Suego Faults - Wolf Gang

I'm basically a year late on this one, but I've just discovered Wolf Gang, a shimmery synth pop band from England. The debut album, Suego Faults, sounds something like a mixture of Yeasayer, MGMT and The Killers, with an occasional trip into David Bowie territory. Lots of layers work together to give the record a glamourous, larger-than-life sound. Not to mention, the songs are just damn catchy.  Crank this one up before a night out on the town. Better late than never, right?

"No Room For Rock Stars" perfectly captures the Warped Tour experience

In high school, Warped Tour was a summer tradition for my group of friends. At first, my mom had to drive us, since no one actually had a license (thankfully, I have a "cool mom" who has been known to pull my friends out of mosh pits and still loves going to shows with me today). Once college started, we continued the tradition for a while;  we endured extreme heat, downpours of rain and mud so deep that you frequently saw abandoned Converse Chucks sunk halfway in it.

Sadly, we've stopped going these days, simply because of the recent lineups. Maybe we're getting too old for that scene, or maybe Myspace enabled too many generic bands to gain passionate fandoms. Maybe a little bit of both. Nevertheless, I will always have a very special place in my heart for Warped Tour, because ultimately, some of my favorite memories come from my days at those festivals.

So naturally, I am really excited about No Room For Rock Stars, a new documentary about Warped Tour produced by the same team who made Dogtown and Z-Boys. The crew shot more than 300 hours of film on the 2010 tour and they cover just about everyone involved, including Warped mastermind Kevin Lyman, the musicians, the crew, stage managers, tour bus drivers and even a few of the musicians' family members. Director Parris Patton offers a thorough, comprehensive look at what Warped Tour is really like on both the good days and the not-so good days.


Warped Tour has always been a grab bag of alternative acts, and that is accurately shown through the variety of musicians focused on. The cameras primarily follow R&B/pop star Mike Posner (whose hit "Cooler Than Me" is all over Top 40 radio), metal band Suicide Silence, struggling pop-punk act Forever Came Calling, and Christofer Drew, frontman of the cutesy feel-good pop act Never Shout Never. The gang's all here, from the guy on the verge of stardom to the band that can barely afford gas; from Suicide Silence's lyrics about how the "human machine will finally bleed," to Never Shout Never's determination to bring "love energy" to the tour; from Posner, who claims he has already sold more albums than 95 percent of the other acts will ever sell, to his bus-mates in Anarbor who had never even been on a tour bus before. Warped Tour attracts such a wide array of fans precisely because of all these contradictions.

This documentary is not all mosh pits and adoring crowds though. Some musicians become disillusioned, fans get a little too personal, and a lot of people get homesick as the 16,906-mile journey continues. Critics sometimes make a valid argument that Warped Tour has evolved into nothing more than a giant corporate marketing opportunity for the youth demographic. Patton's film never leans one way or the other; it just presents the footage you need to make your own judgement. But in the end, the greatest strength of this film is how well it captures the sense of community felt between everyone involved on this tour. Ultimately, most people involved in Warped Tour love it because they feel like they have finally found a place they belong.

I truly enjoyed every second of this documentary, despite the fact that I don't actually like any of the featured acts all that much. Even the musicians I do not care for made for some great interviews - I generally find myself covering my ears the second I see Cristofer Drew's face but this time, I actually found myself nodding while he spoke. I never thought I'd see the day. So, I would highly recommend this film to any music fan, no matter what your musical tastes are or whether or not you've been to Warped Tour before.

No Room For Rock Stars will be in theaters across the country in an exclusive, one-night engagement on Thursday, March 1, 2012. For a complete list of cities, theaters and showtimes for No Room For Rock Stars, please visit: www.noroomforrockstars.com. The film will be available on iTunes on April 2 and on DVD May 8.

Jukebox the Ghost keep me upbeat while I relocate

I know, it's been too long since my last update, but I have a good excuse. I just moved from my beloved New Hampshire to New York City! Part of me still can't believe I'm here, but I'm excited for my new life in the big city. It's time to pursue my journalism dreams, and this is the place for me to do just that.

I will miss having all this in my backyard though. Live free or die forever.

Obviously, moving has been pretty stressful. Thankfully, I've had music to get me through it. One of my first nights here, I caught a set by Jukebox the Ghost at Irving Plaza. Now that's some serious melodic power pop for you. I'd never heard of them before, but within just a few minutes, I was tapping my toes and bopping my head along. 

My favorite Jukebox song so far.

After the show, I checked out the band's latest album, "Everything Under The Sun," and I'm pretty impressed. I know I'm late to the party, as this album came out in 2010. But better late than never, right? These tunes are sunny and catchy and will make you want to dance down the street. It's certainly no wonder the band is currently on tour with piano-pop powerhouse Jack's Mannequin right now. Just don't bother listening to Jukebox the Ghost if you're feeling bitter, as the overly cheery sound will probably just irritate you. But if you're in the right mood, this snappy, sweet brand of pop will hit just the right spot. 

The album artwork sums up exactly how this record makes me feel.

www.jukeboxtheghost.com

Of Monsters and Men - my first new favorite band of 2012

Meet my newest obsession, Of Monsters and Men. This six-piece from Iceland makes such gorgeous music that it's almost impossible to not fall in love with them immediately. The instrumentation on their debut album, My Head Is An Animal, seamlessly transitions from melodic and soothing to crashing and then back again. Mix that with dual vocal harmonies, and you have an epically beautiful collection of indie folk pop songs. If I absolutely had to choose a favorite song, I'd probably go with "From Finner," but really, they are all fantastic. After only a few listens to this album, I knew it would be one of my favorites of the year.

The album reached No. 1 in Iceland, but it is not available in the U.S. yet, although it should be released worldwide this year. In the meantime, an EP, Into The Woods, is available now. Do yourself a favor and listen to it.

City and Colour - live at Terminal 5, 12/7/11

I waited seven years to see City and Colour live. This past Wednesday, I finally made it to see Dallas Green and friends at Terminal 5 in New York City, and they were absolutely phenomenal. There will be no dorky jokes or snarky comments in this post, because I'm still just too in awe of Dallas's voice to attempt any sort of wit.

This photo is not actually from my event, but you guys probably are not interested in the crappy cell phone picture I took myself.

It is truly an honor to watch such a gifted musician perform. Unlike many of today's famous acts, Dallas doesn't need a flamboyant costume or flashy backdrop to distract the crowd, and he certainly doesn't need Auto-Tune. All he needs is a guitar, his amazing voice, and some fellow (and also very talented) musicians to accompany him. The fans were enthralled, singing along loud enough to be heard throughout the entire set. It gave me goosebumps more than once.

During the set, Dallas thanked fans for braving the downpour of rain to come out, rather than curling up in their jammies, and then began cracking jokes about how City and Colour was pretty much the "musical equivalent of pajamas." You wouldn't know it from the music, but Dallas is a pretty hilarious guy. When a heckler in the crowd interrupted some of his goofy ramblings, Dallas sassed him right back. If his career in music doesn't pan out, I'd pay to see him do a little stand-up comedy.

"The Grand Optimist" (this one is actually from Wednesday's show):


This concert was so worth the wait. Let's hope Dallas and I meet up again before another seven years go by.

Hot Chelle Rae: Cliche and cringe-worthy, yet strangely catchy

Review: Hot Chelle Rae - Whatever
Review written for Blast Magazine

Whatever is an appropriate title for Hot Chelle Rae’s generic second album. The Nashville-based quartet’s style of dance-pop/wannabe-rock has been done before, and it certainly has been done better by more talented pop-punk acts. Each track is basically just a slight variation on the last, the lyrics are clichéd and often cringe-worthy, and the vocals are decent at best. Yet despite the fact that there is nothing particularly good or original about the album, these choruses will indubitably get stuck in your head. They are just so catchy. Ultimately though, it’s fluff — enjoyable enough for a tween party or getting down on the dance floor, but not an album that is going to have any sort of lasting influence.

Hot Chelle Rae released their debut (Lovesick Electric) in 2009, but it wasn’t until the obnoxious yet also strangely infectious “Tonight Tonight” off of Whatever started blowing up the radio airwaves this year that they really gained popularity. An actual sample of lyrics from this song: “I woke up with a strange tattoo / Not sure how I got it, not a dollar in my pocket / And it kinda looks just like you / Mixed with Zach Galifianakis / La la la, whatever, la la la.” You’ll probably be rolling your eyes at least a few times in every song, but then the hooks will start back up and suck you in again. It’s a vicious cycle.

Somehow, the band managed to win the New Artist of the Year Award at the American Music Awards last month. Snide comments about what this says about today’s music scene aside, Hot Chelle Rae is by no means the worst thing on the radio right now. The glossy pop is certainly a guilty pleasure, and perfect for those who don’t look much further than Katy Perry and Lady Gaga for their music collection. But if you’re looking for a creative and inspiring new record to listen to, Whatever is definitely not it.

World Comes Calling - Midnight Youth

Wow. The new Midnight Youth is not what I expected, but I love it. Somewhere between the band's delightfully catchy debut album, The Brave Don't Run, and the recent release of World Comes Calling, these Kiwis turned into rock stars. Last time, the hook-laden hits were fantastic pop singalong-starters. This round, Midnight Youth sounds ready to rock stadiums. My only complaint about the new album is that it is too short. These songs are so epic and catchy that I simply am not satisfied with only ten.

Much like the band's debut, this entire album is grandiose, with guitar solos in just about every song and dramatic choruses chock full of gang vocals. The fierce first half of World Comes Calling is guaranteed to have fans pogoing and moshing in no time, while the second half is a bit softer and more reflective, although the hooks never stop. Midnight Youth is admirably experimenting with its sound, rather than making album after album with the same style. Some standout tracks include "The Street," "Come One Come All," and "Too Young To Wonder," but really, all the songs are great.

The New Zealand band is huge at home, but with this new album, they sound ready to take over internationally. I had to send away to the other side of the world for the first album, because after scouring the internet, there was simply no other way to get ahold of it here in the States. This time around, I simply had to wait an extra couple of weeks and the album was available on the U.S. iTunes. I'm going to be optimistic here and assume this means the rest of the world is finally starting to catch on, albeit slowly. So really, there's no excuses now; start paying attention to Midnight Youth.

They may look tough and intimidating, but I swear, the music is really fun.

Ceremonials - Florence and the Machine

There's a version of Florence Welch that sometimes comes out during interviews, where she's soft and shy and occasionally giggly, like an embarrassed little girl. Listening to her new album, Ceremonials, I can hardly believe the woman roaring through these dark lyrics about devils and death is the same person I saw practically blushing her way through an interview on The Colbert Report last spring. You can't pin Florence down, and that's what makes her so awesome - one minute, she's an art school dropout, shrieking about cutting someone's eye out and beating up an old lover. Then, the next thing you know, she's twirling around onstage in a yellow ballgown like a fairy queen, while thousands of fans worship her every note.

That being said, I must admit that I'm not completely head over heels with the new album, at least not yet. I certainly like it; I've been listening to it multiple times a day since it came out this past Tuesday. There are some tracks that I loved immediately, like "Shake It Out" (easily the "Dog Days Are Over" equivalent this time around), "Never Let Me Go," "No Light, No Light" and "Leave My Body." The bonus tracks are also fantastic, as "Strangeness and Charm" and "Bedroom Hymns" were both two of my new favorites when I heard Florence perform them over the summer. The first album was a bit artsier and more experimental, while Ceremonials is more cohesive and robust, as though she's developed a greater sense of the music she wants to create. The music is mature and dramatic, with an even heavier focus on darkness and demons than the last time. Let's not forget those pipes, because her voice is an incredible as always. When these songs are good, they are great. This is the Florence I adore.

Florence and her many personalities, looking creepy.

But then there are a handful of tracks that leave me feeling bored. I'm mostly looking at you, "Breaking Down," "Seven Devils," and "Remain Nameless." These songs are not particularly horrible. It's just that I expect much greater from Florence, the queen of soulful verses and belted out choruses. I want epic, I want to be moved, I want goosebumps covering my arms. In fairness, there were a few tracks on Lungs that took me a while to warm up to as well, so maybe it will just take some time. I already like several songs more now than I did on the first few spins, so there's hope yet.

However, that does not address some of the overly dramatic lyrics that may cause some eye rolls. "Shake It Out" is full of so many clichés ("It's always darkest before the dawn," "It's hard to dance with the devil on your back," "Damned if I do, damned if I don't," "It's a shot in the dark," and so on) that it seems like it must be intentional. One song, "All This And Heaven Too," addresses frustration with being unable to properly describe a feeling with words: "Words, poor language / Doesn't deserve such treatment / And all my stumbling phases never amounted / To anything worth this feeling..." Okay, okay, we forgive you, Florence.

To be honest though, the albums will never be as good as seeing Florence and the Machine live. Her live performances never cease to amaze me, as she can make even the disappointing songs sound like the greatest music of all time. She's that fabulous.

People and Things - Jack's Mannequin

The new Jack's Mannequin album will not stop toying with my emotions. One minute, peppy songs like "Release Me" and "Amelia Jean" are making me want to twirl in circles in the sunshine and shout about how beautiful life is. Then suddenly, the slow acoustic "Restless Dream" comes on and I'm fighting the urge to burst into tears at my desk, for no apparent reason. Then again, this is nothing new when it comes to mastermind Andrew McMahon's music, whether it be Jack's Mannequin or Something Corporate. His lyrics are both powerful and vulnerable at the same time; pair that with some piano pop and a few haunting guitar riffs and I'm a goner.

Andrew plots the next way to make me cry.

All of the songs on this album are worthwhile, but a few of my favorites are "Release Me," "Television," "Amelia Jean," "Restless Dream, " and "Casting Lines." (You don't know how hard it was to not just copy and paste the complete track list here). Plus the more I listen to it, the more I like all the songs. There are a lot of bonus tracks floating around as well, and they are just as good as anything on the official release. In fact, "No Man Is An Island," off the deluxe edition, is one of my favorite new Jack's Mannequin songs.

Andrew is a Leukemia survivor, and his determination and appreciation for life shine through every song. So despite making me desperately sad at points, People and Things mostly reminds me that it is good to be alive. Crank up the volume, dance around to this album, and be thankful for what you have (and for the existence Andrew McMahon and Jack's Mannequin, of course.)

Album Review: Hard-Fi - Killer Sounds

The guys of Hard-Fi deserve to be so much bigger than they are, at least in the U.S..  To this day, they are one of the only bands I love that I’ve never seen live, simply because they have not appeared anywhere near me. Getting their albums anywhere near the release date is always a complicated process –  for once, the U.K. gets it before the U.S. I’m an American, dammit, and I demand instant access to everything!

But this top-quality English dance-rock IS actually worth however long you have to wait, thank goodness. The band’s latest, Killer Sounds, lives up to the name quite literally. The record easily keeps up the reputation set by the previous two full-lengths.  Talk about catchy. I dare you to resist busting a move while listening to this. 

Here’s the sampler the band released before the album dropped. I am pretty impressed with the ability to skip back and forth between songs. Why aren’t more artists using this nifty technology?

My current favorites: “Fire In The House,” “Give It Up,” “Stop”

The Demos: The perfect soundtrack for a sunny summer afternoon

Review: The Demos - Lovely
Review written for Performer Magazine

Lovely is certainly an appropriate title for The Demos' latest album. This collection of light and breezy power-pop songs is perfect for dancing down the street on a warm summer day. Thanks to influences like the Beach Boys and the Strokes, these are feel-good tunes that you don't have to feel guilty about loving.

The opening song, "Daydream," starts the album off with an upbeat attitude, and things only gain momentum from there. Key tracks such as "Nervous" and "Veronica" will have listeners bouncing around in no time. Female harmonies and catchy hooks add texture and personality throughout the record. Mix those characteristics with the DIY production quality, and somehow, the album manages to feel retro and modern at the same time. The songs sound like polished demos - once again the band lives up to its name.

After a while, a few of the songs start to sound a little similar, particularly during a few of the less-than-memorable middle tracks. But on the whole, The Demos have created a bunch of energetic songs that would all fit perfectly on the soundtrack to the next Zach Braff film. (Young Lion of the West Recording Company)

Produced by Mike James and The Demos // Recorded in Rochester, NY // Mastered by Kevin Nix in Memphis, TN // thedemos.net

Album review: If Not Now, When? - Incubus

(Alternate title: This band can do no wrong in my eyes)

I’d heard only so-so reviews of Incubus’s new album, If Not Now, When? back when it leaked a few months ago. “It’s just SO mellow,” my friend told me. A few trusted acquaintances expressed “slight disappointment.” Then I read several snotty reviews suggesting the album was "unremarkable." I have a thing against listening to leaked albums by any of my favorite bands, so I waited nervously for the album to drop. I’d listened to enough generic indie music in college for “mellow” to become almost synonymous with “boring,” so there was plenty of mental nail-biting going on in my brain. “Have they finally become old and feeble and lost their edge?” I wondered.

Then yesterday morning, I woke up and the sun was shining, birds were chirping, and a download link for If Not Now, When? was patiently waiting for me in my inbox (I preordered the album on vinyl, but the powers that be were kind enough to include a digital download in the package as well so I didn’t have to wait one single second longer.) Turns out most of my so-called “trusted” music sources must be either crazy or listening to the wrong record because this album is just glorious.

Yeah, it is mellow, but Incubus mellow is very different from stupid-hipster-putting-you-to-sleep mellow. Every song is memorable and carefully crafted from the lyrics to the instrumentation. One of my absolute favorite things about this band is how every album is consciously different from the last. Each has its own style and sound, and it has been a pleasure to watch the music evolve. At this point, the group has been around long enough to have created an album for just about every mood I can feel. This latest one is mature and sweeping; I’d have to agree with lead singer Brandon Boyd when he called it an "unabashed, romantic, lush, sonic love letter to the world."

Speaking of the fabulous Brandon, let’s talk about how flawless he is. Every new album, I swear his voice is perfect and yet somehow, with the next release, he sounds even better. This time around, he really gets to show off his superb vocals thanks to the more subtle instrumentation. Of course, that’s not to leave out the rest of the band. They are all so talented and lovely and have influenced my life in so many ways. Incubus was one of the first bands I ever got into, and they have remained in my top favorite groups of all time ever since.

Gods amongst men

So I have to say thank you to the haters out there, who got me worked up about nothing. The negative hype made me worry so much that now this album has now far surpassed my expectations. I should never have doubted my boys. It’ll never happen again, I promise.

Florence and the Machine, Bank of America Pavilion, 6/23/11

Florence Welch is one of today's rare artists who actually deserves all her fame. Although to be honest, she probably deserves to be even bigger than she is, but that's besides the point. I was fortunate enough to see her perform in Boston a few days ago, and even though I've seen her before, I was still completely blown away by her voice. I don't think I'll ever get over how talented this woman is.

She came out on stage, twirling in a flowy yellow gown, looking like a fairy queen from a Disney cartoon. She took her place behind a microphone stand covered in flowers, and the twinkling set lights enhanced the mystical atmosphere. The crowd hung onto her every note, chanting and clapping along as she reigned like a queen over her kingdom.

Photo by John Shearer, courtesy of the Boston Herald

According to Florence herself, Thursday night's show at the Bank of America Pavilion was the largest show the band had played to date. (What?? Isn't she playing giant venues yet?) She played the usuals off her debut album, Lungs, and treated us to several new songs and even a short rendition of the intro to Lady Gaga's "Judas." (Personally, I am so sick of Lady Gaga that I want to rip my ears off every time I hear her mentioned, but thanks to Florence, I actually enjoyed this version of the song. Seriously, I'm not kidding - she is magical).

For anyone who wants to relive the experience (or to find out what you missed out on), here's someone else's video of "You've Got The Love." Obviously the sound quality cannot totally capture the power of Florence's ridiculous vocals, but this will have to do.




For more of my undying love and devotion for Florence and the Machine, check out the post about my previous Florence and the Machine experience.

The set list (courtesy of setlist.fm):
1. My Boy Builds Coffins
2. Between Two Lungs
3. Drumming Song
4. Strangeness and Charm
5. Howl
6. I'm Not Calling You A Liar
7. Hurricane Drunk
8. What the Water Gave Me
9. Cosmic Love
10. Blinding
11. You've Got the Love
12. Rabbit Heart (Raise It Up)

Encore:
13. Bedroom Hymns
14. Dog Days Are Over

Finally, I'm pretty sure Florence and Adele need to go on tour together. It could be the "Invasion of British Ladies with Crazy-Awesome Voices" tour. Yes? Let's make it happen.

Little Hell - City and Colour

"I'm like a jack of all trades who's a master of none," Dallas Green sings on his third City and Colour album, Little Hell. He's just being modest, I promise. City and Colour always puts out staggeringly beautiful music, and this latest effort is no exception. It's safe to say Green has mastered the art of making gorgeous acoustic songs, whether he realizes it or not.

Listening to Little Hell is like getting an intimate look into Green's personal life, from his fears of inadequacy to his sister's mental health issues. As a result, it's virtually impossible not to be moved after hearing tracks such as the simplistic yet lush "Northern Wind" and the passionate "The Grand Optimist." Green is also the frontman for post-hardcore band Alexisonfire, so he uses City and Colour as his outlet for dealing with softer reflections on life's struggles - a therapy of sorts. And somehow, he makes the raw pain and suffering sound so pretty. That's skill for you.

The album is musically familiar enough that old fans should be quite pleased. A few songs, like "Fragile Bird" and "Hope For Now" are fuller and more electric, so they shake the collection up a little bit. Green has certainly found his niche in the folky singer-songwriter genre, yet still manages to progress creatively at the same time.

Really, I have no complaints. This album is lovely. Dallas, I hate for you to be unhappy and I wish you the best for getting through these issues, but please, don't stop writing such genuinely honest music.

Well played, U.S. Royalty

Something miraculous happened this weekend - I saw Third Eye Blind play, and their opening band did not make me want to rip my ears off. In fact, I genuinely enjoyed this band, U.S. Royalty, so much that I even purchased their latest album, Mirrors. This never happens.

A quick side note for anyone who does not understand how big of a deal this is: I have seen Third Eye Blind 19 times (yes, really) and I can only think of two other times that I liked the opener. I'm not going to name names, because I have no desire to rip poor unknown bands to shreds on the Internet. But let's just say, a beat down in a mosh pit would be preferable to listening to most of the bands I've heard play beforehand.

Anyway, back to the point. U.S. Royalty. After a little research, I see this band has been compared to everyone from Fleetwood Mac to Fleet Foxes, and many of the influences are easy to pinpoint. The songs are a combination of catchy melodies and nostalgic guitar solos mixed with plenty of swagger. Lead singer John Thornley's powerful vocals transfixed me right away, and damn, he can really hold a note (and then follow it up with a crazy blood-curdling scream).

The video for "Equestrian." Plus, the Internet has been freaking out over how stylish these dudes are, so you can check that out too.

This was the kind of opening band that grabs everyone's attention, pulling people away from the bar and into the crowd. Generally, the audience tolerates the opener while counting down the minutes until the main event comes out. But not at this show. U.S. Royalty received a well-deserved roar of cheers and whistles at the end of their set. This never happens. Not at a 3eb show, anyway.

I can already tell Mirrors will be the soundtrack to my summer. My favorite track so far is "Equestrian," although I'm falling in love with more and more of the tracks as I get acquainted with the album.

myspace.com/usroyalty

Vivid indie pop to satisfy your inner child

Album Review: i want! i want! by Walk The Moon
Written for Performer Magazine

i want! i want! by Walk The Moon is so irresistible and tight that you would never guess it's the band's first full length. The album consists of clever lyrics about childhood mixed with influences of both modern dance rock like Franz Ferdinand and classic acts like the Talking Heads and the Police. The result is a fresh indie pop album guaranteed to put the listener in a good mood.

Lead singer Nicholas Petricca's fun lyrics about growing up encourage fans to release their inner child. Just check out the video for opening cut "Anna Sun," which is color-infused and covered in face paint. It's certainly refreshing to find a band that's all about having fun, while still making impressive and original music in the process.

Other standout tracks include the synth-heavy "Lisa Baby" and the Talking Heads-esque "I Can Lift A Car." Hipsters and pop fans alike can find something to enjoy in Walk The Moon's catchy brand of indie rock. It's sure to put a skip in your step. (Self-released)

myspace.com/walkthemoonband

Florence and the Machine, House of Blues Boston, 10/31/10

Photo courtesy of BostonHerald.com

Let's just talk about how insane Florence Welch's voice is. She's amazing enough on CD, but she's almost mind-blowing live. I basically had goose bumps the entire show. Many of the other dates of her upcoming U.S. tour are sold out, but you need to be there. Buy from scalpers, sneak in, or do whatever it takes. Trust me.

In a world where talentless idiots like Ke$ha and Snooki are everywhere, it's refreshing to see Florence and the Machine earn Top 40 success. Her single "Dog Days Are Over" is burning up the radio and pretty much every TV show and commercial airing these days features one of her songs. And this is only her debut album.

Last night's show at the House of Blues was just perfect. It was the kickoff of her American tour, and on Halloween no less. As Florence pointed out, many of her songs are pretty spooky; she's got lyrics about coffins, werewolves, ghosts and even a girl with one eye. As if that weren't enough, the whole band (or the "Machine," if you will) dressed up as skeletons, and Florence was their creepy queen in an elaborate gothic dress and face paint. She shrieked like a banshee, pounded her drum and twirled around onstage like an eerie, flower-covered ghost.

Here's someone else's video of her talking about Halloween and singing happy birthday to one of her band members.




The set list:

1. Howl
2. Drumming Song
3. My Boy Builds Coffins
4. Girl With One Eye
5. Cosmic Love
6. Blinding
7. Halloween/Happy Birthday interlude
8. I'm Not Calling You A Liar
9. Between Two Lungs
10. Strangeness and Charm (apparently this was the first time they ever played this song at a show. I feel so privileged).
11. Rabbit Heart (Raise It Up)

Encore:
12. Heavy In Your Arms
13. Kiss With A Fist
14. Dog Days Are Over

My personal favorites were "Howl," "Cosmic Love" and "Rabbit Heart." But Florence's astounding live performance made me enjoy songs that I don't always care for as much, like "I'm Not Calling You A Liar" and "Between Two Lungs."

Her performance of "Cosmic Love." It still gives me chills, I swear:




Be sure to check out the rest of these videos of the show on Youtube, because they are all fantastic.

Album review: Hurricane Bells - Down Comes the Rain EP

Hurricane Bells
Down Comes the Rain EP
Written for Performer Magazine

Steve Shiltz is a busy man. After taking a break from his band Longwave, he released a debut Hurricane Bells album this past February. Now he is already back with a five-song EP, Down Comes The Rain. 

Fans who first heard Hurricane Bells through Twilight might be in for a surprise. That song, "Monsters," is more rockin' and electric. Most of the tracks on the new EP are softer, with Bon Iver-style vocals and an acoustic feel. Basically, everything you need to know about the record is in the title; this is perfect music for a rainy afternoon. Feeling a little depressed by the downpour? Crank up Hurricane Bells and all the gloom suddenly seems beautiful.

Just don't tune out for a second, because the EP is over in a flash - that's the only negative here. (Invisible Brigades)

Read the article on PerformerMag.com

Another post about how much I love The Airborne Toxic Event

Pretty much every other post I write these days is about The Airborne Toxic Event, but bear with me, because here comes another brief one.

A couple weeks ago, they released a live CD/DVD combo called All I Ever Wanted and it is SO GOOD. It was recorded on one magical night this winter at the Walt Disney Concert Hall. I was expecting just a basic recording of a live concert with maybe a little commentary thrown in, but this is so much more. It's a full-out documentary with backstage footage, interviews and other goodies. Plus, the band performed several new songs, so now we have high-quality recordings of them. And they are beautiful! Seriously, "Duet" makes me want to weep like a little girl.

Here's the trailer:



This concert must have been so epic. There is the Calder Quartet (who were part of the show I attended last month) along with a children's chorus, a high school marching band, a handful of extra musicians and even some crazy Spanish dancers with a name I can't pronounce. To say that I am mad jealous that I missed out on this show is an understatement.

I've said it a million times before and I'll probably say it at least a million more, but the Airborne Toxic Event is one of the best live bands. They bring so much enthusiasm and energy to the stage.

Buy this CD/DVD package now. Seriously.

American Idiot on Broadway

This weekend, I did something completely out of character. Try not to gasp too loudly, but I actually went to a Broadway show. Living life on the edge, I know. Despite being surrounded by theater people all through college, I just cannot enjoy most musicals. But this weekend, I threw all my misgivings away and marched into the St. James Theatre in New York to see American Idiot.

I'm assuming that if you're reading this blog, you know about American Idiot, but just in case: it's a phenomenal concept album by Green Day that was released exactly 6 years ago today (happy birthday!) The guy who wrote Spring Awakening (psh, like I know his name offhand) joined forces with Green Day's Billie Joe Armstrong, and the two created a musical that eventually ended up on Broadway. Here's a quick trailer for it:

I honestly wasn't sure what to expect, and I was a little scared that I'd spend an hour and a half wishing other people would stop ruining Green Day songs. But I actually ended up loving it, even more than I ever anticipated I could. When the opening riff to "American Idiot" started blaring over the speakers, and John Gallagher Jr. (he played the main character, Johnny) began singing, I felt a little wary. Sorry musical theater people, but I just did not like his voice as much as Billie Joe's and to be honest, I actually preferred the singing voices of Johnny's two best friends over his (oh, the horror!). But as the show went on, I warmed to the actors, and by the time "Give Me Novocaine" reached its climax, I was completely won over.

The truth is, American Idiot is perfect for a musical, because the album is so visual and complex. I remember when the album first came out, I spent an hour studying the lyrics and scouring the internet for theories on what they meant. Seeing the story played out on a stage in front of me took my understanding of the characters to a whole new level. The fact that the band was involved in the script was the key, because I know that this story is how Billie Joe and Co. wanted it to be; it's not a misinterpreted version of "punk" coming from some theater nerds.

All in all, this performance reminded me how perfect of an album American Idiot really is. It came out during my junior year of high school, just when I was starting to go to concerts and become involved in the music scene. So really, it is one of the most influential albums in my life. Seeing it acted out while surrounded by other people who all have their own experiences with the record is the perfect way to celebrate the birthday of one of the greatest albums of the decade.

See it for yourself: www.americanidiotonbroadway.com