[Review] Hercules And Love Affair Show Review

Review by WilliamRauscher : Your first live show is always a turning point. It says, This isn’t just something we do in the basement anymore. You're probably nervous, so maybe it’s best to just invite ten close friends, the ones who are always happy to support your indulgences and won’t mind if you forget how to play. Hercules & Love Affair, the new, highly touted, shiny disco jewel in the crown of DFA Records, did not have such a luxury. For their first show ever -- on May 17 at Studio B -- was in front of a sold-out crowd, at an all-night event sponsored by downtown fashion force Opening Ceremony.

Hercules’s self-titled album is the brainchild of New York DJ Andrew Butler. He roped in a number of collaborators, including Tim Goldsworthy of DFA to produce and Antony of Antony and the Johnsons to sing. Despite the live instrumentation, the record doesn’t come off like a band playing together but like polished dance compositions that happen to feature humanoid musicians.

Thus, the live performance wasn’t only remarkable for being a grand unveiling for the next phase in the rising wave of New York disco, but also as a testing ground for the tricky translation from studio composition to live experience. Ever since 1974, when Frank Farian, the German svengali later responsible for Milli Vanilli, composed and sang all the vocals on a cheesey track called “Do You Wanna Bump?” and then hired performers to act as the band Boney M, there’s been a need for disco masterminds to make their lab creations come to life.

Not to say by any stretch that the Hercules & Love Affair live-show posse are any kind of contract labor like in Farian’s case. Far from it. It’s a ten-person dance army, with Butler heading up a four-man rhythm section, plus two horn players, two singers, and, very important, two vogue dancers. That's important because, flanking the stage with incessant strutting and undulations, they turned it from a show into an event. Their very presence said Studio 54, Larry Levan, David Mancuso, and so on -- the great and until recently rather ghettoized heritage of New York disco.

For the most part, the translation process was a success, and the show made it clear why listening to any kind of dance music on your iPod speakers at home is kind of like taking a shower with a raincoat on: The sheer surging physicality is lost. While the corporeality of Hercules & Love Affair’s glitzy, flamboyant stomp was in full effect, however, some details in the group’s dense compositions did get lost in the ruckus, be it some of the busier horn lines or the beautiful shape of the long, winding vocal line that takes flight in their terrific single, “Blind.”

The extended-groove outros were without exception both effective and abruptly ended. With time, maybe Butler’s group can take a cue from LCD Soundsystem, the Zeus of the DFA Parthenon, and gather the courage to let the compositions’ gathered steam fuel the funk train into uncharted territory.

***

About Hercules And Love Affair

Hometown: Brooklyn, New York.

The lineup: Andrew Butler (DJ, producer) plus collaborators Antony, Nomi and Kim Ann.

The background: "Experimental disco" would seem to be a contradiction in terms, trying to apply Ideas and A Strategy to a music whose raison d'etre has always been, to paraphrase the original disco dolly, that "only when you're dancing do you feel this free" - "free" as in unencumbered by thought or intellect or indeed anything but the desire to sustain the body's perpetual motion. But there is a long and illustrious lineage of clever-clogs club music, and in fact it could reasonably be argued that the history of dance music, from Motown and Philly to Chic, Jam & Lewis and beyond to today's Timbaland and Neptunes, is really the story of brainiac behind-scenes (male) technicians contriving illusorily intuitive melodies and rhythms for women to sing and dance to.

All of which brings us to Hercules & Love Affair, a fancy cover for a New York producer/DJ called Andrew Butler, who a couple of years back decided to make the leap from college-based dance projects to fully-fledged recording artist, via the NYC art scene. His debut album is co-produced by himself and Tim Goldsworthy of DFA at Plantain Studios in Manhattan, and yet, with vocal contributions from Antony (of & the Johnsons), a woman called Nomi whose own debut album Lost In Lust was described as "Sade meets Wu-Tang Clan's RZA", and acid-house DJ/singer Kim Ann, it sounds quite unlike that LCD-affiliated production unit's usual punk-funk. The latter's track Athene, for example, sounds like Sylvester's Mighty Real in a mighty murk, and like much of the album evokes Arthur Russell's woozy psych-disco, Kevin Saunderson's Inner City, and old Chicago house only with a 2008 matte varnish.

Mostly it sounds like proper late-70s disco. Not the camp glitterball retro electro-pop of Kylie circa Spinning Round, but actual underground disco, like something long-lost from the vaults of the Loft or the Paradise Garage, real 1977-78 vintage stuff. Hercules' Theme is the highpoint and absolutely the best thing Antony has ever put his mannered croon to, with its Cerrone-style strings, muted horn parps and production sound so authentic you fully expect John Travolta to come sashaying across your field of vision. Opening track Time Will is slower and sadder, locating the melancholy at the heart of the dance. Then there's You Belong, which recalls classic Salsoul, or Inner City's Good Life, only with all the goodness and life sucked out of it. It sounds pleasingly enervated: dance music as debilitating fever, or something.

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[Review] Filter : Anthems For The Damned

Filter returns with their first new album in six years. Can Anthems For The Damned be a worthy follow up to The Amalgamut and help the band to get back in the mainstream's attention? The Band

Robert Patrick-Vocals, Guitar, Bass
Guest Musicians- John 5, Wes Borland, Josh Freese, Rae DiLeo, Ryan Williams, Josh Abraham, and Luke Walker

The Track Listing

1. Soldiers of Misfortune-4:25
2. What’s Next-3:34
3. The Wake-3:56
4. Cold (Anthem For The Damned)-3:45
5. Hatred Is Contagious-4:25
6. Lie After Lie-3:45
7. Kill The Day-3:31
8. The Take-3:16
9. I Keep Flowers Around-4:26
10. In Dreams-3:51
11. Only You-4:40
12. Can Stop This-5:55

The Review

It has been six years since Filter’s last album, The Amalgamut, was released and a lot has happened in the band since then. Frontman Robert Patrick went into rehab, the band went on hiatus, Patrick formed rock super group Army of Anyone, which released an album and broke up in less than two years’ time, and Filter reunited, with Patrick being the only member to return. It’s not a big deal though; Patrick basically started the band by himself (with help from Brian Liesegang).

Anthems For The Damned is an album that, like its predecessors, isn’t content with playing one style of music. You have many different musical styles constantly clashing with one another. One song will be a heavier affair with a industrial feel to it, only for the next song to be a mid-paced acoustic romper. Patrick keeps the listener on their toes with every new song.

If there was one song that would represent the album’s musical direction, it would be current single “Soldiers of Misfortune.” The song is critical of the war overseas, while being pro-troops at the same time. A steady guitar riff, augmented by an acoustic track in the background, drives the main melody, with a slight edge to it in the chorus. It’s a great track and a nice opener to the album.

Any doubt that Filter has gone “soft” or “mellow” is quickly dissolved with the back to back hard rockers “What’s Next,” co-written with guitarist John 5, and “The Wake". Both tracks conjure up memories of the duo tracks “My Long Walk To Jail” and “So I Quit.” off of The Amalgamut. Thankfully, Patrick puts more intelligent lyrics into “What’s Next” and “The Wake” and tones down the profanity a great deal. Sorry, Filter fans, that means no “MOTHER FUCKERRRRR!” screamed loudly followed by excessively coughing.

The album is mostly a more mid-paced affair, with an extra emphasis on atmosphere and melodies. The acoustic guitar is used to great effect, especially in the middle of the album. Some of you may cry about the fact that Patrick is trying to replicate the success of “Take A Picture,” but its more than that. It’s a natural progression for Patrick to tone down the heaviness and focus on solid songwriting.

Patrick succeeds throughout Anthems For The Damned in this aspect, as the songs all progress naturally and most have their memorable moments. Just a few include the infectious chorus to “Kill The Day” (it’ll have you singing out loud, trust me) and the pulse-pounding metal anthem “The Take,” which is a quick blast of metal that just grabs you by the throat and tightens its grip on you, then brings an melodic, acoustic breakdown that gives the listener a false impression of a calm and smooth ending before speeding to the finish line.

The last quarter of the album is where the sum of all the musical parts comes together. From the opening bass line of “I Keep Flowers Around” to the acoustic "Only You,” the listener will be enthralled with what Patrick brings to the table. These three songs are some of the best songs that Patrick has ever written and show a mature side of Patrick, not only lyrically, but vocally as well. The only disappointment is that instrumental “Can Stop This” is a lackluster end to a great album. However, it’s way better than The Amalgamut's last track “The 4th.” Some of the tracks are also guilty of sounding similar to each other, with the title track through “Lie After Lie” being the most noticeable.

Anthems For The Damned is an album that may not hit you the first time. I know it didn’t for me. I though, at first, it was a decent album, but nothing special. Like many albums I’ve grown to enjoy, Anthems For The Damned took a few listens to digest. Those are the best types of album though; the ones that take their time to really leave an impression on you. Hardcore Filter fans will love this album, as it has all the best qualities of the past three albums. Some of you may find the politically charged lyrics to be distracting and may cry fowl at Patrick being “just another musician trying to be all political.” However, I think it shows a more mature side of Patrick, one that cares about the world around him. Hell, Patrick has been writing lyrics like this for years (at least he’s getting better at it. Remember “World Today?” Enough said). In the end, I thoroughly enjoyed Anthems For The Damned and hope that it doesn’t take another six years to hear from Filter again.

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[Artist] Gossip

Gossip is a band consisting of: Beth Ditto (vocals), Brace Paine (guitar, bass, sp-555) and Hannah Blilie (drums).

platter--simply titled "The Gossip"--with prominent Olympia producer/In 1999, after living a life feeling like lonely coyotes and huggy bears in Searcy, Arkansas, the radical feminism-infused punk unit Gossip relocated to Olympia, Washington where the trio recorded its first trash-ed out soul 7"indie music titan Calvin Johnson for his influential K Records label.

In a celebrity-obsessed age of product placement and plastic pop stars, Gossip are arguably the realest band in rock ‘n roll. Led by the Arkansas-born Beth Ditto, an often naked, unapologetically overweight outspoken feminist named NME’s coolest person in rock, Gossip have been breaking boundaries with their fiery soul-punk since 1999. Not because they’re bleeding heart activists (although they do wear their politics on their sleeves) or out to shock people, but because they just are who they are — not out to please anybody or make a million fans — totally real. As guitarist Brace Paine, original drummer Kathy Mendonca (now replaced by Hannah Blilie) and Beth put it, way back in the beginning, “We started a band ’cause we were bored. Our mission is to make you dance, and if you’re not gonna dance, just stay at home and listen to the oldies station.”

Although obviously not your average spotlight stealers, Gossip have more than earned their infamy. Formed in Arkansas back in ‘99, they relocated to Olympia, Washington where they signed with Calvin Johnson’s legendary indie label, K Records. Their big break came six years later by way of third full-length, Standing In The Way Of Control. The title track, an all-out anthem, quickly hit #1 on the UK charts and became the unofficial theme song of British teen melodrama, Skins. This was a particularly major breakthrough because the song was written as an angry response to the US government’s refusal to allow gays the right to marry. Again, not your average spotlight stealers.

Let’s get back to Beth a minute because she deserves way more than one run-on sentence. One of the music world’s fiercest individuals, the powerhouse has appeared nude on several magazine covers under unflaggingly punk circumstances. In interviews she has admitted everything from a distaste for deodorant to having eaten squirrels (although she later claimed it was her cousin who ate the critters). But she’s not all outrage all the time. What her philosophy really comes down to may have been revealed in her regular Guardian column, “What Would Beth Ditto Do,” where she said, “Women aren’t cats, we aren’t pets, we are just people trying to cross the freaking street to get an ice-cream.”

Fronted by the brash and unapologetic Beth Ditto, Gossip is simultaneously iconic and iconoclastic, a musical and aesthetic equation of sensibilities drawn from Yoko Ono + Kim Gordon + Tobi Vail + Roseanne Barr. Forged from new visual and musical templates, Gossip is one of pop music's most uncompromised bands since the Shaggs. The members of Gossip have come to accept the fact that they can never be Grace Jones. "We can only close our eyes and stand on stage," they exclaim, "and pretend to be Grace Jones!"

Gossip released its first full-length collection of never would-be hits, "That's Not What I Heard," in January 2001 and its successor, the feedback layered salute to The Stooges "L.a. Blues" EP "Arkansas Heat," in 2002 after touring with the White Stripes, The Kills, Chromatics, Les Georges Leningrad and Sleater-Kinney. The group's second full-length collection, "Movement," was released in May 2003.

Gossip achieved a threshold of slashdance with its last studio LP/CD, 2006's "Standing In The Way Of Control," which crawled up the UK album chart (eventually peaking at 22) while the album's title track became a UK chart slayer in its own right. After becoming the unofficial theme music for the popular British television teen drama, "Skins," the track danced over to the UK indie chart, heating up Billboard's European Top 100 Albums and the European Hot 100 Singles charts while selling copies in the UK. Gossip turned in a fractured rendition of "Standing In The Way Of Control" during the group's national television debut on CBS's "Late Show with David Letterman" in April 2008. Paul Schaffer was staring their eyes the whole time making them wholly uncomfortable. Following the performance, Letterman told the group how much it made him want to climb into the back of a van with Gossip and head out on tour, going so far as to offer to pick up the tab. The band have plans to call him every single about this alleged offer until he accepts or files a restraining order against the band.

Gossip appeared on the cover of the UK's prestigious music bible NME no less than three times in 2007, with the June 2nd issue notoriously featuring Beth Ditto dressed proudly in her "birthday suit." The NME pronounced Beth its 1 choice for "Coolest Of 2007" while, back in the States, Spin featured Beth in a six-page spread.

Now living down in Portland, Oregon, Gossip has opened for and toured with: Le Tigre, Chromatics, Tracy and The Plastics, Sonic Youth, Pre, YYY, Sleetmute Nightmute, Glass Candy, the White Stripes, CSS, Pretty Girls Make Graves, Erase Errata, Stereo Total, and The Kills among others.

During the summer of 2007, Gossip was a part of the True Colors Tour 2007, which traveled through 15 cities in the United States and Canada. Gossip members generally loved the cafeteria food served backstage and found great friends in some of the cafeteria workers while vowing to stay away from the gambling machines at the casinos. Headlined by Cyndi Lauper, the True Colors Tour also featured Debbie Harry, Erasure, Rufus Wainwright, The Dresden Dolls, The Misshapes, The Cliks and other special guests. Profits from the tour went to benefit the Human Rights Campaign. The Gossip kept proclaiming during the tour, "Why aren't Yaz and a Klaus Nomi tribute playing this damn festival".

On June 24, 2007, Gossip closed the Glastonbury Festival, with Beth Ditto paying tribute to legendary DJ John Peel during the group's set exclaiming "JOHN PEEL IS RESPONSIBLE FOR THE UNDERGROUND!!!"

April 15, 2008 saw the release of "Gossip - Live In Liverpool," a deluxe Live CD/DVD combination package from Portland's premier soul/experimental unit. Captured live at a real concert on July 9, 2007, "Gossip - Live In Liverpool" focused on the deep raw power, energy and intensity in the heat of Gossip's chains + eyeliner meld of noise + politics + rhythm. This incendiary show broke out killer performances of Gossip soul/rippers including the band's chart-slaying "Standing In The Way Of Control"; the UK Top 40 hit "Listen Up"; and the 3 UK Indie track, "Jealous Girls," as well as minimalist renditions of Wham!'s "Careless Whisper" and Aaliyah's "Are You That Somebody?"

"Gossip - Live In Liverpool" included a DVD of the concert, lensed by documentary filmmaker and music video director Lance Bangs (Sonic Youth, Green Day, R.E.M., Death Cab For Cutie, Kanye West, Pavement, Mike Watt and more).

In April 2008, Gossip put all of their personal relationships and other commitments on hold to jump on a plane, land, bundle up in a van and then drive to a city near you in celebration of "Gossip - Live In Liverpool." Gossip's mini-tour of select US cities included gigs in New York, San Francisco, and Los Angeles in addition to the group's watershed performance on Letterman.

Gossip - Listen Up!

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[Best Band] Paramore:That's What You Get Music Video DOWNLOAD Lyric & Latest Photo

Paramore is a Grammy-nominated American pop rock band that formed in Franklin, Tennessee in 2004. After several lineup changes, Paramore now primarily consists of Hayley Williams (lead vocals/keyboard), Josh Farro (lead guitar/backing vocals), Jeremy Davis (bass guitar), and Zac Farro (drums).

For the latest album is 'Misery Business' .Single released 11 February 2008.My first introduction to Paramore was on NME’s website with their 'Crush Crush Crush' video, and I was blown away. The music is good, by today’s damn-kids-standards it's really good. On top of that, the lyrics are excellent, and Hayley’s voice and singing talent is … spectactular. You don’t often get a voice that can so successfully lead melody against hard-rock guitar playing, and she does consistently through all of their songs that I’ve heard.

'Misery Business' – its good (maybe not as good as Crush Crush Crush) for sure. A bit of Alanis in there maybe? But once again Hayley – well done.

Fine – now my final word – Josh, Jeremy, and Zac – enjoy it while it lasts; she’s going to eventually leave you behind as all great stars must.

Music Video : That's What You Get

Oh! Lyrics
No sir
Well I don't wanna be the blame, not anymore
It's your turn to take a seat
We're settling the final score
And why do we like to hurt so much?
I can't decide
You have made it harder just to go on
And why, all the possibilities
Well I was wrong
That's what you get when you let your heart win, woah
That's what you get when you let your heart win, woah
I drowned out all my sense with the sound of its beating
And that's what you get when you let your heart win, woah
I wonder
How am I supposed to feel when you're not here?
Cuz I've burned every bridge I ever built
When you were here
I still try
Holding on to silly things, I never learn
Oh why, all the possibilities
I'm sure you've heard
That's what you get when you let your heart win, woah
That's what you get when you let your heart win, woah
I drowned out all my sense with the sound of its beating (beating)
And that's what you get when you let your heart win, woah
Pain, make your way to me, to me
And I'll always be just so inviting (so inviting)
If I ever start to think straight
This heart will start a riot in me
Let's start, start - hey!
Why do we like to hurt so much?
Oh, why do we like to hurt so much?
That's what you get when you let your heart win, woah
That's what you get when you let your heart win, woah
That's what you get when you let your heart win, woah
Now I can't trust myself with anything but this
And that's what you get when you let your heart win, woah

Latest Photo:Live show

Paramore - Riot

01 - For A Pessimist, I''m Pretty Optimistic

02 - That''s What You Get

03 - Hallelujah

04 - Misery Business

05 - When It Rains

06 - Let The Flames Begin

07 - Miracle

08 - Crushcrushcrush

09 - We Are Broken

10 - Fences

11 - Born For This

DOWNLOAD THIS ALBUM:

Part 1: http://www.uploadtoday.com/download/?71eb89a9c19db6b8dbf13b59f1eb2be7

Part 2: http://www.uploadtoday.com/download/?7227867d600eba4ba034146116a1f14f

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Vampire Weekend doesn't vant to drink your buzz

"You can't worry about every little thing, positive or negative, that's written about you," said Vampire Weekend singer-guitarist Ezra Koenig. "I'm definitely at the point where I'm not interested in Googling 'Vampire Weekend.'

The New York indie darling has a global sound, but don't say 'Graceland.'
By Natalie Nichols, Special to The Times March 20, 2008

Vampire Weekend is a band of the moment. The New York indie-pop quartet appeared on the cover of Spin this month, played on "Saturday Night Live" two weeks ago and will headline a sold-out show tonight at the El Rey. Yet the group is also a throwback to the '80s, in the players' preppy sartorial style and the world-music flavor of such tracks as the modern-rock hit "A-Punk," from their debut album, "Vampire Weekend."

Still, the hype surrounding the band is a thoroughly modern phenomenon, as these four Columbia University graduates have generated buzz in new media (mp3 blogs such as Stereogum and Music for Robots) and old (the New York Times, the New Yorker). It's been so talked about that on Jan. 29, the day the album was released, New York magazine put up a tongue-in-cheek blog article titled “What to Expect From the Upcoming Vampire Weekend Backlash.”

Singer-guitarist Ezra Koenig chuckles at the mention of the item. So much has been written about VW that he and bandmates Rostam Batmanglij (keyboards, vocals), Chris Baio (bass) and Christopher Tomson (drums) can't keep up . . . not that they want to.

"You really start to realize that the Internet is a very bizarre place," he says. "You can't worry about every little thing, positive or negative, that's written about you. I'm definitely at the point where I'm not interested in Googling 'Vampire Weekend.'

He also seems reluctant to accept the group's status as a "blog band" with a rep fueled primarily by online buzz.

"You'll hear about bands on blogs now," he observes, "because that's just a new form of media. Yeah, some bloggers really got behind us, which is awesome. But I think that before, like, 90% of any blogs wrote about us, we had a piece in the New York Times. So does that make us, like, 'a newspaper band'?"

Vampire Weekend is often listed alongside the many increasingly popular bands incorporating "ethnic" styles, such as L.A.-based Cambodian psych-rock group Dengue Fever, Denver's gypsy-folk punk band DeVotchKa and British rapper M.I.A., who draws from Indian, African and many other diverse styles.

The intentions vary as much as the sounds: M.I.A.'s work is highly political, for example, while "Vampire Weekend" is playfully experimental and revolves around the upper-class Ivy League world of its players. Still, both M.I.A. and Vampire Weekend -- whose frontman once had a rap duo called L'Homme Run -- engage in the mashing together of styles that's a hallmark of hip-hop.

Not that Vampire Weekend should be put in the same bag as, say, Lupe Fiasco. Mainly, critics compare its album to Paul Simon's 1986 icon of pop-African fusion, "Graceland" -- which isn't all that accurate either.

"I take it as a compliment," says Koenig, who admits that, thanks to the many comparisons, he's probably listened to that musical artifact more lately than ever before. "['Graceland'] is a good album. But people sometimes make it sound like we set out to make another version of 'Graceland.' Which, when you actually listen to our album, doesn't make that much sense."

Global ingredients

Indeed not. At the height of the South African apartheid era, Simon drew from black South African styles and collaborated with musicians from that country -- and was criticized in some quarters for breaking the cultural embargo of the time. Although Simon may not have had overtly political motivations, he did bring artists, including vocal group Ladysmith Black Mambazo, to broader attention.

But, despite the class-warfare jabs in a tune such as "Oxford Comma," the group's 11-song album isn't really political. Also, as reflected in the around-the-world-in-NYC swirl of "M79," the collection is a broader global stew of music the band members enjoy: soukous and calypso, ska and new wave, harpsichord and classical strings. (But there's also a dash of synth-fueled neo-rock à la Interpol, in numbers including "I Stand Corrected" and "Walcott.")

Koenig finds it odd, even "borderline offensive," that "Graceland" is still "the go-to comparison for music that references any kind of African sound. I mean, in some ways, [Simon] gave those African musicians a whole new platform to show their music." So, 20-plus years later, "that you would hear a kind of chimy, South African-style guitar line, and the first thing you think of is Paul Simon? It's a little bit pathetic."

As for his own band, it was formed in 2005 and named after a horror-movie spoof that Koenig made with friends a few years ago. Both he and Batmanglij (a music major who does film scores) separately became enamored of different African pop: Koenig was drawn to a compilation of Madagascar music, while Batmanglij got into South African singer Brenda Fassie. For Koenig, the attraction wasn't about culture, but about the sound of the guitars.

"It reminded me a lot of the kind of reverb-y but clean surf music that I liked," he says. He loves guitar music but has "always felt really disconnected from that whole, like, guitar-god tradition. Eric Clapton is an amazing guitar player, but I never could listen to a Clapton guitar solo. I just found it really boring."

Koenig adds that he never felt very strongly about most of rock's venerated ax men. "So to find some guitarists [who came from] a different tradition was kind of exciting," he says. "And especially when we were starting a band with an electric guitar."

United by guitar

On "Vampire Weekend," that clean guitar style is more of a unifying factor than the music of any one place -- or tradition.

"Mansard Roof" mixes reggaeton and strings to vaguely recall the Decemberists, while "Oxford Comma" has the exuberance of ska, and the sardonic, reggae-tinged "The Kids Don't Stand a Chance" feels a bit like early Police. The band is more preoccupied with coed sex ("Cape Cod Kwassa Kwassa") or the agony of a student-teacher fling ("Campus") than with any message of global unity. Still, in a way, even Koenig's more conventional musical touchstones reflect a one-world outlook.

"I've always been interested in how the riff from [The Smiths'] 'This Charming Man' sounds so, like, Afro-pop," says Koenig, noting that ex-Smiths guitarist Johnny Marr is a favorite of his. "I always thought that was cool, that there is a tradition of pop guitarists getting inspiration from these places.

"Clearly, the Smiths are not an Afro-pop band, but it's sort of exciting to realize that they do have something in common, in the production and the sound, with, like, Nigerian high life," Koenig says. "And there's nothing political there; it's just nice just to see a little connection like that. That things aren't so separate."

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