Charlotte Gainsbourg & Beck, “IRM” Review

By Rip Empson

You may know Charlotte Gainsbourg as the stunning and talented French actress from The Science of Sleep, 21 Grams, or Lars von Trier’s Palme-d’Or-winning Antichrist -- but what you may not know is that she also happens to be the daughter of legendary gallic singer/songwriter and troublemaker, Serge Gainsbourg. It seems music has always been in her blood, even though she’s spent most of her musical life in the shadow of her father – and their strange, provocative 1984 duet album that included a song called “Lemon Incest.”

Fast forward to 2006 and you’d find Gainsbourg beginning to establish her own musical sound, thanks to her Air-backed, heart-break record, 5:55, which went platinum in France. She parlayed her success into a collaboration with jack-of-all-sounds, Mr. Beck Hansen, who produced her latest effort, IRM.

Written, produced, arranged, and mostly played by Beck, IRM unsurprisingly sounds a lot like … a Beck album. WEIRD, right? With the sonic swashbuckler at the helm, musically IRM is a Frankensteinian mix of psych rock, nerd rap, graveyard blues, and eerie ballads. As a result, the album feels a lot like the doppelganger of Modern Guilt, Beck’s 2008 collaboration with the ubiquitous Danger Mouse.


Thematically, IRM, which is French for “MRI,” was inspired by a head injury Gainsbourg sustained while water skiing that led to two years of testing and multiple brain scans to prove that she was healthy. The incident and its aftermath left an indelible impression on her, inspiring the album’s mood, which seems permeated by electronic resonances, biological cadences, and heavy, existential lyrics.

Though Gainsbourg’s vocal abilities seem somewhat limited, she gets the most out of her voice, varying her approach with each song. And in spite of the overall eeriness of the album, her reverb-soaked cooing, purring, and double-tracked harmonizing adds a sex appeal and joyful defiance to the sinister landscape.

The heavy bass, minimal guitar and breathy vocals of the album allow its songs to anxiously explore the darker side of pop music, as the distortion-tinged guitar of “Trick Pony” sounds like something Danger Mouse and The Black Keys would have created, as Gainsbourg’s vocal harmonies float over it in psychedelic reverb – as is “Looking Glass Blues,” which is another opiate-filled song riffing on Alice in Wonderland, backed by inverted organ and spooky blues guitar.

All in all, IRM seems to have brought out the best of both Beck and Gainsbourg, especially if you are a fan of the creepier side of pop. There’s a lot going on sonically, and a lot of pondering going on thematically, which gives the album depth and makes it worthy of multiple listens. I’m not always a fan of dour, abstract pop music, but a sexy French grim reaper is better than the alternative, am I right? IRM may be wispy-edged and hallucinogenic, but it succeeds in celebrating the fragility and darkness of life -- and, in the end -- the bliss of survival.

It’s definitely an interesting album and well worth a listen.

11 out of a possible 13 caskets.

A&R: The Music Submissions

Part of what we do here at SFCritic, for the music submissions at least, is to compare new and/or obscure artists to those you are more likely to have listened to once or twice. This time around, the comparisons were called out so prominently in their submissions that we felt compelled to let you know right off the bat. So, without further adieu, here are this weeks entries.


"The South African Bowie"

Ashton Nyte - The Valley
This could also be considered our World Cup-themed A&R submission. Nyte, an indie rocker with enough morose tracks to make an early 80s Morrisey fan draw their curtains and cry, hails from Johannesburg. Something of a sensation, apparently, on his home turf, The Valley formally debuts on our shores on June 15. The title track "Jennifer" has lovely, if not complex, instrumentals, but the vocals sound pretty much exactly like "China Girl" and boy is it distracting! On other tracks, such as the echo-filled "Window" or the slightly undone and sexy "Sick of This", the album appears a bit more original and less like a carbon copy from post-punk's golden years. Unfortunately, the overwhelmingly darkness, as well as it's lack of variety in style and rhythm, makes it hard for any one track to jump out as a particular, and to imagine anyone but the most ardent fan, making it through the whole thing. Does he sound like Bowie? Yes. Does he exhibit any other Bowie-like characteristics? Nope. Not a one.

Listen to: Jennifer, Murder Me



Sounds Like: "An Afro-Funk O.A.R"

Frank Viele and The Manhattan Project - Neon Lights
Now, my personal feelings regarding O.A.R. aside, I was highly skeptical when this came into my inbox. While young white men with a little jazz or soul influence have done exceedingly well in the music industry (John Mayer? Dave Matthews? Jason Mraz, anyone?), one has to wonder if ANYONE backed by an extremely talented, diverse band, could be a hit? Personally, I'm going with no. And Frank Viele seems to support my theory. Afro-Funk this is not. However, his husky voice and both the musical strength of the band and their skilled arrangement makes the album come alive, and makes it worth listening to. The title track "Neon Lights" is a sort of sweeping, Western-influenced epic. It draws you in, stops just short of taking itself too seriously, and doesn't draw on too long. The sax-heavy "Right in Front of Me" starts out syrupy, but opens up into a pleasant little light jazz love song. The band is currently touring extensively on the East Coast supporting the Wailers, but anyone who is a fan of the artists mentioned above would do themselves a favor to make a point to seek out Viele and crew. It's a fresh and frankly higher-quality take on the phenomenon.

Listen To: Neon Lights, Bein' Lonely Together

A&R: The Music Submissions

The Black Rabbits - The Black Rabbits EP

The Black Rabbits are a high-energy rock outfit from Ashville, North Carolina. Their debut EP is full of the type of catchy, pop-rock music that is so universal, it sounds familiar even the first go-round. While that might sound like a slight, it sure isn't! Making that type of thing sound fresh and likable, which The Black Rabbits manage to do on each of their five tracks, is no simple feat. There are a few reasons it works, one of which is simplicity. In the same way that The Beatle's early music is characterized by short, flawlessly produced catchy rock and roll beats, so too is The Black Rabbits. Now, they don't sound like The Beatles, but that's the idea. Nothing too grandiose, no conceptual checks written that this 4 piece can't cash. Vocalist Jetson Black has an appealing sound, unique but not polarizing, which is best characterized on the EP's only slow jam, "Painter, Poet, Prophet, Priest". Otherwise, it's the least memorable of the lot. Luckily, there are four other peppy pop-rock tracks to love.

Sounds Like: A cheerier Eve 6 or Harvey Danger dragged through the early '60s
Listen To: For Way Too Long Now, Emotion



Grand Canyon - The Hits

One theme of the many music submissions to SFCritic (yep, there are many! And yes, there are some themes!) is "non-traditional" releases. It seems popular in this day and age to not only forgo the more traditional record label route, but to do away with tradition all together. Grand Canyon, out of Albuquerque, New Mexico, has done just that. Billing themselves as an "indie/alternative/punk/country/whatever band," they released their debut album "The Hits" (ironic?) on cassette tape (what ARE those, right?!). Well, they sold through all 50 of those right quick, but thankfully the album is also available for digital download, free, on their website. Now, creative marketing ways aside (or gimmick, for all the haters out there). On first listen, it's an interesting album! There are horns and harmonies. It has a solid Western feel, vaguely reminiscent of Johnny Cash. Songs like soaring, vaguely hobo-lament "Hole in My Shoe" beg to be heard in a smoky bar clutching a cold beer. However, there is nothing to be gained from the album's length. The sound is neither distinct, complex, nor broad enough to bother listening to more than a few tracks, enjoying them, and moving on.

Sounds Like: The Hold Steady's less lyrically-gifted cousin from the Southwest.
Listen To: From the Westside, Demons

The Black Keys' "Brothers" Album Review

By Rip Empson


From where I sit, The Black Keys long ago cemented their legacy as the Greatest Band to Come Out of Akron, Ohio Since Devo. Now, admittedly, the competition for this illustrious distinction isn’t exactly fierce, but following-up on the huge success of 2008’s Attack and Release, their hazy, psychedelic collaboration with Danger Mouse, on top of a critically acclaimed foray into hip hop last year with Blakrock, which attracted the likes of RZA, Mos Def, and Ludacris … ? Easier said than done.

This being the case, I was anxious to see (along with perhaps a few other Black Keys fans) if Brothers – which released May 18 – would be another step away from the gritty, blues-fried sound that made them my special band. Luckily, my concerns were unfounded. What’s so cool about Brothers is that, being the Keys’ sixth album, it demonstrates a maturity that should now come with being produced by The Best Thing From Akron Besides LeBron; the album manages to both pay tribute to the band’s Delta influences as well as build upon their experiments in other genres.

While a little errant pop does shine through, Brothers nevertheless confirms that The Black Keys will remain the torch-bearers of badass contemporary blues – always just a little weirder and muddier than their counterparts, The White Stripes. Fittingly, the album kicks off with the rolling, catchy “Everlasting Light,” which features guitarist Dan Auerbach singing in distortion-soaked falsetto, punctuated by doo-wop back-up singers and revolving glam guitar that would make Marc Bolan (of the great T Rex) proud as a weird, British peacock.

From there on out (with one or two exceptions), Brothers is permeated with the retro, swampy feel of 70’s-era Chess B-sides – or more accurately – the Muscle Shoal sound. To record their newest effort, Auerbach and drummer Patrick Carney headed down to an obscure town in northwestern Alabama to record at the Muscle Shoals Sound Studio, once an underground mecca for R & B and rock artists, seeing the likes of Aretha, The Stones, Wilson Pickett, and Paul Simon, pass through its doors.

If Brothers is any indication -- Muscle Shoal has some good voodoo. Sure, the album sounds slick in places, and Danger Mouse returns for collaboration on the cinematic pop anthem “Tighten Up” and, yes, there’s some whistling. But, the hazy and heavy Black Keys are back. “Black Mud” and “The Go Getter” will have you thinking you’re doing heroin with Robert Plant and Albert King.



So, for any of you Black Keys blues purists out there, don’t worry – the chewy bump of “Howlin’ For You” (along with the album cover’s homage to Howlin’ Wolf’s 1969 “The Howlin’ Wolf Album”) and “Ten Cent Pistol” will leave plenty of grit in your teeth – and assure you that there’s enough blues to go around.

With Brothers, it’s clear that Auerbach and Carney have been soaking up plenty of Curtis Mayfield and classic soul – and that they’re trying to teach old sounds new tricks. With great singing by Auerbach and the best drumming by Carney yet, I think it’s working. But, then again, I’m just a janitor.

11.5 out of a 13 possible carrots … or a “B+” if you wanna be a dick about it.

Japandroids with Avi Buffalo at The Independent

By Eve Marcellus
Photos by Patrick Kelly


Avi Buffalo, the Long Beach, California-based guitar pop band has been garnering a great deal of attention in the weeks leading to the release of their self-titled debut album. Despite the hoopla, they took the stage at the Independent to a fairly thin crowd. The band's youth is incredibly evident in both their appearance and stage presence. While it is a huge asset, creating the fresh arrangements and some of the cutest, quirkiest lyrics heard in ages, the first few songs of the set were noticeably stiff. "Summer Cum" was appropriately high energy and dreamy, but it wasn't until the almost eight minute long "Remember Last Time," that the boys let loose and showed their range and precocious skills. The songs transferred beautifully to the stage, and will no doubt get better and better as they continue to tour.


Japandroids rocked out. The set was loud, slick, and in-your-face. It was a little unbelievable to watch two handsome young men scream into microphones for an hour, while they banged seemingly impossible, but amazing noises out of a drum kit or made the grungiest electric guitar sound fantastic while flying around the stage (nonetheless, while in skinny white jeans). It was striking to watch, and even more incredible to listen to. Their devil-may-care anthems of youth, like "Wet Hair" and "The Boys are Leaving Town" are reminiscent of the dirty garage punk rock that teenage boys all over the world hope to master as an outlet for their angst. The Japandroids make it as much about youthful disillusionment as skillful musicianship, and it truly makes for a kick-ass show.


Avi Buffalo continues their tour with Modest Mouse this summer. That lineup will perhaps make more sense, at least to those who like their whole show to represent one feel. There was something else entirely connecting Avi Buffalo and Japandroids, and boy was it a smart combination. Both are the themes of youth: naivete and self-absorption, sex, the future, and identity. It is rare that bands are booked together based on something so esoteric, but it really should be happening all the time.

Nnenna Freelon and Friends Bring Joy to Yoshi’s, Moody’s B-Day Celebration

by Rip Empson





“We are very pleased to have a special guest in the audience tonight: former heavy weight champion of the world, Mr. Joe Frazier,” informal emcee Todd Coolman announced from behind his bass. As the audience scanned the room for a glimpse of Smokin’ Joe, the bassist didn’t miss a beat, quipping, “Oh, sorry lady, thought you were Joe...”

Coolman’s tongue-in-cheeker was characteristic of the light-hearted tone that prevailed at Yoshi’s last Saturday. The joke also happens to be a favorite of the great saxophonist James Moody, who’s 85^th birthday we had gathered to celebrate.

Though the guest of honor was ill and unable to attend his own party, the night did not disappoint, as a host of talented musicians played on in tribute, including Frank Wess on sax and flute, Jon Faddis on trumpet, Joey DeFrancesco on the organ, drummer Adam Nussbaum, bassist Todd Coolman, vocalist Nnenna Freelon, and pianist Mike Garson.



Who’s James Moody, you ask? Well, my friends, James Moody has become something of a jazz institution – a qualifier generally reserved it seems for those who’ve blown their horns (or tickled a piano) for more than sixty years and came up under jazz wizards like Dizzy Gillespie. As it happens, fresh out of Air Force service in World War II, a young James Moody joined Dizzy Gillespie’s orchestra in 1946 – an all-star band that boasted some p-p-p-retty talented jazz hands, like vibraphonist Milt Jackson, drummer Kenny Clarke, bassist Ray Brown, the inimitable crazy-man Thelonious Monk, and arguably the most famous jazz name of them all … Miles Davis … to name a few.

Moody’s subsequent rise to fame is a cool – and kind of unusual – story. In 1949, while in Sweden on a mini-tour, Moody recorded Jimmy McHugh’s “I’m in the Mood for Love,” in which he played a distinctive, dynamic bop solo that made the recording a big hit back in the U.S. of A. (Moody moved to Europe after a few years in Dizzy’s band.) A few years later, Eddie Jefferson wrote a melody from Moody’s improvisation, set lyrics to it, and called it “Moody’s Mood For Love.” A singer with one of the great (and presumptuous) stage names in music history, King Pleasure, then made the song famous, and in so doing, secured Moody’s status among the great horn players of the era. “Moody’s Mood For Love” has since become a jazz classic and has been recorded by Aretha Franklin, Van Morrison, Amy Winehouse, and many others.



Moody’s story is illustrative of an era when things like that could happen, when a musician could rise to fame based on an improvised solo … a jazz one no less. Weird, huh? Add 60 years of touring and recording and you start to see why Moody’s birthdays have become special events in the jazz world -- causes for celebration both among musicians and his many friends.

In a fitting tribute Saturday, Moody’s friends played a raucous and light-hearted version of “I’m in the Mood For Love” that included a hilarious vocal performance by Joey DeFrancesco. If you’re not familiar with DeFrancesco, he is a big fella and is renowned for his virtuosic Hammond skills (when he was 17, Miles asked the organist to join his band) and relentless touring and guest appearances … but he’s not exactly known for his dulcet voice. Imagine Newman (from Seinfeld) with a goatee belting out a ‘40s jazz tune. No doubt Moody would have been proud. Or at least laughing his ass off. Happy Birthday, James!

Another of the night’s highlights was the performance of uber talented jazz vocalist Nneenna Freelon, who has toured extensively with Moody in the past few years. She opened by telling the audience that she knew “Moody was here in spirit” because, after all, “he’s a brother who always enjoys a good party.” Then, along with pianist Mike Garson (who played on Bowie’s Ziggy Stardust tour in 1972 and Aladdin Sane) Nnenna launched into celebratory renditions of “Squeeze Me” (and old Fats Waller tune) and “Blue Skies” (an Irving Berlin classic).



I’m not usually a fan of jazz vocalists, but Nnenna’s version of “Blue Skies” made me feel all funny inside – and want to join a congregation. It also helps that, though she’s in her mid-fifties and has 5-Grammy nominations and years of touring under her belt, she looks incredibly sexy in a black dress. I still think that most jazz vocalists are cheese dealers, but the traces of gospel in her tone, mixed with shades of pop and blues made her sound like Ella Fitzgerald, Judy Garland, and Beyonce rolled into one. Or at least that’s what someone who sings well (and knows who Beyonce is) told me …

Another reason that Nnenna’s performance was so enjoyable was how well her voice was complimented by the saxophone of Frank Wess. Prior to the show, I wasn’t particularly familiar with Wess, who, I’ve since learned (like Moody), is a sax veteran, debuting in the “Big Band” era with Bill Eckstine and Count Basie. Today, the National Endowment of the Arts identifies the 88-year-old as a “Jazz Master.” Not quite a doctor, I suppose, but master will do. Wess’s playing, especially on the standard “Never Let Me Go,” was brilliant.

Following this particularly hott (yes, that’s with two “t’s”) rendition in which Wess (who walked to his place on the stage with a cane) played the classiest, most tasteful, it-takes-a-guy-who’s-been-around-awhile-to-know solos I’ve seen, trumpeter Jon Faddis acknowledged his consummate playing by declaring: “Well … now I don’t have to go to church tomorrow…” So apparently Wess is a master and a minister. If that’s not an endorsement, I don’t know what is.

All in all, it was one helluva birthday party; Mr. Moody was celebrated in style. It left me hoping that my 85th birthday – really, any year – features a musical cake with some badass saxophone and a sexy jazz diva.

Rating: 12 out of a possible 13 bassoons.

Christmas in April: Saturday is Record Store Day!

As many of you are aware--this Saturday--April 17--is Record Store Day. What does this mean? Many great things! Labels big and small, like Seattle's prolific and always reliable Sub Pop, put out special edition vinyl to get us music nerds to spend our dollars at our local shops. Everyone wins! Also, it is a day full of some kind of incredible artist in-store appearances, gift bags, and a multitude of other special surprises. Here's SFCritic's handy guide to the highlights of Bay Area Record Store Day 2010. The weather report calls for sunshine, so walk or bike around and get some good stuff. Don't forget to bring your own bag (we keep it green).

Complete National details and listings here.

Ameoba San Francisco
Charlotte Gainsbourg (signing)
Jonsi of Sigur Ros (performance)

Aquarius Records
A great selection of rare releases.

Creative Music Emporium
Lots of contests and giveaways!

Forces of Habit Records

Medium Rare Music

A&R: The Music Submissions

It's full-on San Francisco springtime, and this week SFCritic has been listening to some totally weather-worthy EPs out of the UK. Sip something, sun yourself, and check out the goods.


Building Pictures - Joey and the Moon EP

John Gribbin, a 23 year old from Northern Ireland, is the one man behind the band, Building Pictures. Joey and the Moon is his second EP release, though he has been writing in the UK and Brooklyn for other artists, while doing gigs for various bands. There are no surprises on the EP, just good songwriting and subtle touches that make each song distinct from the rest. It's full of the kind of songwriting and earnestness, barely scuzzy-sounding guitars, and slacker vocals that make an artist destined for shoe-gaze stardom. "I'm Serious" has harmonies and a catchy chorus, while "Building a Picture" (calm down, Gribbin) is the kind of coming-of-age ballad most people ruin. Nothing is ruined on Joey and the Moon--doing just enough to stand out from the pack of male singer-songwriters and not much more. It won't inspire raves, but boy is it likable.

Sounds Like: Jamie T's less street-wise little brother. (Note: Check out Jamie T.)
Listen To: I'm Serious, On Our Own


Bare Threads - Wasted Nights EP

Bare Threads is a Bristol-based, bluesy rock band. Their latest release (March 29th) Wasted Nights EP was released on their own label Beats Harder recordings. The vocals, provided by the lovely Joanna Bennett, are totally lounge-worthy and supported by the richness of a stand-up bass and a trumpet. The one aspect lacking on the recording is the recording itself. The songs come off a little muddled and far away. On some tracks, like on the more electric "Under Your Shoulder," it's as if Bennett's sultry voice is floating through a smokey jazz club or across the lawn at an outdoor concert. The whole EP could benefit from higher production standards. Wasted Nights is an expression of Bare Threads' DIY ethos, acting as the kick-off for a Bare Threads-created ongoing collaborative art and music project. The artwork brief for the EP is available here.

Sounds Like: Letters to Cleo for the jazz inclined.
Listen To: Wasted Night, Under My Shoulder

Upcoming Concerts 4/7-4/14

I hate to say it, especially since there are some great shows this weekend, but save your pennies (and stamina) for next week. On route to Coachella (in LA), SO MANY good bands will be coming through San Francisco both before and after the festival. At SFCritic we will be binging on a feast of bands...

We are Wolves @ Bottom of the Hill. Friday April 9th, 9pm ($10, AA)
Montreal-based indie rockers bring their pared down sound to one of SF's best little venues. If you haven't heard them yet, this is a great place to check them out.

Spoon with Deerhunter @ Fox Theater April 13th, 7:30PM ($32)
The Austin, Texas-based Spoon began as an indie rock band heavily influenced by the jarring melodic dissonance and loud-soft dynamics of the Pixies, but by the early 2000s had developed its own sound and style owing as much to angular British punk-era bands like Wire and Gang of Four as to the music of the Nineties alternative boom.

V.V. Brown @ Independent April 13th & 14th, 9PM ($20) Under the moniker "VV Brown", she released her debut album, Travelling Like the Light, in July 2009 ^[1] by Universal Records. The album was preceded by a limited non-chart eligible release of "Crying Blood" on 7" vinyl and digital download. Brown wrote the music and plays instruments on the album.^[1] The album is inspired by 1950s and electronic music as well as sounds emitted from Game Boy and Nintendo.^[1].

Atoms for Peace @ Fox Theater April 14th & 15th, 8PM ($50) Thom Yorke's side project previously known as ???? will hit the road this April under its new official name, Atoms For Peace. Yorke assembled the live outlet to bring his 2006 solo album The Eraser to the stage, and debuted the band - which features Red Hot Chili Peppers bassist Flea, producer Nigel Godrich, Beck drummer Joey Waronker and percussionist Mauro Refosco - during a string of shows in Los Angeles last year.
Thom Yorke's much anticipated side project making two nights of it at

Whitest Boy Alive @ Slim's April 14th, 8PM ($16) Formed in 2003 as an electronics-based group with an emphasis on the dancefloor, the Whitest Boy Alive eventually abandoned all programming and most other forms of synthetic instrumentation for a typical rock band setup. Guitarist/vocalist Erlend Øye (Kings of Convenience), bassist Marcin Öz, drummer Sebastian Maschat, and keyboardist Daniel Nentwig began playing a form of straightforward and stripped-down indie rock informed by early Talking Heads (particularly the spindly sound of "Talking Heads: 77") and Josef K.

Maybe "Congratulations" or Maybe Not: MGMT's New Album

MGMT's new album, Congratulations, has received mixed press. The album is stirring the critic pool, causing wakes which might be intended. As Michael Roffman from Consequence of Sounds wrote in his review, "The boys behind MGMT want to tell you something. It’s short and to the point. That message? Thanks for listening, but fuck you." In comparison Culture Bully stated "the record is hardly as unlistenable as some have made it out to seem; the album retains a continuous flow and offers a variety of different sounds within the larger umbrella of modern psychedelic rock."

It's hard to say whether Ben Goldwasser's apology in an interview with Spinner Magazine is sincere, and why should it? Regarding their fans' negative response towards the first single "Flash Delirium," Goldwasser told Spinner, "I'm sure there are plenty of people who think it's completely weird and not what they were expecting. I'm sorry." Sorry won't cut it bub, I want another "Kids," make me dance!

All the hoopla and critique have left SFCritic wondering: What's the big deal? With Oracular Spectacular, MGMT took the world by storm and soon after (and in this order), Rolling Stone magazine awarded the album eighteenth best of the decade. In essence, if a "music critic" didn't review this album it ought to be for the reason of political resistant, or a death wish to one's general credibility. But in this instance, when an album like Congratulations winds up on your doorstep, it's like that baby you never intended to adopt: it could change your life, for better or for worse, or it could be just a story. I mean the album is THAT important to everyone, right? Who cares about waiting to review the album after the scheduled release date?

In the Spinner interview, Goldwasser stated that fame is "not our world. We don't feel comfortable in it. But we didn't want to make that typical second album either, about fame. So we're definitely observing it, as opposed to reveling in it."Kudos sir. Who needs those "I love MGMT" fans who knew only three of your songs ("Kids," "Time to Pretend," and "Electric Feel"). I'm sure Milli Vanilli would roll in his grave over your career decision, Congratulations.

All things considered, MGMT might be saying "fuck you," but who are we to tell them what to say? Who wants a fair-weather fan? Who gives a shit what such and such blog has to say? "Here you go blogs, Congratulations. Here's out album, whatever, fight amongst yourselves for editorial supremacy, see if we care!" So being SFCritics, we feverishly debated over a cold one and thought to share bits of our conversation--not because it makes a difference, but because we like to read our thoughts. Congratulations for reading.

*While listening to the album*


Eve: Why make a such a huge departure from the first album? Why not have singles? You were actually really good at singles MGMT. What's wrong with being good at something, huh?

David: Yeah, I'm not good at anything. I don't think they should be sorry though. I mean, I doubt they're really sorry, but even so--their job is to make music, not win a popularity contest.

Eve: Making something totally different is one thing; it doesn't have to be bad, it could be great--but it's not. It sounds like a musical, like the Wiz or some horror score. ["Lady Dada's Nightmare" plays] I've been listening to it all day. This song sucks too.

David: Why is a wretched woman screaming off at the top of her lungs? I was scared when I was eight and heard "Thriller," but this is ten folds more intense. Whether it's one in the same maybe after fifteen more plays I'll have a better answer, but why give it fifteen plays?

Eve: I suppose I can respect them if the point is doing something creative. Oracular Spectacular had these three really great singles, and for many people that's MGMT. Now, this album doesn't have really any stand-out singles, which they communicated on NPR. Unfortunately it also isn't very good.

David: If they had put out an album that sounded just like the last one, and then on top of that it was awful, that would be tragic. The album is either like a bad joke, and the jokes on us for either liking it or hating it--or well, I don't know--it's a bad joke right?

Stream MGMT's New Album "Congratulations"

Last week, following the leak of their hotly anticipated sophomore release, MGMT decided to stream Congratulations in its entirety over at WHOISMGMT?.The site also features the video for "Flash Delirium." The album itself leaves behind the epic electro-rock singles of Oracular Spectacular, in favor of a more subtle surf rock-influenced sound. The scheduled release is April 13th. Stay tuned for the full SFCritic review to come.

A&R: The Music Submissions

Battle Flags - Color Engine

The email I received from artist Jack Budd, the solo artist known as Battle Flags, was, puzzling at best, off-putting at worst. Budd stated that the album itself began as a stencil graffiti in what I assume was a dorm room in Richmond, Virginia. He described the music as a mix of sounds from "stolen pots, pans, shovels, empty kegs, and living room chairs." I have listened to the album and find this an entirely inaccurate description of its sound. The whole thing has a lot more polish, a diversity of sounds borrowed from hip-hop, Daft Punk, than such a description evokes. "Her" is a simply breezy love song, filled almost to the brim with horns and hand-played percussion. More highly produced, synth-based tracks evoke hints of Justice as on "Catch a Fire." The military-style drums, most effective on "Siren Sounds" and "Won't Come Around Here," lend a cohesiveness that lacks in the album's overtones. When almost everyone can whip up an album with a Macbook Pro and a microphone, Color Engine shows that sometimes the results can be worth checking out.

Sounds Like: A pleasant stroll through his musical influences.
Listen To: Her, Siren Sounds, Won't Come Around Here

Fate Lions - Good Enough for You

While it would be easy to say that the Texas-based Fate Lions had me at the witty copy splashed across their website, that's not really fair. Yes, they have crafted a smart voice, and I appreciate that. But is their, ahem, "wannabe smarty pants fist pumping roller rink bubble gum downer pop" any good? Thankfully, the answer is yes. It is pretty good! The production is ultra-smooth, the arrangements lush but uncomplicated. Album-opener "Seen it All" energetically sets the stage with classic rock guitars and hand claps. If you like it, chances are you will be delighted the whole way through. Fate Lions clearly have a firm grip on their sound, and are not trying to reinvent the wheel. When "The Queen Himself" begins you fear you are about to hear a misguided Bowie homage, but the song stays true to their talents and might be my favorite on the album. "All You Do is Crazy" subtly showcases really lovely harmonies, which are another of the album's stand-out highlights. There are, naturally, a few moments it could do without, including most of "Our Song," which feels flat and borders on Junior Prom slow dance. For the most part, however, the album is full of the type of sunny, juicy arrangements for which the term "summer jam" was coined.

Sounds Like: The Foo Fighters, Weezer, and Ben Kweller's love-baby.
Listen To: The Queen Himself, Seen it All

News in Music Blogs

In an effort to define SFCritic into a streamlined, user-friendly content, we will be running the "News in Music Blogs," a weekly update of interesting blog posts, discussion topics, and event listings in the music blogging community. Think Largehearted Boy with a focus on San Francisco events, and only music topics. The catch, we want your voice. Read a post you want to share, have an event you think is appropriate for SFCritic, interested in continuing a larger online discussion, email us links, or comment below!

Bay Area

SFCritic recently caught up Sila and The Afrofunk Experience, who recently were awarded best "World Music" by the NAACP. Check back for the interview!

Epicsauce.com, one of our favorite Bay Area show lists, is debuting a hot new event series at Milk (1840 Haight St - across from Amoeba Records). The kick-off is Thursday, March 11th and will feature local bands French Miami, White Cloud and Silian Rail. The show is free, and there will be awesome drink specials ($1 PRBs and select $3 pints). More information and an official RSVP can be found at: http://bit.ly/ccrEW7 and http://epicsauce.com/party

Radiohead's Thom Yorke's much-anticipated solo project Atoms for Peace has announced a handful of dates with Flying Lotus. The tour is visiting Oakland's Fox Theater April 15, among a handful of others.

General

Hole, lead by the much maligned Courtney Love is planning their first big come-back show at SXSW this year. SFCritic will be there to cover it!


Broken Bells (consisting of Danger Mouse and James Mercer of The Shins) a new SFCritic favorite, brought their first single/video "The High Road" to Letterman.

MGMT announces secret events around the country, which apparently should be entitled, "big fail."

Yeasayer's video for the stand-out song on their album Odd Blood is out. Popjustice got the exclusive yesterday.

A&R: The Music Submissions

Conil - Strange Part of the Country

In the 1990s, there was grunge. Seattle bands like Pearl Jam, Nirvana, and Soundgarden dominated the music (and fashion, but that's for a different blog) of decade. They emerged as soulful, grating, and immediately identifiable "voices of a generation". This year the nostalgia for grunge is rapidly taking over pop culture. After a listen to the debut album from London-based singer/songwriter Conil, one can't help but recall the music styling of twenty years-ago Seattle. Called the "anti-James Blunt", it is clear that Conil is establishing himself as a gritty and emotional artist. He has a great voice, at times clear and exhibiting impressive range, still with plenty of cigarettes and coffee gruffness. The single "Stoned" has a harder, mainstream rock sound than some of his others, and also feels a little more flat all around. "Years Between" is the most melancholy of the bunch, but better exhibits the vocal skill that is really the best part of the album.

Sounds Like: The Verve Pipe
Listen To: "Years Between", "Grapevine"


Clare and The Reasons - Arrow

It is rare that something as cute as Clare and The Reasons contains as much depth and appeal. Brooklyn-based collaborators Clare and Olivier Manchon released their sophomore album, Arrow, in October. It is full of unapologetic-ally pretty songs that sound like the soundtrack to the movie of a downtown New York romance. With a sound that specifically executed it would be easy to write Arrow off as a bit of a gimmick, but that is just the very basis of its appeal. "You've Got Time" is a bit spare on the surface, a combination of Clare's hypnotic vocals, few lyrics, and an undulating synth line, but gradually opens into a deep arrangement of strings and backing vocals. "Alphabet City" is a slow reminiscence with smart lyrics and an infectious chorus. There is a cleanness to the music, a deliberateness to its execution, that makes this album feel at once personal and appealingly commercial. There is also enough interest added throughout, from surprisingly powerful bass lines to actual whistling (!) to bear repeat listens.

Sounds Like: The Cardigans in France.
Listen To: Skip nothing. Devour it all.

A&R: The Music Submissions

Here at SFCritic we have been unusually fortunate to receive some truly excellent music submissions. For most people it is not everyday that your inbox fills up with not one, but dozens of moving/fun/jaw-dropping/truly confusing albums, singles, and videos, but for us it is. And it's awesome. We know that for any musician it is both necessary and difficult to put yourself out there, to be critiqued, and it is not a job we take lightly. We would like to give as many artists the opportunity to have their work reviewed as possible, but since this is basically a one-person job, we've decided to set a few ground rules to make it easy for you to get heard, and for us to keep our limited sanity.

So it is with great excitement that we present the SFCritic Music Submission Guidelines:

• Please submit only full albums or EPs. We prefer zip files or streaming links. The better to hear you with, my dear.
• Include a large, high-quality image of your album art. At least 500 x 500 pixels please.
  
• Make sure to include a short biography of yourself/your band. Things to include: 1) Members' names and instruments, 2) geographical location, and 3) any description you can provide about your "sound."
  
• If you would like us to include download links in the article please say so and make sure to include them in your message.
  
• Just because we WANT to post about everything we receive does not mean that we WILL. Please don't cry if we skip yours.
  

A&R: The Music Submissions

Man/Miracle - The Shape of Things

There is something terribly invigorating about finding out there is an awesome band in your backyard. Man/Miracle, based in Oakland, CA, will give any Bay Area resident (present company included) that lovin' feeling. Their debut album, The Shape of Things, is a high-energy romp through familiar sounds. Remember the irreverent lyrics and global influences that blew you away the first time you listened to The Talking Heads? How about the forceful guitar, high hats, and thick-as-pudding bass that made all the guys jump into one another at your first basement punk show? Ever listen to The Cure so much, you convinced yourself only their New Wave angst could express how you truly felt inside? Those elements are all present and accounted for on the album. It has its indie rock moments that recall Vampire Weekend, but with a heavy dose of punk noise and a harder edge. What it lacks in complexity in parts, it more than makes up for in fun and weird wonderfulness.

Man/Miracle opens for Rogue Wave at Bottom of the Hill February 24, 2010 as part of the Noise Pop festival. (21+, 8pm.)

Sounds Like: The now tragically defunct Plastic Constellations out of MPLS, MN
Listen To: Hot Sprawl, Above the Salon


The Novel Ideas - The Sky is a Field!

The Novel Ideas are a band out of Newton, Mass. The Sky is a Field! is their first full-length, and is self-released (download or stream from their website). Its main focus is on vocals, a pleasant harmony of earnest, if slightly male crooning with delicate female support. They label themselves as a rock-folk outfit, which is, perhaps apt if not entirely helpful given the current slew of new releases claiming such a title. The horns, slide guitars, and violins are used sparingly, providing either drama or lightness at times which is lacking for most of the album. The lyrics clearly center around the feelings that only love (or lack thereof) can conjure, and often make the album feel more than a little emo. On "Julian Carax" the pleading vocals call to mind the misery of Dashboard Confessional. The following track "A Breath of Fresh Air," is a more energetic, hopeful track with a rhythm you might even want to dance to. The album is good enough, and certainly without a clear misstep, but for the most part the problem with The Novel Ideas is that they just aren't that novel.

Sounds Like: Dashboard meets Headlights
Listen To: Adrian Blues, A Breath of Fresh Air

Local Love: Birdmonster at Bottom of the Hill 1/22/10

Now, for what seems like the last month or so (but likely just over a week), the entire San Francisco Bay Area has been one big, soggy, sad, cloudy mess. Perhaps that's why those who braved the elements to check out Birdmonster's show on Friday at The Bottom of The Hill were rewarded with more than the usual amount of revelry and companionship. Live music, much like family dinners and sporting events, is one of the world's great community-building events. The intimacy of the venue, coupled with Birdmonster's bright and energetic performance reaffirmed why the group is not only an SFCritic favorite, but has a loyal local fan base.

Their music is a polished, but genuine take on indie rock Americana. Strong songwriting paired with everything from a full-strength rock band, to the most minimalist use of mandolin, makes Birdmonster the kind of band you reach out to on a rainy day. It probably doesn't hurt that all four are extraordinarily easy on the eyes.


Playing a mixed set from their newest release Blood Memory as well as previous albums, the boys took to the stage Friday night without holding back. The palpable energy both with each other and the audience, brought a strength and authenticity to their material that is impossible to record. They look like they are genuinely enjoying each other and playing music for you. "Yuma", sounded downright excellent live, a track that was, shall we say is not my favorite on Blood Memory. Another favorite of the evening was "I Might Have Guessed", which was made even more honest, emotional and stand-out-awesome by vocalist Pete Arcuni's alt-country crooning in-person. Between bassist Justin Tenuto jumping across the stage and the audience bouncing in return, the fun taking place was palpable.

No matter who you are, there is a 96.5% probability that at The Bottom of The Hill you will run into your best buddy/co-worker/someone that went to your high school. While this could be a drawback depending on your point of view, it does make Bottom of the Hill a cozy, convivial place to drink, be merry, and celebrate good music with new and old friends. It also made it the perfect setting for Birdmonster's intimate, silly, yet impressive performance.

If you missed it (or didn't get enough the first time) Birdmonster will be returning to Bottom of the Hill February 19, 2010 for an exciting lineup featuring Girl Band. And you should be there. Doors at 8pm, 21+, $10.

A&R: The Music Submissions

Woozy Viper - Woozy Viper

Woozy Viper is what you would call a palate-cleanser. Kansas-born and bred brothers Luke and Mitch Meseke recorded a lo-fi 12 song debut, put it up for free download with nothing but some seriously simple album art. It is an album of back-to-basics rock and roll songs, two scruffy vocalists, and tin can percussion. They sing songs about paying the rent, about wanting nice cars, and girls. They're the kind of rough and twangy songs that hearken back to a simpler time before "indie rock" was nearly synonymous with a heavy use of synthesizers (not that that's a bad thing). The songs are stylish and classic without seeming overly referential. For every song that overtly sounds like The Beatles or Johnny Cash, there are hints of Kurt Cobain's anguished drawl (on "The Switchblade Swing") or Sublime's plucky ska baselines (like "Dirty Rat"). They're a little bit country, a little Rolling Stones, and all-around enjoyable.

Sounds Like: The Kings of Leon not taking themselves so seriously. Also the song "One of These Days" really, really sounds like Spinal Tap's "Gimme Some Money".
Listen To: Speaking in Tongues, Woah Baby

Kidd Russell - The Dash

Kidd Russell's debut EP The Dash is a little confusing. It is predominantly of the hip hop persuasion, and certainly sprinkled with influences of hard rock (Korn, Slipknot maybe) and a little reggae. While the lyrics are earnest, the vocals certainly aren't great (a little flat) and the beats leave much to be desired. Each song seems to stand on its own, to cater to its own agenda rather than work together to create a cohesive sound. The EP's self-proclaimed star is "Dear Shooter," an emotional outcry against gun violence that calls to mind Eminem's haunting track "Stan," but it lacks a memorable hook and the raw emotion that made that song so important. A different, more rock-influenced track is "Rush (Rock Remix)" which is apparently hd.net theme song for Ring of Honor wrestling. It sounds a little like Kid Rock, and brought back all fondest memories I have of Limp Bizkit (of which there are very few). While it's clear that Kidd Russell has diverse interests, and enthusiastically includes them in his music, The Dash still feels a little rough and disorganized.

Sounds Like: A college football player turned musician (hint: that's what it is).
Listen To: Rush (Rock Remix), Dear Shooter

A&R: The Music Submissions

Foreign Born - Person to Person

Foreign Born is a (domestic!) four piece out of Los Angeles. The boys joined forces in 2003, were scooped up by uber-indie label Secretly Canadian, and released Person to Person, their second full length. It's a catchy, sunny and upbeat album. It is perfect, on first listen, to imagine putting several tracks on your playlist for a road trip up the coast, but with enough torment, density, and lush arrangements to keep it from being a once-round wonder. While comparisons to Grizzly Bear and The Walkmen are not necessarily unfounded, they're also not quite informative. There are moments of African percussion and cowbells followed by 80s U2-esque drum beats with haunting vocals to match, and airy guitar rifts. The songs feel vintage, without feeling trite or precious. These are tightly recorded pop ballads with danceable beats and stuck-in-your head choruses. Though released in 2009, Person to Person is certain to put Foreign Born at the forefront of this year's indie discussion. Catch them locally at Rickshaw Stop 2/24 with Free Energy as part of the Noise Pop festival.

Sounds Like: A West Coast answer to Vampire Weekend
Listen To: Wander Aimlessly, Vacationing People, Early Warnings

All My Friends - We Have No Faith in Machines EP

All My Friends is a Canadian synth-pop duo from Vancouver BC. The two eagerly site their major influences as Passion Pit, MGMT, Phoenix and The Postal Service. It is not hard to hear how these influences come through on their sparse Microkorg-produced EP. Well, The Postal Service part anyway. The boys certainly know their way around a synthesizer. Unfortunately, it lacks the layered arrangements, lyrical complexity, and production polish that make these groups excellent. Things look up for them on the ever so slightly more complex "Tonight Happens", a little bit grittier New Wave-influenced track, and "Secret Smiles", which could be a big dance-pop hit if it had more than a chorus. With the recent explosion of Owl City, that inexplicably popular baron of annoying emo electronica, it is not surprising that more boys would want to churn out basement albums made only with a synthesizer and a laptop. While All My Friends have wisely refrained from an embrace of auto-tune, tracks like "Stay" and "Another Morning" fall in that category.

Sounds Like: Owl City at worst, The Postal Service at best.
Listen To: Tonight Happens, Secret Smiles