’s equipment was up and ready to go, and they placed us dead center a few rows back. It was only a matter of time before the sound of banter would be substituted with tracks I’d been itching to hear live off Foster’s latest album Torches, which had just been released the day before.
I had never been to Amoeba for one of these free shows. The whole experience was very fresh, and I just sat back and observed, waiting as the clock ticked towards 6:30, and the aisles got closed one after another. So many different people. Hipsters, teens, bros, greasers, hispanics, babies, blacks. It just goes to show how approachable these guys’ music is and how it can bring everyone together. While in line earlier, Amoeba reps had everyone sign off all their info to enter for a chance to win gift certificates, a huge poster of the new album cover, and the opportunity to meet the band. At 6:25 the announcer yelled out my friend’s and my name as the winner, and let me tell you, there is no better way to start a show with knowing that you’ll be able to thank the band for everything afterwards.
After being 30 minutes late at their Coachella debut only to be booed through their intro, one can only assume they’d do everything to avoid that from happening again. The boys strutted on stage right as the clock struck 6:30 and were greeted with the utmost satisfaction from all in attendance. They went straight into their set, starting off with “Warrant,” the closing track on Torches. I love this track and I think it’s a great opener if you’re familiar, but they should have started with “Houdini” or “Helena Beat” just to get Amoeba going. Of course, saving “Pumped Up Kicks” for the middle or last song. Needless to say my crew and I were already tearing up the aisle as Foster went through various new tracks off the album. I took time in between recording videos to admire their live recreations of tracks I got so used to hearing. And inevitable dance breaks with my friends ensued, despite a less than energetic Amoeba. The multi-instrumentalist band performed with 5 members, yet only consists of the three main guys. They needed that whole team otherwise there’s no way they’d get that same live sound. Everyone switched between keys, synths, guitars, singing, and banging on drums. One of the guys got down with the cowbell and I’m pretty sure that’s about the time Amoeba put their dancing shoes on,a and I can’t blame them! The highlight of the day was “Pumped Up Kicks.” I know how overplayed that song is, but it still just doesn’t seem to do any wrong. At the middle chorus Foster stopped playing and singing as all of Amoeba chanted together:
“All the other kids with the pumped up kicks better run, better run, outrun my gun.
All the other kids with the pumped up kicks better run, better run, faster than my bullet!”
Seriously awesome all around. They played a full and complete set for us for free. I wanted to start an encore chant but I knew it was asking for too much. After it all was said and done, my friend and I went to collect our respective prizes and got to meet the band for a signing. Real stand up dudes and I couldn’t stress how happy for them I was. We’ll meet again at Outside Lands. No way Witler and I are gonna miss them there. I got videos of two of my favorite new songs from their album that you can scope after the jump. Be sure to support them the next opportunity you have! They deserve it.
Foster the People – Color On the Walls (Don’t Stop)
WINNERS!
Denmark’s Jannis Noya Makrigiannis is the brainchild behind Choir of Young Believers–an experimental blend of orchestral reverb and indie-pop. His album, This Is For the Whites in Your Eyes, is a cathedral of sound, with choral echoes bouncing off high ceilings. Yet he manages to create this sound without seeming preachy or grandiloquent. There’s something humbly supernatural about it. Other-worldly, though appealing in a Fleet-Foxes-on-vicodin kind of way. The entire album is like a holy confession and generally blurs together. It does however shine when it strays from its norm in songs like “Action/Reaction” and “She walks.” Essentially, the songs worth knowing are linked below. Peace be with you.
FULL POST
Denmark’s Jannis Noya Makrigiannis is the brainchild behind Choir of Young Believers–an experimental blend of orchestral reverb and indie-pop. His album, This Is For the Whites in Your Eyes, is a cathedral of sound, with choral echoes bouncing off high ceilings. Yet he manages to create this sound without seeming preachy or grandiloquent. There’s something humbly supernatural about it. Other-worldly, though appealing in a Fleet-Foxes-on-vicodin kind of way. The entire album is like a holy confession and generally blurs together. It does however shine when it strays from its norm in songs like “Action/Reaction” and “She walks.” Essentially, the songs worth knowing are linked below. Peace be with you.
Standing alone, James Mercer of The Shins and Brian Burton aka Danger Mouse are two names that are difficult to argue with in the music world. With two distinct sounds of their own it shouldn’t come as a huge shock that together they are an absolute powerhouse. Only a year after the release of their self-titled debut as Broken Bells, the duo has recently released an EP. Meyrin Fields is a futuristic landscape, a mechanical and dark aberration from the 1960s-infused indie pop we’re used to hearing from both artists separately. The EP shares the gloom and new-wave feel of the LP, though with less of a post-apocalyptic feel. Rather, it’s brimming with a sort of artificial intelligence. It’s the musical manifestation of a world run by shimmering robots, unnatural and dominant with the kinda vibes reminiscent of something Spoon would deliver if they lived a thousand years in the future. Science fiction as it is, it still maintains a classic rock quality that puts it in the same class as The Black Keys and Wolf Parade.
1. Meyrin Fields
2. Windows
3. An Easy Life
4. Heartless Empire
FULL POST
Standing alone, James Mercer of The Shins and Brian Burton aka Danger Mouse are two names that are difficult to argue with in the music world. With two distinct sounds of their own it shouldn’t come as a huge shock that together they are an absolute powerhouse. Only a year after the release of their self-titled debut as Broken Bells, the duo has recently released an EP. Meyrin Fields is a futuristic landscape, a mechanical and dark aberration from the 1960s-infused indie pop we’re used to hearing from both artists separately. The EP shares the gloom and new-wave feel of the LP, though with less of a post-apocalyptic feel. Rather, it’s brimming with a sort of artificial intelligence. It’s the musical manifestation of a world run by shimmering robots, unnatural and dominant with the kinda vibes reminiscent of something Spoon would deliver if they lived a thousand years in the future. Science fiction as it is, it still maintains a classic rock quality that puts it in the same class as The Black Keys and Wolf Parade.
1. Meyrin Fields
2. Windows
3. An Easy Life
4. Heartless Empire
