mp3

Radiohead has just released dates for the first leg of their North American tour, and it looks like they're staying in the South.

May 5 - Cruzan Amphitheatre - West Palm Beach, Florida
May 6 - Ford Amphitheatre - Tampa, Florida
May 8 - Lakewood Amphitheatre - Atlanta, Georgia
May 9 - Verizon Wireless Amphitheatre - Charlotte, North Carolina
May 11 - Nissan Pavilion at Stone Ridge - Bristow, Virginia
May 14 - Verizon Wireless Amphitheater - St Louis, Missouri
May 17 - Cynthia Woods Mitchell Pavilion - Houston, Texas
May 18 - Superpages.com Center - Dallas, Texas

Pre-sale February 14 via W.A.S.T.E.
general on-sale February 16

It appears that the order cities are listed in for the second leg is alphabetical, not chronological. Based on their previously stated plans for reducing carbon emissions, they'll likely start on one of the coasts sometime in mid-July or shortly thereafter. And since it's unfortunately a Live Nation tour, we can make some pretty educated guesses about venues.

Likely venues in the Midwest are
Cleveland: Blossom Music Center in Cuyahoga Falls, OH
Indianapolis: Deer Creek in Noblesville, IN
Chicago: hopefully Northerly Island, rather than making people drive out to that dump in Tinley Park or Alpine Valley in East Troy, WI, but the former Meigs Field has a much smaller capacity than the other two amphitheaters in the suburbs, so it's tough to call.

Listen:
Radiohead - Let Down (from OK Computer)
Radiohead - Follow Me Around (Unreleased Studio Mix) (from Meeting People is Easy)

Hey guys, guess what isn't cool? Punctuality. Screw all that "being timely" bull, I've got a midwinter treat for you. My annual mix of some of my favorite songs released in the last year is here for your enjoyment. Sorry you don't get the full physical package that I sent some lucky souls (trust me, it's impressive), but cover art and track numbers are embedded. If you really want the full cover art, just click the thumbnail to the right.

Enjoy! I'll try to be back with more soon.

Stars - The Night Starts Here
Coconut Records - West Coast
Bloc Party - Waiting For the 7.18
Kanye West - Can't Tell Me Nothing
Jens Lekman - I'm Leaving You Because I Don't Love You
Loudon Wainwright III - Grey In L.A.
National - Fake Empire
Spoon - You Got Yr. Cherry Bomb
Wilco - Hate It Here
Arcade Fire - Intervention
Misha - Delovedly
Feist - My Moon My Man
Swell Season - If You Want Me
Cloud Cult - Pretty Voice [YouTube]
Shins - Split Needles
Twilight Sad - That Summer, At Home I Had Become The Invisible Boy
Andrew Bird - Fiery Crash
John Vanderslice - The Parade
Band of Horses - Is There A Ghost
Finches - House Under the Hill

Download:
You Don't Live Here Anymore [zip]

There are a few complaints about Spoon's latest release, Ga Ga Ga Ga Ga, but aside from the title being difficult to type and making you sound foolish when you talk about it, the major frustration seems to be that it's too short, clocking in at just over 36 minutes. That really doesn't matter, because the songs are great (I mean, obviously they are, this is Spoon we're talking about here) and as soon as it's over you just want to listen to it all again anyway.

But for you whiners, now there's an even better reason to buy the actual album rather than just leeching the torrent from Oink. The first pressing not only comes in a gorgeous digipak, but also is accompanied by a bonus disc of jams, demos, and alternate takes. Labeled Get Nice, the disc provides you with an additional 22 minutes to add to your Spoon experience. I'll give you just two of the twelve reasons you have to purchase this: a short demo called "Mean Mad Margaret," and a sweet alternate take of one of my favorite tracks on the album, "You Got Yr. Cherry Bomb."

Listen:
Spoon - Mean Mad Margaret
Spoon - You Got Yr. Cherry Bomb

And if you've never listened to Spoon and are pissed I'm not telling you what they sound like, where have you been and what the hell have you been waiting for? Get their albums today.

Buy Ga Ga Ga Ga Ga

Peter Bjorn and John follow in the grand tradition of Peter, Paul and Mary, by virtue of a guy named Peter being the first member identified in the band-name-comprised-of-the-first-names-of-members. Since Writer's Block finally got a proper US release yesterday, I figured it was as good a time as any to mention one of the best albums of 2006 (before we get too much farther into 2007).

At this point in the Swedish band's career, it's some kind of mandate for any review of their latest import to mention the whistling.

Yeah, they whistle. Yeah, it's actually pretty good. Yeah, it's still cool, and totally okay for you to like. It's also totally okay for you to like Axl Rose whistle the intro to "Patience," but that doesn't mean it's the most important and noteworthy aspect of the band's repertoire.

The important stuff is the music, and boy is it good. "Amsterdam" is one of the catchiest songs I've heard in a long time; it dares you not to sing along. They've been playing their first single "Young Folks," wherever they're allowed, so check out this clip from last week's Late Night. Be sure to stick with it through the end for the special gift they give Conan.

You owe it to yourself to buy this album, partly because it will make three Swedes feel pretty good that they've made inroads with the American audience, and partly because even if you somehow acquired it already, the US version has a bonus disk that does not disappoint. Besides, when has Drew Barrymore ever led you astray?

Listen:
Peter Bjorn and John - Amsterdam
Peter Bjorn and John - The Chills

Buy Writer's Block

I heard plenty of hype about Interpol in the second half of 2002 before I finally caved in and bought their debut album. When I slid the disc into the player and I heard the opening bars of "Untitled," I thought: Why the hell didn't I get this sooner?

The worst part about Interpol is the endless comparison to Joy Division. Originality is overrated. Sure, Joy Division was pretty good, but the production hasn't really aged well and they aren't really as awesome as their best songs make people think they are. Sorry kids, Interpol just does it better.

What Interpol does best is create a certain atmosphere; the bassline is steady and brooding, the lyrics sound morose even when the content is optimistic. It's amazing to me that bands can be equally adept technically and use the same instruments and basic song structures, but sound complettely different. You'd never confuse Interpol with, say, Phoenix. Turn On the Bright Lights is perfect for a solitary drive on a rainy day.

Listen:
Interpol - Untitled
Interpol - The New

Buy Turn On the Bright Lights

John Darnielle is quite possibly some kind of genius. With the impending release of the next Mountain Goats record Get Lonely, I decided to revisit the most recent album The Sunset Tree. I think it was the first time I had ever truly focused on listening to it without distraction or interruption. I can now safely say that not only is there not a bad song on the album, there isn't a song on the album that is not very, very good.

It's true that Darnielle's vocal stylings are somewhat of an acquired taste, and some yearn for him to return to his ultra-lo-fi roots. But his imperfect pitch intensifies the emotion of the lyrics, and the support of the studio band allows the music to complement his singing rather than fight to be heard alongside it. The instrumentation is sparse and perfect on every song.

I think it's against the law to talk about The Sunset Tree without mentioning that it's Darnielle's most autobiographical album ever. It just might also be his best. The upbeat tempos of "This Year" and "Dance Music" camouflage the somber lyrics detailing his attempts to escape abuse at the hands of his stepfather. The album begins with fear and thoughts of escape, and tension builds to an inevitable confrontation, but the last three songs are a catharsis of sorts. Mortality seems to be the end to all things, the escape from life and release from the grip of the dead.

Listening to The Sunset Tree in its entirety can be painful. Some albums are meant to be played loudly at parties with all of your best friends; this album is the complete opposite, meant to be listened to closely, alone in a quiet place. Each song is a gem, and together they combine to form an album that is simply amazing.

Listen:
Mountain Goats - Broom People
Mountain Goats - Dance Music
Mountain Goats - Love Love Love

Buy The Sunset Tree

Everyone knows the music of Billy Joel, though now his driving antics are more likely to be mentioned than his music. It's a shame, because it makes people forget just how damn good he was as a songwriter and musician.

When Storm Front was released in 1989, the biggest hit was "We Didn't Start the Fire," which sounds dated now with its synth chorus and choppy shout-singing. But even without that song, it's a classic album; Joel doesn't settle for singing the same song over and over like some bands of today. The album covers the spectrum of his oeuvre, from the girl-focused rock opener "That's Not Her Style" to the beautiful piano ballad "And So It Goes," which closes the album.

One of Joel's songwriting strengths is his ability to craft a narrative through the use of a distinctly seperate voice for the lyrics of a song; he can successfully seperate the speaker of the lyrics from his identity as the author. His narrators are frequently blue-collar or downtrodden, seen throughout his career from "Piano Man" to "Allentown" to my favorite on this album, "The Downeaster 'Alexa,'" a Celtic-tinged folk ballad. His other sea-faring song "Storm Front," featuring Joel in full eighties bombast and backed by horns and gospel singers, isn't as effective and betrays the age of the album.

After relistening to Joel's penultimate pop album, I was reminded both of his songwriting abilities and occasional missteps. I hope he someday reconsiders his retirement and releases another album, and maybe someday I'll be able to have the money and opportunity to see one of the greatest singer-songwriters of our time perform live.

Listen:
Billy Joel - The Downeaster "Alexa"
Billy Joel - And So It Goes

Buy Storm Front

I've been waiting for Two Thousand, the new album from the French Kicks, ever since I heard their last one, Trial of the Century. It will officially hit stores next Tuesday, and though it doesn't quite live up to my hopes, it's still a good time.

The opening track "So Far We Are" is a great start to the album. It hooks you in, just like "One More Time" from Trial of the Century. Unfortunately, Two Thousand shares another characteristic with its predecessor: many of the following songs run together and sound pretty much the same. It's entirely possible that the new album will grow on me, but it's not the instant classic I had hoped for. The only other standout track from the first few listens is "England Just Will Not Let You Recover." It's a laid back midtempo track, but I'm a sucker for the "ooh-oooh"s and the piano hook.

Trial of the Century was a huge change in sound and direction for the French Kicks, and it gained them tons of well-deserved critical praise. Sadly, the new album doesn't do very much to build on the potential they've shown. It's a fun little indie pop record to throw on during a nice summer drive, but the band hasn't acheived the pop perfection they seemed capable of.

Listen:
French Kicks - So Far We Are
French Kicks - Also Ran
French Kicks - England Just Will Not Let You Recover
French Kicks - One More Time

Buy Two Thousand

If you like Bright Eyes and/or Neutral Milk Hotel, but like being happy more, then Head of Femur is the band for you. I picked up their sadly overlooked second album a couple weeks ago, and it blew me away. The band is currently working on a new album without a label; be on the lookout for it to become the next big thing.

There is so much packed into these 45 minutes that there's something new revealed on each listen. Something like 30 musicians are credited in the liner notes, to give you an idea of the sonic scope of this thing. Hysterical Stars is almost manic at times, jumping from one song right into the next without hesitation. But just when the wall of sound seems in danger of collapsing, the band segues into smooth, gentle melodies and a beautiful soothing chorus.

One of the bright spots is "The Sausage Canoe" (unfairly maligned by Pitchfork as "ponderous, nonsensical, and ultimately annoying") which rivals the greatness of any novelty song by They Might Be Giants for sheer absurdity.

They have a ton of mp3s available on their official site. Especially good are the first two tracks, "Elliot Gould Is In California Split" and "Ringodom or Proctor." You can also stream the whole album on an old label site.

Really, you should just go out and pick up a copy for yourself. It's not an album one would be apt to call "accessible," so there are bound to be copies in the used bin at record stores all over, or you can pick it up cheaply at Amazon. It's worth paying the four bucks or so; you can even get the added entertainment of wondering just who in the hell thought pink and yellow was a good choice for the liner notes. Probably the same guy that pushed for the inclusion of "The Sausage Canoe."

Listen:
Head of Femur - Oh You're Blue
Head of Femur - The Sausage Canoe

Buy Hysterical Stars

Phoenix's new album came out two months ago, but it's hardly left my stereo since I picked it up.

Some albums are perfect for summer, and this is one of them. Reviews from longtime fans are mixed; it's somewhat of a departure from their earlier albums. I confess I've only recently come around to the band, but with this album they won me over quickly.

When you pop in the disc, the jangly guitars at the beginning of "Napoleon" let you know immediately what's in store. The sound is a bit like the first Strokes album, but with more competent musicianship. The disco-flavored first single "Long Distance Call" prompted me to buy the album, but there are two other standout tracks. "Sometimes In The Fall" is a five-plus minute jam that justifies its length by being straight damn catchy. "Consolation Prizes" is due to be the second single; you can imagine the band untucking their shirts and letting themselves get sloppy, but they can't quite escape the tight arrangements they're used to playing.

According to some reviews, It's Never Been Like That reflects a lot more of the energy of a live performance by this French band. Unfortunately, their upcoming US tour (with the French Kicks) is sponsored by Camel cigarettes and is supposedly "invite only," so it's been nearly impossible for anyone to actually get tickets. New and old fans are understandably pissed, though they're scheduled to swing through the states again in September. If I can get hooked up with tickets to the July 29th show at the Double Door, I'll let you know just how much more they rock live.

Listen:
Phoenix - Sometimes In The Fall
Phoenix - Consolation Prizes

Buy It's Never Been Like That

Dodge has more tracks (including a couple from their first two albums) at MOKB.

Growing up, my taste in music sucked. I've since come to terms with this, and thankfully my cd collection is nowhere near as lame as it was in high school. Much of the credit for my broadened musical horizons belongs to the internet. But just as much is due to The Shins.

During my senior year of high school, I heard Oh, Inverted World at a listening station at Borders. The music was catchy and new and unlike anything I listened to. Needless to say, I didn't buy it; who pays $14.99 for 11 three-minute songs? But I kept it in the back of my mind. A month or two later, I was reading a music magazine which had an article about the band's video (.mov download) for "New Slang." The video, as the article explained, pays homage to various punk and indie album covers, like The Replacements' Let It Be and Husker Du's Zen Arcade. Husker Du? Slint? Cat Power? I had never heard of any of these bands. A whole new genre of music was out there, ready for me to listen.

Natalie Portman made it cliched in Garden State, but this band changed my life. Maybe you can remember the band that changed yours.

Listen:
The Shins - Know Your Onion!

Buy Oh, Inverted World