Road Trip

I, the great and mighty Alien Corpse, am going on vacation next week. Yes, even all-knowing, transdimensional beings like myself need a vacation every once in a while. I will be vacationing at (where else?) the Cornerstone music festival in the middle-of-nowhere, IL.

In preparation for the big trip, I've been putting together a few playlists for the road trip. Here's what I've got so far:

1."Birthday" by the Beatles. It's got a driving beat and is probably the catchiest guitar riff George Harrison ever wrote. "Gonna have a good time," is the best sentiment for the beginning of a road trip.

2. "Party Hard" by Andrew W.K. A totally underrated songwriter in my opinion. Nobody writes songs that are as fun as Andrew W.K. I wanna go on vacation with him!

3. "7/4 (Shoreline) by Broken Social Scene. Anarchist Canadians create a great driving beat that will just push you down the road.

4. "Incinerate" by Sonic Youth. Their new album, Rather Ripped, is so good and this might be the best song on it.

5. "Conventional Wisdom" by Built to Spill. Ok, time to wake back up with this great piece of pop rock that becomes a great indie jam. This is how I wish Phish would have sounded.

6. "Good Vibrations" by Brian Wilson. Smile makes me smile. And you can't think about summer, vacations or road trips without the Beach Boys.

7. "Pretty Vacant" by the Sex Pistols. This is side two, track one. The opening guitar riff (which is really just Steve Jones picking through an A power chord; brilliant!) sounds like the notes are bouncing off great expanses of the American landscape.

8. "Tough as John Jacobs" by Maylene and the Sons of Disaster. How could you create a road trip playlist without some good old Southern rock and metal.

9. "Nature Anthem" by Grandaddy. This song will either make you stop at the next scenic overlook, or go buy a Honda.

10. "Crazy" by Gnarls Barkley. "Crazy" is Alien Corpse's Number One Summer Jam for 2006!

11. "Walk on the Wide Side" by Lou Reed. This works as a great driving song because of the crazy bass line. Plus, it makes you want to do crazy things on your vacation like...um...cross dress and stuff.

12. "Learning to Fly" by Tom Petty and the Heartbreakers.
13. "Into the Great Wide Open" by Tom Petty and the Heartbreakers.
Does anybody want to debate that Tom Petty is the best artist to drive to EVER?

So what are your favorite road trip songs or albums? Comment soon, because I can't wait to trash your taste!

Keane - Under the Iron Sea

Keane's first project - Hopes and Fears - was a well-crafted bit of ear candy that got some significant buzz going in the discussion of a new wave of "brit -poppers" (Starsailor, Travis, et al.) but somehow recently became a guilty pleasure album that was seared into the popular conscience not least when one of its tracks was used in the trailer to Keanu Reeves's and Sandra Bullock's new flick "Lake House". This would be an example of when britpop seems in my impression to no longer "work" - that is when it is no longer ironic - sort of like when the Oasis track "All Around the World" was sold as the new theme song for AT&T. ugh

Keane's new project was released in the US this week. As sophomoric releases go "Under the Iron Sea" seems in my impression to be somewhat of an archetype. It boasts of a kind of pseudo maturity that shows the band's growth in budget, but seems to lack real reflection and resorts too often to cliches and self-involvement in the struggles of newly found success. However, as to not isolate their quickly growing fan base they also include a number of elements that are reminiscent of the first album (with added string section and impressive new sounds from the keys - keeping the guitarless guitar-band vibe going). So in other words - if you liked the first album as I did - chances are while you can criticize the second one you might just enjoy it as well.

The band touted the writing on this album as a little darker than the first - representative of their experiences over the last two years having seen the "darker" side of life living on the road as mega-rock stars who deal with disillusionment with home and relationships. They also propose, however, to tackle broader sorts of "dark" issues like disillusionement with government and feelings of helplessness over not being able to influence decisions that will directly effect this generation's future (this is a self-proclaimed theme from their PR release on the album).

Most haters are going after the album saying things like, "the album is lyrically unimpressive and far too reliant on cliches". On the one hand the criticism is valid - but on the other I think it misses the point of Keane - and the broader britpop project which they may be described as having adopted. It is pop music insofar as the lyrics are broad enough to appeal to emotions that have no well defined carrier - could be about betrayal of a girlfriend or could be about perceived betrayal by Tony Blair and the New Labour Party. Contemp Christian music is master of these generalities by singing to Jesus and someone you are crushing on at the same time. So I don't think criticizing the album oon this front is appropriate without taking to task the broader pop project - can it work? Britpop was the tool to bring a new generation on board to overthrow Thatcherism and replace it with a younger more visionary government (see docu. Live Forever). In the end there was a lot of disappointment when britpop was left just as it had always been a tool - but there was no big idea or "something more" behind it. So this raises interesting questions as to whether it is the best method to pick up when one is criticizing New Labour and others for having abandoned the vision and betrayed their contingency. Is it effective? Could be - I don't know.

Okay well all of this is important to understand the context of the album - but here I have probably not given fair mention to the album itself: A synopsis will have to do.

1) If you hated the first album stay away - this is Keane to the power of 10 - new approaches but same methods.

2) If you loved the first album - you will love this one too probably - they have expanded on the elements of the first album - it is more produced but not to the point that it gets in the way - there is still no guitar - and yes Chaplin's voice does soar oh so high

3) If you are not sure - I still would reccomend Hopes and Fears as an entry point - there is too much polish on this album to make the old school britpop elements come through.

From the Vault: Frampton Comes Alive! 30th Anniversary

Thirty years ago, the album that ruled America's charts, AOR radio, and lava-lamp-lit bedrooms was Peter Frampton's live double record, Frampton Comes Alive! It topped the charts for sixteen non-consecutive weeks between April and September 1976. It was the album of the bicentennial summer. As Wayne Campbell puts it, "Of course I have Frampton Comes Alive! It was issued to suburban homes along with samples of Tide."

The question for this 30th anniversary retrospective is why Frampton Comes Alive! was such a big album and, more important but not unrelated, why is it still worth listening to today? It remains a mystery why the live versions of unknown material by this second-rate Humple Pie drop-out became standard AOR fare and endure as classics to this day. Live albums are usually used by established acts as time buffers after a long tour so they do not have to go back into the studio right away. I am not aware of any compiled live album to do for an artist what it did for Frampton. So what makes Comes Alive! different?

First, there's the gimmick. Frampton is credited for making significant use of the guitar voice box. He certainly was not the first to use it. But he was the first to make it a major part of his song writing and style. As can be heard on "Show Me The Way" and "Do You Feel Like We Do?" the audience goes nuts for his voice-box solos. It was a fresh gimmick then and so it created a buzz. However, now that the voice box has been relegated to Bon Jovi come-back singles, it is hard to get excited about the technique anymore. Some appeal remains for vault-listeners, as Frampton was one of the few who put the voice box to melodic use.

But the gimmick alone cannot explain its popularity then and classic status now. The 1970's where full of technical advances that do not necessarily result in great albums. Technique must accompany songs. And Comes Alive! does not lack great songs. Although it has been spoiled for many in my generation by a terrible 1990's cover version, "Baby I Love Your Way" was and is a perfectly simply love song worthy of its heavy airplay. In college I managed to loose track of the second CD on account of lending it out too many times to people wanting that song.

But more important than the love songs are the deep album cuts like "I Wanna Go To The Sun" and "Lines On My Face" that used to receive airplay on AOR stations before the Classic Rock format took over in the early 1980's. Ironically, now we can only hear singles from classic bands who made their names on an anti-single, anti-Top-Forty format. So every band between 1969 and 1978 (with the major exception of Led Zeppelin) are relegated to one-hit-wonder status, as we hear the same songs over and over, never realizing that these albums were full of songs much better than those on the air now. So Frampton Comes Alive! deserves a fresh hearing simply because it cannot be heard via radio the way it used to. Hopefully on-line digital music will help to resurrect a number of smaller acts that have become punchlines over the years.

So buy the CD, or at least a couple of songs on iTunes. Try to imagine what it would be like for a live rock record to be the number one album in the summer of 2006. Ponder what it would take to happen again. Better yet, get an old turn table and buy the vinyl for $1 at a used book store or yard sale, set it up next to your lava lamp and see if you can recapture the excitement of the first time someone heard the opening notes of the voice-box guitar solo on "Do You Feel Like We Do?" blare through a pair of over-sized earphones.

Worst album ever...

What is the worst album on your iPod/iTunes Library/CD Holder?

This could be a/an:

• Guilty pleasure
  
• Newly released album that came with high expectations and disappointed
  
• Recommended album that surpassed all levels of suckiness
  
• Album that you used to LOVE but now realize its true undeniable lowliness

Or any of your own criteria...I just want to see the seemy underbelly of your record collection.

Let 'er rip.

Review: Gnarls Barkley, St. Elsewhere

This is one thing that ALIEN CORPSE is thankful for: He is thankful that he lives outside of media saturation of music. This enables him to devour an album like Gnarls Barkley: St. Elsewhere, and not have to worry that he will hear about the album at every turn. That can really ruin an album. It is ALIEN’s sense that the general public of indie 20 somethings will have already found this album to be sequentially: exotic, vibrant, skillful, tired, and annoying. Thankfully, ALIEN just hears the groove.

This collaboration between King Midas himself, DJ Danger Mouse (reputed for his “Grey Album” mashup of The Beatles’ White Album and Jay-Z’s Black Album), and rapper/crooner deluxe, Cee-Lo Green, is a revelatory departure from everything else on the scene in 2006.

Blending Danger Mouse’s talent on the production side with Cee-Lo’s golden vocals was a match made in heaven. There is a nice combination between a hook-laden soul album with SOME genuine lyrics. Just when the listener has settled in for a long peaceful chill-out session, track 8, Transformer, rattles the cages and is a true Hip-hop song. Actually, the one-two punch of Just a Thought and Transformer is worth the price of the album alone.

Overall, this is a stellar release that embodies fun, uptempo music/lyrics and the skills of the greatest producer in the music scene today. Take that, Kanye!

Rating: 5 out of 5

RIYL: Gorillaz, DangerDoom, The Streets

List #2 - Top 5 Album Openers in the Last 15 Years

I think this list has only one solution. This is not preference, but rather the best Track #1s... in the last 15 years (1991-2006). These are the songs that best set the pace for the album they are opening, the most memorable opening tracks, and the most influencial opening tracks.

Let's assemble this list together. Feel free to add names/tracks.

12 Openers for Your Consideration (in no particular order):

1. The Man Comes Around - Johnny Cash, American IV: The Man Comes Around (2002).
2. Smells Like Teen Spirit - Nirvana, Nevermind (1991).
3. Seven Nation Army - The White Stripes, Elephant (2003).
4. My Name Is Jonas - Weezer, S/T (1994).
5. Leave Me Alone - Razorlight, Up All Night (2005).
6. Everything In Its' Right Place - Radiohead, Kid A (2000).
7. I Am Trying To Break Your Heart - Wilco, Yankee Hotel Foxtrot (2002).
8. Small Stakes - Spoon, Kill The Moonlight (2002).
9. Untitled - Interpol, Turn On The Bright Lights (2002).
10. Break - Fugazi, End Hits (1998).
11. One Angry Dwarf and 200 Solemn Faces - Ben Folds Five, Whatever and Ever Amen (1997).
12. Devil's Haircut - Beck, Odelay (1996).

Grandaddy, Just Like the Fambly Cat

Just Like the Fambly Cat is Grandaddy’s fifth album in ten years. It is also their final album. Despite being on a major label for their last three releases, getting to tour with Pete Yorn, and having a song in a Honda commercial, (Nature Anthem, “I wanna walk up the side of the mountain.”), Grandaddy just can’t pay the bills. It must be pretty depressing to be in a critically acclaimed rock band, get four star reviews from everyone, and then come home from tour totally broke and unable to pay your rent.

So Grandaddy has called it quits and Just Like the Fambly Cat reveals the pathos of a rock band breaking up. The sweet and sad sample of a little girl asking the question, “What happened to the family cat?“ on the opening track seems to say it all. Where did we go wrong? How can Modest Mouse sell a million and we have to work stupid construction jobs when we get back from tour? “Elevate Myself” expresses disillusionment with the music industry and the loss of ambition to write the perfect pop song and be the biggest band in the world: “I don’t want to work all night and day on writing songs that make the young girls cry.” Ironically, “Elevate Myself” sounds like the perfect radio song that Grandaddy’s been shooting for. But the album ends with the disillusioned resolution, “I’ll never return…”

What is so sad about this being the last Grandaddy album is that it is their best. Just Like the Fambly Cat is on another level than the psychedelic pop being made by the Flaming Lips or the Dandy Warhols. You will still find all of the ELO-inspired synth swirls (space out to “Rearview Mirror“), crunching Cars-esque rhythm guitars (that the Strokes wish they could capture) and the quiet, innocent vocals that define the Grandaddy sound. But what really makes Just Like the Fambly Cat stand out is that it rocks. “Jeez Louise” uses some loud guitars and dissonance to create a psychedelic sound that is actually pretty heavy. The hardcore punk of “50%” is exactly what previous Grandaddy albums have needed to spice things up.

So Grandaddy has saved their best album for last. There is hope, though, that we‘ll be able to hear the Nature Anthem sound again. The magic of the Grandaddy sound was created by one man: Jason Lytle (Jason played all the instruments on Just Like the Fambly Cat except the drums). How can a band break up when it’s basically one dude?

Jason Lytle of Grandaddy getting his nature on.

You can stream “Jeez Louise” and “Rearview Mirror” from Grandaddy’s official site.

Neil Young - "Living with War"

Release: May 8, 2006
Has anyone else noticed that mutual fund and prescription drug commercials have gone hippie? I am talking the spokesperson for Charles Schwab in bellbottoms and tie-dye throwing down the peace sign. Of course this is just a matter of knowing your target market. After all most of today's wealthy aged have one thing in common - they were all at Woodstock.

If you are one of these peace-loving flower grandparents you will love Neil Young's new album - in fact you will probably not think twice about shelling out 300 bucks to get in at one of the amphitheaters across the nation that are carrying the Crosby Stills Nash and Young “Free Speech” tour this summer.

Apparently, based on what else I have been reading regarding the reception of Neil Young’s newest album, I am one of only a few who is bothered by the “protest for old time’s sake” aura that this album seems in my impression to have been born out of (this is my way of saying – pardon my dissension). These songs are being touted for their raw authenticity – having been recorded and written in an apparently very short time – but to me this sense of saying the first thing that comes to your mind makes the album come across as little more than fluff. I simply could not swallow refrains like “let’s impeach the president for lyin’ and sendin’ our country to war” – Okay maybe not a bad idea, but can I have less Michael Moore in my monitor? This seems to me to be the double edge of Neil’s writing – his knack for stating things very explicitly seems to have worked in the past in songs like Four Dead in Ohio (for me that is an archetypal “protest song”) but at times this stating things in an explicit sort of way leaves one wanting for the deeper things. In my impression this album has the shelf life of a Nick Lachey album.

And now for a slightly more constructive conclusion – I liked the sound of Neil backed up by a hundred member choir. This comes through particularly in songs like “After the Garden”. “Roger and Out” is a well crafted song – unfortunately this makes it sound like it doesn’t fit on the album. Bonus points for fitting the names Obama and Colin Powell in the same song. Grace points for this album’s proximity to one of Neil’s all time best albums, Prairie Wind, which was released last year – there is enough brilliant songwriting in that album to make up for some duds – which is what I am classifying this ten-track Hollywoodesque soapboxing gem. I expect more from a Canadian.

Coke's White-wash

Have you ever wondered what the result would be if a global megacorp that stands accused of assassinating trade union leaders in developing countries hired a songwriter who once beat a rival bandleader's face into a bloody pulp to write a jingle about how nice love is, and how neat it would be if we all did nice things for each other? Wonder no more! Head on over here to sate your curiosity. The worst part is... I think that it's a great ad. Somebody check- do I still have a soul?

Dear Bruce Springsteen

Dear Bruce Springsteen,

This is an open letter from Alien Corpse, intergalactic music snob and fellow prophet to the masses. I recently encountered an over-priced copy of your latest souped-up CD "We Shall Overcome: The Seeger Sessions" during a recent invasion of Starbucks (which must to my surprise is now posing as a music store and movie production company). I would like to share with you my initial reaction to your start-studded cover album of Pete Seeger classics.

First, thanks for introducing your listeners to the real roots of folksy protest music. In the wake of the latest war, 18-35 year-olds across the country have strummed their guitars in coffee houses singing whiny-though-intended-to-be-wise lyrics satirizing Bush. You have reminded us that Peter Seeger, Woody Guthrie and pre-electric Bob Dylan perfected this politically-charged genre as an actual art-form. May the corduroyed bards of our day take note. Perhaps your covers of Seeger will serve as a gateway drug to the classics of folk music.

Second, beware of turning backwards. Bruce, you are already established as a rock legend. Reaching back to pre-rock roots reminds us just how old you are. Yet you have so recently shown that your music can forge ahead. Cover-albums of classics are a common sign of decline for an established artist. As you enter the pantheon of rock, you have a choice before you. Do you want to go the way of Rod Stewart, who wastes his cock-rock chops on the "Great American Songbook"? Or do you want to go glory route of Johnny Cash, who under Rick Rubin's guidance covered contemporary songs in his third and final comeback? I suggest the latter as befiting your greatness, but this latest record runs the risk of ending up like the former.

Third, shame on you for allowing your CD to be processed in a composite DVD format that does not play on many CD players. This kind of packaging, which has little to do with offering a mutli-media product and more to do with preventing piracy, betrays everything that leftist folk music stands for. Thus the form of this record betrays the content to the disappointment of many who try to enjoy your music in a '91 Volvo.

Sincerely,
Alien Corpse

The Raconteurs

Interested in hearing Jack White collaborate and produce some near-pop music? Download the Raconteurs single, "Steady, As She Goes" from iTunes...FREE this week.


here's a link to a rolling stone article about the band.

Review: The Streets, "The Hardest Way to Make an Easy Living"

This is the third album from Mike Skinner, a.k.a. The Streets. This British rapper’s first two albums (Original Pirate Material, 2002, and A Grand Don’t Come For Free, 2004) are among the highest quality in lyricism, beat composition, and overall sound production. Original Pirate Material is exactly what you would expect: guerilla samplings layered over stunning beats, with occasional bursts of lyrical genius. “A Grand” is a bit of a departure and represents the first-ever British hip-hopera, according to my infinite knowledge at least. The sound is relatively the same with production skill, lyrics, and songwriting all elevated.

Skinner has a lot to live up to with “Hardest Way…” and he doesn’t disappoint.

Released on 4/25/06, “The Hardest Way to Make an Easy Living” finds Skinner in a different place. This album is not about the struggles of a poor London boy, but rather about the trappings of fame. With songs about cocaine use (Pranging Out), destroying hotel rooms (Hotel Expressionism), and extravagant spending (Memento Mori), he loses the common man appeal that worked for him “when you wasn’t famous.”

In an exclusive interview on the iTunes version of the disc, Skinner states, “I don’t think this album is as much about empathy... it is as honest, if not more honest than the previous albums…I don’t expect anyone to feel sorry for me, and I think you could have done that on the previous albums.” This is interesting because he sees the transition to fame and is aware of the dangers associated, but still writes an honest record that shows (at least a little bit) of what ego does to a man of humble roots.

Skinner stands on his head producing this record. Listen to the opening seconds of “Pranging Out,” and be blown away.

Though due to his fame we lose contact with Mike Skinner on this album, he manages to not alienate us completely by just writing good songs.

RIYL: Dizzee Rascal, Sway DaSafo, DANGERDOOM

Band of Horses, Everything All the Time

The first thing you are going to think is this: “My Morning Jacket rip-off! They’re just jumping on the MMJ bandwagon!” Well, your first mistake would be in thinking there is a bandwagon behind MMJ. Ain’t gonna happen, my friends.

Your second mistake would be thinking that Band of Horses have co-opted the MMJ sound. Not so. I mean, there is the reverb thing. Everything All the Time is drenched in soggy reverb. In my intergalactic travels through the universe, I have never heard a record so wet (except on the last MMJ record). And certainly, the vocal style bares more than a resemblance to Jim James’ folk-y/Neil Young-ish warble. But once you swim past the reverb, you begin to see the wide variety of musical influences here.

Shoegaze-y guitars are featured prominently throughout the record, while most of the vocal melodies find their origin is the underground psychedelic rock of the 60s, a la the Shins. The jangly guitars of “Weed Party” make me think of R.E.M. and Tom Petty. The angular riffs on “Wicked Gil” could be found on any Strokes/Franz/etc. record today.

But by far the two stand-outs on this album are the majesty of “The Great Salt Lake” and the haunting riff and chord progression of “The Funeral.” Both songs feature incredible dynamics that make you forget all about MMJ. Lyrics like, “At every occasion I’ll be ready for the funeral,” hint at a deep sea of longing that could make Band of Horses great song-writers for a long time to come.

Download “The Funeral” from www.subpop.com or from Free Radio Sub Pop podcast on Itunes.

Band of Horse-sized Dogs

Lynchland: The Liam Lynch Podcast

Liam Lynch is the last guy I would have guessed to have the do-it-yourself spirit. I mean, he did a show for MTV (Sifl and Olly). He’s the guy responsible for that “United States of Whatever” song. He’s buddies with Jack Black. How could this guy possibly have an indie mindset?

But it’s true! Liam Lynch is a true blue spokesman for the independent media. He believes in the revolution, friends! Just check out his new podcast, Lynchland, which you can download from http://www.liamlynch.net/ or Itunes. Liam’s vision for the future of visual media is clear: 100% independent production, free from the touch of the corporate world, all thanks to the proliferation of technology! Why should the corporate world have so much to say about our entertainment choices? As one of Liam’s songs put so eloquently, “Internet killed the video star.”

Just think about part of Liam’s manifesto, which he’s been spewing on Lynchland: “Watching any TV show is becoming more and more frustrating and more and more a waste of time because you can’t access it at your own will…Podcasting is really to me cable access TV for the world except you can do it right out of your house. And to me that is so exciting: to just say, ‘Everybody jump on a surfboard that goes over and crushes every television station ever’….There’s going to be podcasts that are more popular than TV shows and these large companies are going to have to find a ways of getting their advertisement into some kid’s podcast that he’s making in his basement.”

It is an exciting vision for the future of entertainment. Will visual entertainment finally be freed from the shackles of the Clear Channel, Sony, Donald Trump, etc.? Liam’s passion for the independent media is inspiring, but what is really great about Lynchland is that it is so entertaining.

Lynchland is a variety show. Liam throws together his music videos, animations, absurdist comedy skits (a la Andy Milonakis) and spiel for a really creative mix. Sifl and Olly make some appearances, along with Chester. (Check out Chester’s recipe in episode two.) Liam is also a big tech head, so he talks about his animations, favorite video games and the future of robots in the home. I think the show will be worth following if for no other reason than to hear about Liam cloning his favorite cat, Frankie Forcefield (see episode five for more on cloning Frankie). Probably the best thing about Lynchland is that it is brimming with personality; the show is a representation of Liam and his friends, not an advertisement for zit cream. (That’s right! I’m calling you out, MTV!)

Apparently, Lynchland has over 90,000 viewers. Maybe Liam’s vision will come true sooner than later.

Review: Mates of State, "Bring it Back"

Although it may fit as an embedded lyric, the title of Mates of State's newest release is a striking misnomer. This album does everything but "Bring it Back." Jason and Kori, the matrimonious keyboard-and-drums duo, have made major changes to their sound this time around. Usually a sign of break-out record, these changes will likely alienate the fan base without impressing new listeners. What went wrong?

Alien Corpse first saw Mates perform as an opening act for fellow-Lawrence-Kansas-based indie rockers Appleseed Cast at Chicago's Fireside Bowl. I chuckled in the back as I watched them set up an ancient keyboard and stripped down drum set which faced each other instead of the crowd. By the end of the first song I had moved up to the front row, mesmerized by their impossible combination of quirkiness and power.

Unfortunately, their studio albums have faltered in capturing the strength of their live sound. Mates of State always sounds small and unimpressive on record. For me, their albums are best used to recollect and anticipate their live shows. Every record, they have had to search for a new producer to take on the daunting task of increasing the space of their studio sound without losing the powerful simplicity of their two-voice, two-instrument live show. Although the previous producers have fallen short in the power department, none of them has succumbed to the temptation of sacrificing the simplicity of Mates' arrangement. Such a caveat cannot be said of the production of "Bring it Back."

"Bring it Back" is boiling over with overdubbed vocals, extra pianos, splashes of guitar, strings, effects, etc. In order enlarge the sound, much of the uniqueness of Mates of State has been lost. Furthermore, the vocals are all set in a lower register, so that Kori never belts out her signature wail. Now I am no purist fan, intolerant of artistic development. But in this case, the changes didn't work. Although the mix is somewhat improved, the sound of the record remains small. The additions did not create space; they created clutter. And the vocals can be heard better than ever, but they are no longer worth hearing because they don't reach their usual harmonic heights. Let's hope that the accompanying tour will release these songs from their over-produced chains.

Although I wholeheartedly recommend Mates of State as one of the most endearing and enduring indie pop bands, I would encourage new listeners to start with a more representative record such as "Our Constant Concern" or "Team Boo."

Pearl Jam on SNL

Tonight was a historic night. Pearl Jam performed live for the first time since 1998, wow, I can't believe it's been 8 years...What? They've been performing all along, you say? Huh? They've released 2 studio albums (Binaural, 2000, Riot Act, 2002), a rarieties and B-sides album (Lost Dogs, 2003), a live "album" (Live On Two Legs, 1998), a greatest hits record (Rearviewmirror, 2004), and a string of 72 live concert CDs in the last 8 years? REALLY? Huh.

Anyway, I listened to this haggard quintet perform two new songs on tonight's episode of SNL, and I don't remember a single chord, growl, or harmonizing drummer's note. All I kept thinking was, "GEEZ, Vedder, you look O-L-D." I guess that's what happens when you've been in the spotlight for 15 years, well except for that 8 year stretch where we all forgot you existed.

I must admit, though, that after ripping Pearl Jam and sitting thinking about how this album will probably be their last, all I can hear is, "Don't call me daughter, not fit to, the picture kept will remi-i-i-nd me..." over and over and over.

Maybe these bands that do hold a place in our collective memory banks could get press every four or five years to remind people to pull out old albums, re-buy songs that skip from iTunes, or just put one solid album back into the rotation. That would at least keep us from listening to a new, SELF-TITLED, album from a band that's been around since before I could listen to "secular" music.

William Orbit - "Hello Waveforms"

Release Date: Feb. 21, 2006
Okay so before a few weeks ago I had heard of William Orbit in the same way the rest of the non-undergroundelectronichip world had - through his collaboration with Madonna on her last album "Ray of Light". I was reasonably impressed by this album while listening to any Madonna album is confined to the guilty pleasure category. I guess I had also heard his remix of Electrical Storm (U2) and maybe vaguely remembered something about his electronic remaking of classical pieces on "Adagio for Strings". I was not among the hardcore Orbiters who waited six years for this anticipated solo project - and who were therefore mostly disappointed - I mean six years is a long time to wait. I suppose this gives me a certain innocence/ignorance in reviewing this album.
The first track I heard was "They Live in the Sky" (Listen) I happened on it on the radio and craved it for a week until I could figure out where it came from. The song typifies what is beautiful about Orbit's distinctive sound - the sweeping synth sounds that you could never find on your sister's casio, the simple bubbling melodies, the sense of dynamic direction without abusing mechanisms typical of electro-pop like bass breakdowns and stereo flange. The songs are eloquent and carry this kind of brooding sense of anticipation. This anticipation is what most people seem to critique about the album - It anticipates but does not deliver leaving you nowhere. I was rather fond of the insatiated anticipation - the lack of resolve into quarter notes on the kick and a blaring anthem. The album seems to me to have been a bit like going out for a walk and finally deciding that actually getting somewhere couldn't be near as fun as the adventure of just exploring around a bit.
Other favorite tracks were "Bubble Universe" "Sea Green" "Colours from Nowhere"
I will say that my least favorite track on the album is the first single "Spiral". The album also seems to me to be a bit overly song-oriented. If an album brings on the chill I prefer a bit more continuity between tracks.

Review #1: The Appleseed Cast - Peregrin (Militia)
Release Date: March, 21, 2006

The Appleseed Cast is back with their 7th full-length in 8 years ("The End of the Ring Wars" was released by Deep Elm in '98). Apleseed is best known for their two-volume release "Low Level Owl Vols. I & II" (2001), which sparked interest in their music across pop-culture. It was not bizarre to hear Appleseed Cast songs on MTV or Abercrombie ads. The band has become more obscure in the ensuing 4+years, though that may all change with March's release of "Peregrin." Peregrin has all the spit and sparkle of Low Level Owl, mixed with some of the rampaging energy the band displayed with 2000's "Mare Vitalis."

The danger and the beauty that has always existed with The Cast's work is how one song folds into the next. This is dangerous because it so easily becomes noise, and beautiful because it's so easy to get lost floating around in their ambiance. If you're looking for a record to sing along to, keep looking. However, if you are interested in losing yourself in some layered, beautifully complex sounds, this is the record. The Appleseed Cast is one of the few bands still capable of constructing an "album," rather than a collection of songs.

Longevity Rating: 3.5 UFOs out of 5.

List #1: Top 5 songs.

Your iPod has malfunctioned and you can only manage to sqeeze 5 songs into its memory (but the battery just won't die), you are leaving to sail deep into the Pacific (who knows, maybe a deserted island is in your near future), and have no other way of hearing music until you return in 3 months. Which 5 songs occupy your pocket?

Here's a suggestion list to get you thinking.

1. Sufjan Stevens ~ John Wayne Gacy, Jr. (Illinoise!)
2. Weezer ~ Say It Ain't So (Weezer)
3. The Ramones ~ Blitzkrieg Bop (The Ramones)
   
4. Damien Jurado & Gathered in Song ~ Paper Wings (I Break Chairs)
   
5. Sluttering (May 4th) ~ Jawbreaker (Dear You)