[ Tuesday, September 12th, 2006 | pat ]

So, as oncology pretty much rules my life right now, i haven't gotten a review written. I'll tell my attending to stop working me 6 days a week one of these days . . . or not actually because I could use the good grade. Instead, I will be positive and remind everyone of the the need for you all to watch Subterrenean on MTV2. They have a pretty good track record for having interesting music videos and good bands that you can always check out. For instance, this weekend they showed the new Scissor Sisters video, the Arctic Monkeys, CSS, Fiery Furnaces, Phoenix, and that's all I can remember off the top of my head. Bottom line: good music. Enjoy the comic everyone!

-patrick

[ Wednesday, August 16th, 2006 | pat ]

Well, with all of the hoopla that Thom Yorke’s new album, The Eraser, has garnered, I thought I’d give it a listen. Normally I would buy an album before I buy it, but circumstances have gotten in the way, so I’m working off a copy generously given to me by my friend Alhambra. Three cheers for Alhambra! Have no fears, you slimy record types, I’ll buy a copy as soon as I can.

Well, from what I heard, this was supposed to be a Kid B of sorts. I thought that was a gross over generalization . . . and really, if compared to a Radiohead album, I’d say it’s closer to Amnesiac, although I think it’s better. But really, I don’t like to compare albums too much. The Eraser really has its own feel anyway.

Take for instance, the sixth track “Atoms for Peace”. Ok, so the title is typically tongue and cheek from Mr. Yorke. Check. The song has huge, epic sound that resembles Radiohead. Hmmmm . . . that’s a negative. Therein lies the beauty of this song, and really most of the album. This is music that can fly under the radar. It is music for most any occasion. This is music that can be the focus of a party or serve as the undercurrents of it. The ebbs and flow of this music, how it creeps up on you unsuspectingly and lays you in a cradle of sound is wonderfully reassuring. This song is certainly interestingly compared to Dntel’s effort . . . at least the more melodic songs on that album.

Yet, there is some switchage of gears on Black Swan. The song begins with a electronic drum sound that could be the beginnings of a hip hop song. Then, the guitar and bass riff lay in two measures later and then you think, R&B. And then finally, Thom Yorke’s voice a few measures after that and then it becomes his song. That is the power of Thom Yorke (and Radiohead) . . . Thom Yorke really is one of those artists who can put his stamp on music, the feeling when you listen to a song and instantly know it’s something he’s done.

Still with more musical variance, one can reference And It Rained All Night, which begins with a dark, dirty electronic beat. And I’m talking electronic like should have been in the Matrix. Speaking of, why wasn’t Radiohead used in the Matrix? Did anybody else feel like The National Anthem (off Kid A) would have been perfect for any of those movies? But I digress. And It Rained All Night. This song moves through electronic clicks and drum sticks beating against each other. That does sound a mite putting off, but Thom Yorke makes it work.

And really, I’d be a tad remiss if I didn’t mention the title track, which may be the album’s best song. It begins with a piano moving driving the song. The beat underneath the song sounds like it was taken straight from Amnesiac, but let’s ignore that. Let’s concentrate on the piano, the component of the song that certainly sold me. It only plays three chords throughout the song, but its haunting and persistent drive always leads me through the song, wondering if there will be more . . . and there never it is. But I don’t care! The rest of the song, Thom Yorke’s quirky voice is there to make me forget that I want to hear the piano lead to some kind of climax. It’s that kind of suspense which makes this album so good.

So all in all, what a nice little nugget from Thom Yorke to satiate the insatiable Radiohead fans. This probably isn’t what a lot of them want to hear, but this is what Thom Yorke wants to do. And frankly, as Kid A was the album that turned me onto Radiohead, I’ve no problems with this. When the new Radiohead album comes out (slated for the February through April window of 2007 from what I understand), I’m sure there will be more guitar and bass . . . you know, what the other members of Radiohead contribute. Thom Yorke has made a lovely album here which is totally his. Cheers to him.

-patrick

Thom Yorke – The Eraser

[ Tuesday, June 6th, 2006 | pat ]

So, first off, kudos to Scott with the new website. Looks pretty sweet I think. Scott is really making this into his baby now and I think it’s showing with the design. Anyways, things are hectic around in my life. I’m knee deep in board studying, but have no worries, as I’ve still managed to give you guys a brand new album. I feel like I’ll take some ridicule for this album, but hey, what can I say . . . I really like the Dixie Chicks.

Yeah, that’s right, I said it. I like the Dixie Chicks. They’re new album is entitled Taking the Long Way. So, on first listen, this album wasn’t what I expected or what I was looking for. It is mostly comprised of ballads so it feels a little slow. It does have one pretty upbeat song, Lubbock or Leave It. Oh those clever ladies and using pseudo-word play. So Lubbock or Leave It is their token song to show everybody they still got a little bit of the picking talent, although it can feel more like a rock song sometimes. But it’s a fun song so I’ll take it.

Anyways, back to the rest of the album. Once I got past the initial disappointment of not hearing Emily Robson play some magical fiddling and Martie Maguire picking the banjo, I realized this was a very different album than the DC have released previously. With their very public “snafu” of criticizing President Bush (how unpatriotic!), these country ladies are a bit jaded. And it shows up in their first single, Not Ready To Make Nice. With a bit of a F*%& you, they sing in the refrain, “I’m not ready to make nice. I’m not ready to back down. I’m still mad as hell and I don’t have time to go round and round and round.” Lick that bitter lollipop. (not that I don’t agree with them.)

And “Not Ready to Make Nice” really sets the tone for this album. It’s augmented throughout the album, but my favorite one is on the first track, “The Long Way Around”, where they make allusions to the fact that they’ve grown past being quaint little southern girls. They say, “Drank with the Irish and smoked with the hippies. Moved with the shakers. Wouldn’t kiss all the asses that they told me to.” These ladies are evidently pretty tired of being the country stereotype. Of course, this comes from a dirty northerner, so take this all with a bit o’ salt . . .

From those two songs, I could really get an idea that they are trying to reinvent themselves. I’m willing to wait for them to merge their new ideas into music that will hopefully take advantage of their prodigous instrumental talent in conjunction to Natalie Maines’ incredible voice. I for one am looking forward to it . . . perhaps the Dixie Chicks should venture off a major label so they can have a little more freedom. I don’t know, as really the Dixie Chicks are my only exposure to country music so I’m not sure how that scene goes. However it goes, I hope their next one has a lot more folk and a lot less pop country. But I’m willing to wait. In the meantime, I’ve got the Wilders to keep me company . . .

-patrick

Dixie Chicks – Taking the Long Way

[ Tuesday, May 2nd, 2006 | pat ]

Well, this week brings us to the new Starlight Mints album, Drowaton. Now, I realize probably the only band that most people associate with Oklahoma is the Flaming Lips, but now you know two! Yes indeed, the Starlight Mints are an Oklahoma band and they have the requisite oddity to justify their origins, although they are not quite as odd as the Flaming Lips. Well, the music isn’t as odd. However, the lyrics certainly are.

Drowaton is their third album and their first on Barsuk. And indeed, there is certainly some Barsuk sound within the album. The Killer is a slow, plodding song that still manages to keep your ears interested. It certainly helps that the Mints have great orchestration throughout their entire album and The Killer is certainly a shining example of their ability to hear the music in many instruments, although it is rather tame by Starlight Mints standards. Sidewalk is a good example of the prolific instrumentation for which the Starlight Mints are best known. Probably the most fun track on the album is one smack in the middle, entitled Rhino Stomp. It is solely an instrumental, but it is pretty darn close to a musical representation of a rhino stomping through your living room. It’s pretty hilarious. Lastly, a song that interested me in particular upon examining the album was Pearls (Submarine #2). I wondered if it would live up to one of my favorite tracks, Submarine #3 off their debut effort The Dream That Stuff Was Made Of. And while Pearls (Submarine #2) was catchy and fun, it fell just short of Submarine #3. And really, that’s a good summation of the entire album. Drowaton is certainly an enjoyable album which to listen, but it lacks in that special quality . . . the kind of album that immediately gets put in your cd player and doesn’t come out (which by the by, is a lovely little cd I picked up by Tom Vek entitled We Have Sound . . . check that one out for sure).

So yeah, this is a pretty standard Starlight Mints offering. Songs like Torts and Seventeen Devils make sure the old fans are happy. To the Mints credit, they do make some effort to expand on their musical repertoire, but for the most part I feel like they just wanted to produce a good solid album to begin their Barsuk career. And as Barsuk signed the Starlight Mints, Rocky Votolato, and Mates of State at the same time, I the Starlight Mints can afford to coast a little on this record, but look for the next record to be a blockbuster. At least I hope so.


-patrick

Starlight Mints - Drowaton

[ Tuesday, April 25th, 2006 | pat ]

Hi readers. So, I don’t have an album review here this week. I probably won’t have too much write in the next couple of weeks, as I have 6 tests over the next couple of weeks and I really need to do well on all 6 of them. And then I have the granddaddy of all tests, my Step 1 boards. But I will try to write a little diddy about something so you can have your weekly music fixes/updates.

Well, this week’s topic isn’t too much of a secret. I watch a program on MTV2 called Subterranean. Well, it’s the only thing I watch on any MTV channel so don’t judge me. Anyway, the last episode was on Death Cab for Cutie’s new DVD, Directions, where they have a video for each song on their newest album Plans. They are all original, even for songs that already had videos (Soul Meets Body and Crooked Teeth). In any event, being as Death Cab doesn’t plan on releasing these videos as singles, they have a bit more artistic license.

Well, I’ve only watched about half of the videos (they were the ones on the show) and I don’t actually own the DVD, but I was pretty impressed with them as a whole. I was most impressed with the video for Different Names for the Same Thing. It’s a rather simple video, based on a middle school music class. It just films kids playing and a couple of little kids singing the lyrics. Yet, for some reason, this video really struck a chord in me, in a way that music videos generally never do for me. I generally admire a video for how interesting it is, whether aesthetically or intellectually. This video hit me pretty emotionally though. Can’t explain it, but it did. Anyway, you can check it out here on the Subterranean page. Enjoy. I’m off to some neuropath studying.

-patrick

[ Wednesday, January 4th, 2006 | pat ]

Well, I hope this posting finds everybody beginning their new year well. Admittedly the idea was to have this posted in two parts starting about two weeks ago, but Scott has been pretty busy the past couple of weeks so there was no time for me to really post this. So while I know I'm a few days late and a bit long to read, I suppose a list like this is better late than never. So without further adieu, here we go.

1. Iron and Wine with Calexico – In the Reins
• In my eyes, this was clearly the best release of the year. Sam Beam is a bona fide genius with lyrics. Couple this with Calexico’s added musicality and this album is one that can be enjoyed by anybody at anytime. This isn’t an album that is only for the indie kids or for stuffy old med students. This is the kind of album that glides over labels and descriptions with the exception of one word: superior.

2. Of Montreal – Sunlandic Twins
• Of Montreal is a band I’m quite happy I “discovered” this year. I say discovered because they’ve been around quite some time, releasing 5 previous albums. This album boasts a plethora of tracks that plain just make me happy (listen to The Party’s Crashing Me, one of the catchiest/danciest songs of the year). And people should definitely check out the video to their song, Wraith Pinned to the Mist and Other Games. And let’s be honest . . . that’s one of the best song titles you’ve ever read. Plus, I got the Bonus EP when I bought this album from Love Garden that had a couple of really good songs, including the tongue and cheek masterpiece Art Snob Solutions. This was an album well worth my $12.

3. Nada Surf – The Weight Is a Gift
• So Mr. Green and I went to a concert at the beginning of our sophomore year of college. Little did I know that I would first hear my eventual favorite band, Rilo Kiley, for the first time, but I would also see a band called Nada Surf. I’d never heard of them, but Jay told me I’d like them . . . and they were ok, but they didn’t even play Popular, their one song that made the radio waves. I had relegated them to the status of one hit wonder until I began to hear some buzz about their new album. So I picked it up and I’ve been floored by it. It’s full of hope, even though it was all written after a terrible break up apparently. Personal favorites off this album are Always Love (for the sappy and hopeful part of me) and Blankest Year (for the rest of me). Awww fuck it. I’m going to have a party.


4. Decemberists – Picarqesque
• So the Decemberists is one of those bands that I’ve been hearing about for a long time, but never actually listened to. Well, my good pal Brian changed all that and told me that one of my evenings in September would be better spent with the Decemberists at the Granada. Boy, was he ever right. They rocked the house all night long and had a great opening act in the Sons and Daughters. Their “old fashioned” music includes a wide range of instrumentation including an accordian, violin, wide range of percussion. The lyrics are innovative (The Sporting Life), wacky/funny (The Mariner’s Revenge Song), and even politically conscious at times (16 Military Wives). I feel badly dropping this album down so low, but with so many good albums this year, here they are. Look for them to be making some motions in the future, as they just signed to a major label. Hopefully they can replicate Death Cab’s leap to the big times. Only time will tell . . .

5. Gorillaz – Demon Days
• So I think the whole world was pretty excited for the new Gorillaz album and I was no exception. This album was pretty amazing, with no evidence of a sophomore slump anywhere to be seen. Furthermore, this album is really actually loads better than their first album, which was by no means a poor album either. Couple that with the fact that the art for their videos keeps getting better and really, the sky seems to be the limit for this band. I’m already secretly anticipating their third album (well, it’s not much of a secret anymore). This might be the most fun album of 2005 with its danceable quirkiness.

6. Erin McKeown – We Will Become Like Birds
• I first heard Erin McKeown open for Ani Difranco my freshman year when my favorite lady friend Cecilia “gave” me a ticket for my birthday (read: she need somebody to go with her). Well, 2 Erin McKeown cds (also 6 Ani albums / 4 Ani shows; thank you very much Cecilia) and I’m completely smitten with Ms. McKeown’s latest effort. This album is a bit of a step in a different direction, with more electric guitar and lively percussion, but is characterized by the same simple and beautiful writing that has described her previous albums (Distillation and Grand). The guitar riffs are catchy and quirky and make a perfect companion to Erin McKeown’s unique voice. This is a perfect cd a lazy Sunday morning.

7. Ladytron – Witching Hour
• This album represents a huge step forward for Ladytron, one that I fully support. There is no doubt that Ladytron knows how to move the ‘ole dance floor. Previously (on 604 and Light & Magic) they did it with synths, loops, computers, and their harmonious, monotonic voices. Now, they propel it with guitar and drum, with everything playing second fiddle as it were(their voices are of course still very harmonious and monotonic). This is a band that has taken the lemons that life has thrown them (their label [Emperor Norton] being bought and closed) and made some pretty sweet lemonade. This is clearly a band that is focused, evolving, and releasing material that is challenging and enjoyable. I hope these guys tour through KS so I can check them out live . . . a show that I anticipate to be very, very fun.

8. Maria Taylor – 11:11
• This is definitely the come back album of the year for me. I say come back because I bought this album, than listened to it a few times, than shelved it. Later surfing around the Apple website, I found the high def video for Song Beneath the Song. Watching the video and listening to the music made me pull this cd back off the shelf and its like I’m listening to this album with new ears! This album is one of the freest flowing albums I’ve ever listened to, especially when you skip the disappointing, first track. When the weather started changing from fall to winter and finals came calling, this album was sublime to pop in and just allow the stress to melt off. I suppose when she titled one of her songs Xanax, Ms. Taylor wasn’t kidding around.

9. Death Cab for Cutie – Plans
• So raise your hand if you were nervous when you heard that Death Cab had jumped the Barsuk ship to go to Atlantic. Yet, I’m currently sitting in LA and just around the corner from my friend’s apartment is the Atlantic building with a Death Cab billboard covering an entire side of the building. So I think it is safe to say they’ve jumped and landed pretty solidly with Plans. There are some really outstanding tracks on this album, with Different Names for the Same Thing and What Sarah Said being nothing short of amazing. Still, it does lack that special quality. Admittedly, they’ll have a tough time topping Transatlanticism (which Plans does not do), but now that they have their feet over at Atlantic, I’ll look for them to do just that on their next album. With all that said, Death Cab has still come up with a top 10 album, a testament to their talent.

10. The New Pornographers – Twin Cinema
• I guess the New Pornographers are going to round out my top 10. Bought this album on reputation only (saw it used at a Half Price Books) and I have to say I’m pretty darn happy with it. One of Matador’s finest, the New Pornographers are a fun indie band that are worth all their critical acclaim. Neko adds a great little feminine touch to these songs (These are the Fables) and David Cross starring in funny videos for them (Use It). Apparently they are well connected as well. However it goes, I really think this is a solid album that ought to make the year’s list in hopes that it will convince one or two of you to snatch a copy and enjoy some good indie music. At the very least, listen to track #4, The Bleeding Heart Show, which has a great chorus and round to close out the song that often will run through my minds during tests. Don’t know why, but it is a good thing to have through my mind as I try to remember how exactly those pesky strep infections present. Oh med school.

---------------------------------------------------------------------------------------

Just missing the cut this year are the latest Kanye West effort Late Registration, Bright Eyes electronically tinged release Digital Ash in a Digital Urn, and the White Stripes new one Get Behind Me Satan. And Feist’s Let It Die gets a super honorary mention since the album was really released in 2004 and not 2005, but I really can’t get enough of her so I just wanted to mention her again. Well, there we are kids. Comments? Think I left something out? Something on the list that you don’t think should ever be there? Drop me a line . . . I’d love to hear from you. Happy New Year!

-patrick

[ Tuesday, December 13th, 2005 | pat ]

So this week I’m going to talk about the “new” Feist cd, Let It Die. This cd was released in Europe a year ago, but is only about 5 or 6 months new to the US. I try not to write about older cds anymore, but I’m frankly quite smitten with this album and really felt like it deserved a little mention.

So, I’ll think most people have at least heard of Broken Social Scene. Yup, definitely the indie sensation of 2003. Well, Feist (Leslie Feist to be complete) is part of the 16 person conglomerate that is Broken Social Scene. With Broken Social Scene having their break out album, You Forgot It In People, the ground was ripe for Feist to have her own breakout album. Boy, did she deliver with Let It Die. From beginning to end, Feist records an album of pure genius that anyone, from me, to my mother, to my grandmother, instantly begins tapping their feet, snapping their fingers, and humming the infectious melodies.

So this is a rare cd where I think I could write about any of the 11 tracks (or 13 if you’re lucky enough to own the import version). I mean, c'mon, there's even a Bee Gees cover (Inside & Out) on this sucker. The first song, however, that really caught my ear was One Evening, the fourth track. This song is the definition of sultry and sexy. I think you have to imagine listening to this song in a dimly lit lounge watching this little Canadian princess sing as you sip on your cheap well whiskey (yea Scott!). But ladies and gentlemen, Feist is certainly no one trick horse. The seventh song, When I Was a Young Girl, is a spiritual that is propelled by hand percussion and an undulating bass line. Clearly Feist is trying to share a bit of the fantastic voice talent which she was given with the rest of the world. But really, my favorite song at the end of the day (and many listens through this cherished album) is Secret Heart. It begins very cutsey, with some keybord sounds that seem like they’re from the movie Big (you know, when Tom Hanks is in the toy store playing the big piano that you step on . . . c’mon . . . you know it). A Ron Sexsmith’s cover, this song is completely disarming and irresistible. The music is pretty simple, with a good orchestration to support it. It’s the kind of song that you know the next note four notes before it comes, but that’s what you love about the song.

So what more to say about this album.. Katie Black really likes it. Still not enough motivation? Maybe you should check this out. I mean, seriously, anybody with that kind of devestating wit and sarcasm has to be trusted. I ,for one, trust Ms. Black. There, I said it. I trust Katie Black.

Anyhow, it’s pretty obvious how I feel about the latest Feist contribution to the musical world. I’ll give her 5 Kool-Aid mans, especially considering she dogged on KS when she and Broken Social Scene came through Lawrence on Halloween. I laughed at least (and it was a great show . . . at least until Broken Social Scene got all space rocky . . .). Take care all and keep an eye out soon for my top 10 albums of 2005. Coming soon to a Dockboys near you . . .

Feist – Let It Die

-patrick

[ Tuesday, December 6th, 2005 | pat ]

Welcome back loyal readers. I’ve got a brand, spanking new EP [edit: it was brand spankin’ new when I wrote this two months ago . . .] from Iron and Wine. However, he plays this album with Calexico, which really gives the album an entirely novel feel. Calexico plays much blusier sounding music, throwing in a bit of western tinge that works sublimely with Sam Beam’s hushed melodies. This album has been 2 years in the making, with both bands being a mite too busy to record. Lucky for us, they finally got together.

The cd opens up with a gorgeous track that sounds like it might have been on the Woman King EP. A lovely surprise in this track, entitled He Lays in the Reins includes a surprise inclusion from flamenco singer Salvador Duran, a buddy of Calexico. Really adds a nice touch I should think. The next song that jumps out at me on this seven song EP is A History of Lovers, a forward moving song that really shows another aspect of Beam’s singing prowess, along with some excellent backup vocals from Calexico lead singer Joey Burns. Sixteen Maybe Less slows it back down to more typical Iron and Wine fare, but Calexico keeps the music absolutely luscious and wonderful (as if you really expect anything else from a magnificent duo such as Iron & Wine and Calexico). The last song I want to mention (which I realize is now over half the EP, but . . . well, really I could talk about all seven songs) is the penultimate song, Burn that Broken Bed. The trumpet playing in this song is amazing. It reminds me of a jazz trumpet. And while I don’t mention lyrics all that often (most often because I don’t understand them enough to really say anything), the lyrics were included with this album in the liner notes so I might say that this song particularly paints an exacting mental picture of just what they are trying to say. What is it you ask? Guess you’ll have to take a listen to it. Yet, Iron & Wine and Calexico have managed to incorporate the sound seamlessly into their own music.

Yes, I am very impressed with this latest offering from Iron and Wine. Really, he keeps raising the bar from himself, doing music that sounds different time in and time out. There are few bands that I really feel the need to buy the album the day it comes out so I can immediately listen to it and Iron and Wine is certainly one of those bands. He is constantly innovating his music while staying true to his delicately earnest lyrics that are the real captivator of his work. Moreover, if he keeps forming interesting partnerships such as this one with Calexico, I could see his music evolving into something even more special. 5 enthusiastic Kool Aid Mans for the latest Iron and Wine (with Calexico) effort.

Iron and Wine with Calexico – In the Reins

-patrick

[ Tuesday, July 5th, 2005 | pat ]

So let July 2, 2005 live in glory and melancholy. Yes, this was the day of the last Get Up Kids show. Glory for how hard the Kids rocked it, melancholy that I will never get to rock it to the guys who put on the first show I ever saw. Yup, seven years ago at the shithole that is El Torreon, along with Ultimate Fakebook and Podstar, my concert going days were begun. It was certainly an excellent show, as I’m sure Scott will mention in his own little posting. But as you may have guessed, this week’s posting will be an homage to one of my favorite bands, the Get Up Kids. It will be full of lists so it will be long and not for the faint of heart.

Anyway, let’s talk about the last show. Here’s the set list for those who might be curious.

Coming Clean
Holiday
Action & Action
Overdue
Woodson
Never Be Alone
Let the Reins Go Loose
Martyr Me
Mass Pike
Off The Wagon
Close To Home
No Love
Campfire Kansas
The One You Want
Red Letter Day
I'm A Loner Dottie, A Rebel
Don't Hate Me
Walking On A Wire
------encore 1
Out Of Reach
Close To Me
Beer for Breakfast
Shorty
------encore 2
I'll Catch You
10 Minutes

Yeah, the only song I felt could have been played was Anne Arbour, but who am I to complain? I mean, I felt pretty lucky to hear them play Woodson, Close to Me, and Off the Wagon. They rocked it long and they rocked it hard, something I admit to being a bit worried about. I mean, their last shows have been a little on the short side, but the Get Up Kids did not disappoint one bit for their swan song. They truly showed why they are one of Kansas City’s best musical exports.

Other songs I thought were particularly good this show were Walking on a Wire (2nd time I’ve heard them close a show with that one . . . with equally good results). I also really liked hearing Close to Home, one of my favorites. And of course, who can’t love standing next to Scott Drummond while singing I’m a Loner Dottie, a Rebel?

And speaking of Scott, I wonder what he'll think of my best of the get up kids cd. it's pretty hard to make, but here's what I got.

1. Woodson (Woodson EP)
2. Ten Minutes (Something to Write Home About version)
3. Don't Hate Me (Four Minute Mile)
4. Regret (Eudora)
5. Is There a Way Out (Guilt Show)
6. Hannah Hold On (On a Wire)
7. Coming Clean (Four Minute Mile)
8. Holiday (Something to Write Home About)
9. Action and Action (Something to Write Home About)
10. On With the Show (Eudora)
11. Sympathy (Guilt Show)
12. Grunge Pig (On a Wire)
13. Conversation (Guilt Show)
14. Stay Gone (On a Wire)
15. Close to Me (Eudora)
16. Off the Wagon (Woodson EP)
17. Shorty (Four Minute Mile version)
18. Anne Arbour (Eudora version)
19. Mass Pike (Red Letter Day EP)
20. I'm a Loner Dottie, a Rebel (Something to Write Home About version)
21. Walking on a Wire (On a Wire)

Some notable exceptions due to space were Overdue (On a Wire), the killer duo of Close to Home and I'll Catch You (Something to Write Home About), A Newfound Mass (Eudora), and lastly who doesn't like to rock out to Washington Square Park (Four Minute Mile). Furthermore, I really think anything off the Red Letter Day EP is gold. I guess really the Get Up Kids warrant a best of double disc, but isn't that a bit decadent? Yes it's true, I'm American. Oh decadence.

Anyhow, I’ll close with five random observations about the Get Up Kids.

1. On a Wire is a way underappreciated album. Perhaps a bit like the New Amsterdams for some, but I am continually impressed by it. It would be more represented on the above cd, but it's hard to fit into the other Get Up Kids music . . .
2. It is impossible to rank their albums . . . they are all really good with enough differences to make them all pretty unique, a mark of a good band.
3. I will put in the caveat that Guilt Show is probably the weakest, but it’s still better than a lot of the crap that is put out there.
4. Robbie Pope should be a model for all bassists. He’s hilarious on stage.
5. They appreciate what they have, a nice change of pace from lots of bands.

So yeah, I think that’s about it, or perhaps a better way to say it is that I know I’ve already written too much about these guys. I mean, honestly, who’s even heard of the Get Up Kids? Ok, but in all seriousness, allow me to say thanks to an incredible band that always showed me a great time. Without a doubt, the Get Up Kids are going to get full marks. Hope everyone is enjoying their summer and I'll check you all next week.

The last Get Up Kids show ever (on 7/2/05)
(yeah, they get an extra Kool-Aid man because they are extra special.)

-patrick

[ Tuesday, June 21st, 2005 | pat ]

Well, I guess Scott has decided to do new comics so I guess that means I ought to put up a review of my own. First off, I’ll just comment on the new directions that Scott wants to take, which I think could be really cool. I really like the idea of flash animations and I especially like the idea of getting storylines going through multiple strips. We’ll have to see what Scott has up his sleeve . . . that crazy Ecuadorian trickster.

Anyhow, the album I’ve been meaning to review for quite sometime is the new Gorillaz album, Demon Days when it was new . . . a month ago. So I’ve taken some time off since med school ended . . . and I say yes sir!

Ok, Demon Days. Well, lots of it is really incredible. Some background info about this album and interesting facts first. This album was produced by DJ Danger Mouse. Now, some music fans may recognize this name and remember he made the Grey Album. For more info, read here. Needless to say, I think it’s a pretty interesting idea. Well, That kind of production innovation coupled with Damon Albarn (from Blur) fronting the band, good things can happen. Also, Dan the Automator has left the band, so this band really is Albarn’s baby now . . .

The beginning track is indicative that DJ Danger Mouse was quite active in making the album, with an almost rap/hip-hop little opening interlude. This little opening goes into a catchy song called Last Living Souls, which has some electronic underneaths with Albarn’s voice staying pretty monotone over. However, the first song to really explode off the album for me when listening through is Dirty Harry, which is the 5th track. Man, it’s definitely a sweet, little funky song. Plus, about 3/4 of the way through the song is an awesome little rap interlude which makes me want to turn up the stereo pretty darn loud. The next song is their single, Feel Good Inc. This song rocks too and the video is pretty incredible in its own right. But these two songs are certainly the most rocking of the album, at least in my current state of musical tastes. It also appears as if the band knows it, because they follow with the very mellow El Manaña. The album finishes well, with standouts being November Has Come and Dare. Still, I don’t think the rest of the album really matches the Dirty Harry / Feel Good Inc. duo.

The last thing I really have to say about this album is that it is well recorded. I’m in the market for high end audio stuff right now and I’ve been using this album to help me select speakers, receivers, etc. and this recording really plays well with no hidden flaws or anything like that. Beck’s new album Guero was not recorded the best however, much to my chagrin.

So yeah, overall, I’m going to give Demon Days a nice solid 3.5 kool-aid mans. There really are some outstanding tracks, but not enough of them to bump it up to 4 kool-aid mans. If you do pick this cd up, which I definitely recommend, look for the special edition packaging, which is really sweet. Scott also mentioned that there is a book that goes with this album if you’re lucky, so keep your eyes out for that one too.

Well, it’s nice to write again. Hope you guys enjoyed this and look for a Maria Taylor review next week. Until then . . . over and out.

Gorillaz - Demon Days

-patrick

[ Tuesday, May 17th, 2005 | pat ]

Hello all. To write this, I'm taking a study break, one that I'm quite ok taking. I won't review an album today, but instead I'm going to review the Rilo Kiley concert, a concert I've waited for in Lawrence for the better part of 3 years. If you're really curious about some albums, I will say I've recently obtained (1) Johnny Cash - Live at Folsom Prison and the classic (2) Getz and Gilberto jazz album. Both are quite incredible and I listen to them as much as I can.

But the concert, oh the concert. Jenny Lewis, you are indeed the woman for me. But more on her later. What made this concert very special was that my dad (who is working in Afghanistan) and my good friend Megan (who is working in South Korea) both came to the show with me. Three cheers! The opening act, Neva Dinova, was pretty good, but I'd be lying if I didn't say I was itching for Rilo Kiley to hit the stage. And when they did, I'd have to say Jenny Lewis and I locked eyes and they never parted. I heard rumors some other people were dismayed she was so focused on me, but I can't apologize.

Ok, but seriously, they rocked it and still found some pretty chill moments. Obviously, they played quite a bit from More Adventerous, but they really played from every single album, even their first release! Yeah, hearing 85 was definitely very cool. I also enjoyed hearing Wires and Waves, although I would have liked to hear Science vs. Romance if they were going to play off of Takeoffs and Landings. Another really cool song was their very soft spoken interpretation of Spectacular Views, just a duet with Jenny and Blake on a piano. Very cool. When Rilo Kiley played The Execution of All Things, I definitely enjoyed seeing Jenny Lewis strap on a bass, which is always an exciting moment. I find myself enjoying Blake's songs more and more and tonight was no exception. So Long was good, as was Ripchord. And the last song I specifically remember was Somebody Else's Clothes, a semi-rare song they put out on the Live at the Footprints EP.

So all in all, a great concert (except for the shitty, shitty Granada venue). Good times with the dad (although my young father was definitely more than tired at the end of the concert . . . guess he can't be in college anymore). So yeah, I have to be done with my study break now. Back to anatomy. Hope everyone has a great week.

Rilo Kiley show on 5/11 -

-patrick

[ Tuesday, May 3rd, 2005 | pat ]

Hello. Sadly, there will be no music review this week. Head and neck anatomy is pretty complicated and i'm trying to keep up. More accurately, I'm trying to catch up. Also, I wasn't able to buy a copy of the cd I wanted to review, Love as Laughter's new one called Love's Fifth. Have no fear, I will remedy the situation as soon as I pass anatomy.

In other music news though, the VHS or Beta show was massively fun. Who'da thought Louisville could have produced such fun music? The Chemical Ali show was full of much Scott-thrashing-his-body-around goodness, so that was fun too. Ok, I gotta get back to studying . . . gotta figure out what exactly how those tricky laryngeal nerves all work out. Au revoir!

Patrick not posting a review -

-patrick

[ Tuesday, April 26th, 2005 | pat ]

So I'm late, which will probably be a reoccuring theme until I finish up this year of school. It's pretty rough. Well, honestly, I'm not posting on time because I was out until 4:00 am last night celebrating the end of my last neuro test. Highlights included some friends singing karaoke down at the Brick and one of my friends touching him or herself while singing, as well as another friend being terribly, terribly drunk. Hope that person woke up with an intact liver, which is only slightly likely. A moment of silence.

Anyway, let's talk about this week's album, Digital Ash in a Digital Urn. This album is the more produced of Bright Eye's two new, simultaneously released albums. As one might suspect from the title, there is a bit more electronic element to this album than to I'm Wide Awake, It's Morning, which is much more folky/country sounding.

Digital Ash starts off with Conor Oberst breathing heavily into the microphone for about 90 seconds for music actually starts. So I guess that kind of gives an indication where this album is going. Think of the song Lover, I Don't Have to Love off his previous album, Lifted or The Story is in the Soil, Keep Your Ear to the Ground (kind of a long album name isn't it?) And with that in mind, Oberst sings his way through the album, offering insights that seem pretty indepth, especially considering Oberst is only 24! The music itself is pretty easy, as long as you can tolerate Oberst's rather individual voice, something not everyone can do.

Arc of Time is a pretty poppy song, but I really love the electronic percussion in the background. Take It Easy (Love Nothing) is another more upbeat song. Bright Eyes used this song for his single to this album (which also includes a couple of exclusive tracks). Devil in the Details slows down a bit and is certainly a little heavier on the lyrical content. I Believe in Symmetry creeps up on you as one of the more outstanding tracks on the album, and also kinda floors you when you listen to the lyrics and really think about what they mean. But really, aren't most Bright Eyes songs like that?

So yeah, Bright Eyes new album Digital Ash in a Digital Urn is pretty outstanding. It's a good listen for sure and you can always count on Oberst to put out some quality, thought provoking lyrics. Throw in a quality cameo in Nick Zinner of the , and Conor Oberst really put out an album that is a bit different than his usual fare. And you can definitely catch Bright Eyes performing this album in the KC area. Even better, the "opener" is the Faint, so you can expect a rocking show. It's at the Uptown on Thursday 4/28, so I'd definitely grab a ticket if it's not sold out. And then'd be a perfect time to pick up some new music . . . better just to help out Saddle-Creek directly and bypass all those pesky jumbo music stores (unless you're hitting up Love Garden or something like that because Love Garden is awesome). So enjoy your week and hope you guys can make it to some great concerts coming up.

Bright Eyes - Digital Ash in a Digital Urn

-patrick

ps. Scott has a show (a battle of the bands kinda thing) coming up on Friday at the Jackpot. Come cheer him on so that they can win some recording time at Black Lodge Recording Studios!

[ Tuesday, April 19th, 2005 | pat ]

So since I don't see the new Dock Boys until after I write my column, I'd just like to say I thought last week's comic was particularly funny, especially since I have a cat that certainly jumps on me while I'm sleeping too. Oh Flannel and Patton.

Anyhow, strange as it seems to me, I haven't bought a new cd in a bit so I'm going to review an older cd of mine, VHS or Beta's Night on Fire. I do this because it's a pretty good cd, but also because they are coming to town so I thought I might toss them out if any you guys were thinking about going to the show (at the Hurricane on 4/27/05 for $10).

Ok, all that said, Night on Fire is a very solid album. Solid really is the word to describe it. The vocals sound just like Robert Smith (the Cure) and the music is quite catchy. There is nothing outstanding about it, but it is certainly fun and I think that's really the point. So let's be honest, the album's sole purpose is to be a throwback to the 80s.

There are some outstanding tracks on this album though, with the title track surely stealing the show. It is a fantastic song, doesn't overplay its welcome, and is completely danceable. The next best song is Nightwaves, an instrumental that is good, but would be better if it cut about a minute off the song. The new single, The Melting Moon, is also a really fun song that will surely have you moving your foot to the beat. I think Alive is a better song and would have made a better single for them, but eh, who am I to judge these things?

So if you think I sound ambivalent about the album, you're right. It has definite strengths, such as not relying on a synth (aka the Killers) to drive the beat. The guitar and drums really move the music and that is refreshing. The lack of originality is what kills this album. Also, I think they would have been smarter to release an EP of really strong material (like their previous Le Funk)rather than this LP half full of filler tracks. Night on Fire really is a mediocre album. What won't be mediocre is the show in a week. It will be a crazy, dance filled show and for $10, I don't think you'll find a better time. Check the show out and don't worry about the cd unless you really like the show. That's definitely the route to go on this one. So yeah, only going to bust out two Kool-Aid mans for this one, but I do anticipate the show getting 5 Kool-Aid mans. And speaking of Kool-Aid mans, check out the latest Applegeeks comic. It's pretty hilarious. Oh yeah!

VHS or Beta - Night on Fire

-patrick

[ Tuesday, April 12th, 2005 | pat ]

Hello kiddy cats. First, I’d like to take a second week in a row to tell people to check out the new Gorillaz video. Second, I’d like to say I’m going to turn 23 in a couple of days. As the second eldest from the Dock, I feel a special responsibility. Actually, that’s a blatant lie. I just wanted to tell you all my birthday is in two days. That being said, on to the music.

Beck takes his album name, Guero, from the spanish word that is equivalent mostly to gringo. For the spanish-challenged, both words are pretty derogatory to those crazy white folk. I suppose this is an effort to relate to his upbringing in LA. So even from the title, it is pretty apparent what Beck is going to be going for on this album.

Guero is the perfect synthesis of Beck’s career. Tinges of all his albums, but especially Sea Change, Mutations, and Midnite Vultures ran rampant through Beck’s latest and I have to say, he manages the diversity without missing a beat. And let’s be honest . . . few artists could go from a very folksy, ballad-driven album in Sea Change and have the Dust Brothers produce his next album without one iota of skepticism. But Beck, being the musical icon he is, not only makes it work, but he doesn’t even really have to rely on his superstardom to give him a get out of jail free card.

There are some particularly stellar tracks, including Qué Onda Guero, Girl, Hell Yes, Black Tambourine, and Scarecrow really jumping out at me. Hell Yes especially is the kind of song you want to turn up really, really loud and feel the beat pulsing through you. It helps me pretend that I have rhythm. Girl has a quirky opening that I absolutely love before opening into a catchy little song. Black Tambourine has a pretty neat video that is a bit gimmicky but definitely worth a viewing.

However, for all the good that Beck does on this album, there is one huge disappointment and its name is E-pro. E-pro is a terrible song. It’s worth listening to once and that’s it. I admit to being quite perplexed why he chose this as a single. The song goes nowhere and is, at best, a mindless dance song, although the video is pretty darn cool.

Keeping in E-pro in mind, I’d have to say as a whole, the entire album can sometimes have a very routine feel, making it pretty disappointing overall. There are some great tracks and I wouldn’t go as far to say that Beck put some filler tracks for the rest of the album, but some songs certainly don’t match up. Still, Beck’s voice is one of the most unique in the business and it really can save about any song. I’d have to say that Beck just kinda put his mind in autodrive by working with familiarity (Dust Brothers), giving a very listenable album, but not terribly inventive album. And as one last caveat, Beck will be judged pretty hard because of the incredible quality of his previous efforts so everybody should keep that in mind too. It just seems apparent Beck has other things on his mind (like his new son and wife) so there is nothing groundbreaking in this album.

Guero is probably one of those albums you could have burned for you by that one friend everyone has who is obsessed with Beck and you wouldn’t really miss anything vital. That superfan may even have the British import version, which has 2 extra tracks. If so, send those tracks my way . . . I’d love to hear them. Have a nice week all.

Beck - Guero

-patrick

[ Tuesday, April 5th, 2005 | pat ]

So I’m a bit late too, with my trying to keep up with my new favorite class, Neuroscience. And yes, I really do like it . . . because I’m a nerd. But so it goes.

Today I have a complete change of pace from last week. I'm going to explore the sublime music of Sam Beam, aka Iron and Wine. Beam records everything himself, playing every instrument and recording through loops. He has total control over the creative process (even sometimes doing the cover art for his albums), yielding a completely personal product every time. His music is folky, mystical, and always a soothing choice for a quiet afternoon, rain or sunshine.

His newest EP is called Woman King. As you might have guessed, it's all about strong women, whether biblical (the Virgin Mary and Lilith) or a nameless beautiful woman sleeping. Beam sings in very hushed tones that make you draw your head closer to the music, waiting to hear the next lyric. The guitar work is like a babbling stream in the mountains, always moving with an unhurried fluidity.

New to Woman King is a bit of percussion, piano, and a bit of electric guitar. Now, some fans of older Iron and Wine releases might be up in arms, wanting only the accoustic guitar that permeates his previous three releases. Yet, Sam Beam infuses these extra textures seamlessly into his music, making you feel like this is the way music has always supposed to have been all this time.

Woman King has 6 songs. The EP begins brightly with the title track, with some of the aforementioned percussion. Woman King (click to download song legally from SubPop) is the beginning of a philosophical idea that Beam will develop throughout this entire album. Jezebel has one of the most beautiful openings I've ever heard musically. It is one of the few songs that can rival an opening to a symphonic piece. Gray Stables is all about a forbidden love, something that consumed the brave and gorgeous lady the song refers to. Freedom Hangs Like Heaven is about Mary, perhaps the most famous self-sacrificing woman. My Lady's House is about the feeling every man feels about the woman he truly loves. Evening on the Ground is perhaps the most experimental song on the album and it is also my favorite. The music propels the song with an unrelenting quickness that makes the song instantly listenable, while the lyrics are interesting to say the very least.

Iron and Wine's new EP may be my favorite new purchase all year. I bought it three weeks ago and I still listen to it every day, often in the car, which makes the drive down I-35 to school a bit more pleasant. I can't recommend a cd more highly than this one, or any of Iron and Wine's releases. Also, you can catch Iron and Wine in Lawrence on April 23rd at the Granada. At only $10, it's pretty hard to pass up in my very humble opinion. But I will say not so humbly, Sam Beam obviously knows exactly what he wants from music and isn't shy about giving the world incredibly complex and beautiful musical thoughts every time out.

Iron and Wine - Woman King

-patrick

[ Tuesday, March 29th, 2005 | pat ]

Cursive is one of those Saddle Creek emo bands. The Saddle Creek part means that the band will be quality. The emo part means that the listener will own and wear a pair of black Chuck Taylors. But enough stereotypes for now. Cursive is fronted by Tim Kashmir whose distinctive vocals and lyrics really drive the band, although my favorite aspect of the band is Gretta Cohn, Cursive's relatively new cellist. She really adds a great dimension to the band and opens up musical possibilities since joining post-Domestica that has only elevated Cursive's musical repertoire.

Ok, all of that said, I'm going to look at Cursive's newest album The Ugly Organ. It is characterized as, "an operetta of sexual and emotional confusion and conflict set to a musical backdrop that mirrors and expresses the entire range of emotions involved." Yeah, chew on that one. Musically, the album utilizes some atonality to create discord and chaos. Yet, there is always an underlying melody that weaves the music together and makes The Ugly Organ a throughly enjoyable listen.

The album begins with a confusing track that has a circus like feel before exploding into the album's first song, Some Red Handed Slight of Hand. Cursive keeps the intensity going with the insightful Art is Hard. The album slows down with The Recluse, its single from The Ugly Organ. The album continues to progress seamlessly from song to song, allowing Kashmir to sing his social commentaries and tongue in cheek remarks through a pure tapestry of music. Hidden gems through the middle portion of the album are Driftwood: A Fairy Tale and Harold Weathervein. The album ends with a choral track, led by Saddle Creek’s golden boy Conor Oberst (aka Bright Eyes).

So what do I really think of this album? The Ugly Organ really builds on their Burst and Bloom EP and brings that sound to a completely new level. Since buying it three weeks ago, The Ugly Organ has not gone out of my car cd player. Cursive is really producing a mature and complex sound that is still very pleasing to the ear. This isn't John Cage atonality. Cursive continues to raise the bar for music that makes complexity a bonus instead of something that the listener dredges through. Mr. Purple says check this one out.



-patrick

[ Tuesday, March 1st, 2005 | pat ]

I guess a good as album to begin with as any is William Shatner’s new album Has Been. Some may be familiar with his recordings with Vulcan pal, Mr. Spock (Leonard Nimoy). I am not one of those, but I do know it exists. For this album, Shatner picked a better musical collaborator in Ben Folds, along with several guest musicians. Those expecting a cheap laugh will be surprised by this album. I was quite amazed by the quality and flair this album possesses.

The album starts off with a rocking cover of Pulp’s Common People and doesn’t look back. William Shatner doesn’t ever sing in the songs; he goes for a spoken word delivery that suits him very well. His voice is full of a character and strength that really brings out the songs. The album is full of ironic retrospection, evident on songs It Hasn’t Happened Yet, Real, and Has Been. Those songs may really bring out the brilliance in this album and maybe that’s just because I’m a cynical son of a bitch, but I really connect with songs like that. There are also some commentaries on life that are skillfully delivered in the tunes That’s Me Trying and I Can’t Get Behind That. And of course, as with any Ben Folds tinged work, there are songs about relationships, with a spoken word track of Shatner speaking about his deceased wife.

Well, to be fair, Scott was the person who told me to check this album out and he really nailed this one. This album is fun to listen to from beginning to end, which a fair number of albums from regular musicians can’t claim. And really, it’s kinda funny to tell somebody that you’ve been listening to Captain Kirk. Billy-boy Shatner is going to grab 3.5 Kool-aid Mans for this effort. If you dig Ben Folds, this is a pretty surefire bet. Otherwise, I’d probably only pick this one up used . . . unless you have a sickness like me. Anyhow, have a good week everyone and enjoy the comic. Go with God, or something like that.

William Shatner - Has Been

-patrick

[ Tuesday, February 22nd, 2005 | pat ]

Hello avid Dockboys.net readers. In order to better serve all the devoted readers (all 8 of you), the Dockboys are expanding their services. Therefore, today marks a new development in the Dockboys website. Today, "The Pat" makes his posting debut. Now I know what you're thinking. Why is the Kool-aid man trying to horn in on Mr. Crown Royal's posting spot? Well, Jay is still certainly the writer and I've nothing to do with that, not from lack of trying though. Stories I proposed about Patrick saving the world from GW Bush or entertaining dozens of beautiful women at a time were deemed unrealistic by the creative staff here at Dockboys. Go figure.
Anyhow, so if I'm not writing comics, what am I doing posting here? Well, I'm attempting a new therapy for my sickness. Now, most people I think look pretty healthy, but I do have a silent ailment. My condition is a sick, degenerative disorder involving buying a copious amount of music. Well, in order to further justify my expenditures, I've decided that I will review some of my new purchases as well as my old standards from time to time. So keep an eye out in the future. Maybe you'll see something that is worth a shot.
-Pat
P.S. And if you were curious, I still haven't found any aliens.