http://blogcritics.org/ A sinister cabal of superior bloggers on music, books, film, popular culture, politics, and technology - updated continuously. en Copyright 2005-2007 by the authors Wed, 5 Apr 2006 05:25:28 EDT http://backend.userland.com/rss Blogcritics.org custom software http://blogcritics.org/ Phillip WinnSunday, August 26, 2007, marks the switch of all Blogcritics.org article feeds from full-content to short-content. This is the result of several converging factors, and is unfortunately a permanent decision (as permanent as any decision can be on the web, that is). We are aware of all of the reasons that this is a Bad Idea, and we are aware that some of you will be quite upset about having to click on something to read the free content, and we're sorry. Unfortunately, despite great effort, full-content feeds are not currently economically viable. 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Administration0@blogcritics.org Sun, 26 Aug 2007 12:00:00 EDT http://blogcritics.org/archives/2006/04/05/052528.php Michael BenningRainer Maria's Catastrophe Keeps Us Together is a long way off from the band's first studio release, 1997's intelligent but uneven Past Worn Searching. 4 years after Past's release, the band's growth was solidified on the CMJ chart topper A Better Version of Me. Now, on April 4th, 2006, Catastrophe Keeps Us Together is released and it's a new ballgame for the indie rock trio.Caithlin De Marrais, the band's vocalist/bassist, has taken great measures to improve upon her already commanding and refined voice. The guitars have been balanced and the bass no longer drowns out the vocals. The drums sound clean and tuned. It's a new Rainer Maria, one that recognizes the near decade of history behind them and channels it into a stylish and almost perfect record.The group's new standard in songwriting is apparent immediately. The opening number "Catastrophe" is sophisticated while accomplishing a catchiness not seen yet in the group's career. This trend continues with the follow up tracks "Life of Leisure" and "Burn." Not until after the fourth song, a rough little sparkplug titled "Bottle," and the graceful "Terrified," does the album move toward the familiar. "Clear and True" and "I'll Make You Mine" could have been stripped from A Better Version of Me or Long Knives Drawn and show that, while Rainer Maria have taken noticeable strides in songwriting(garnered through an uninterrupted 2003 break between labels) the group hasn't lost their emotive roots and indie-pop charm.The album's closer "I'll Keep It With Mine" is the band's first recorded cover song (Bob Dylan), and they let it gracefully close out the disc. Catastophe marks a new artistic high for Rainer Maria, but it never reaches the apex it should. The songs themselves are individual achievements but their effect on the album as a whole rarely feels intentional. Regardless, 11 great tracks from a polished band is nothing to scoff at. Catastrophe Keeps Us Together is, hands down, one of the best albums of the year thus far.Check out some sample tracks from Catastrophe on Rainer Maria's official site and on their Myspace page. Music45975@blogcritics.org Wed, 5 Apr 2006 05:25:28 EDT http://blogcritics.org/archives/2006/03/14/173949.php Michael BenningAlison Goldfrapp has strapped the latex back on to continue turning out sleek and sexy futuristic electro-pop. Supernature, Goldfrapp's third album (released March 7th), is composed of 11 tracks, each a singular success adding up to an enticing, though occasionally redundant, whole.Starting off with the seductive "Ooh la la," Goldfrapp's signature robotic sound is in full vibrato effect. Harkening back to the '80s electronic duo's sound, Supernature cruises with much more pop sensibility than their previous efforts. Taking more from 2003's Black Cherry than 2000's Felt Mountain, Goldfrapp have cruised forward, managing to improve on both of those albums in one swoop.While Felt Mountain was a work for the countryside and Black Cherry was filled with singles for the club, their latest endeavor seems to bridge the gap between the two. "We've made an electronic, glam cross between Berlin, New York and north-east Somerset," Alison says of Supernature. Their efforts have paid off. "Time Out From The World" and "Let It Take U" are more cinematic than any track from Felt Mountain while "Number 1" is more contagious than anything from Black Cherry.Supernature does suffer from a minor slump near the middle. Tracks like "Ride A White Horse" and "You Never Know," while solid in their own right, spend too much time mimicking stronger peers. This distracts little from the superb atmosphere created by Alison Goldfrapp and company.Overall, Supernature is a strong stilettoed step in the right direction for Goldfrapp. The only thing more remarkable than the work they've created, musically and otherwise, is what possibilities lie ahead for the duo. If you like Felt Mountain or Black Cherry, chances are you'll love Supernature."Ooh La La" Video Stream Windows Media (high)Windows Media (low)Be sure to check out Goldfrapp's official site where you can find plenty of stuff to occupy your time, including games, graphics, e-cards, music, and video. Music44920@blogcritics.org Tue, 14 Mar 2006 17:39:49 EST http://blogcritics.org/archives/2005/12/22/061702.php Michael BenningRemix albums are a gamble. They're often uninspired, absent of daring, and leave any sense of ingenuity to the original mixes. On the other side of the spectrum is a small handful of remix albums that attempt to spin the originals so much that they stand as completely separate works. In the same company as Bjork's Telegram, Beck's Guerolito leans toward a different soundscape from his March release and attempts to exist as an individual album rather than a companion piece. It succeeds at being both.Handpicked by Beck himself, the cast of musicians on Guerolito reads like a who's who of electronic music. Air, Boards of Canada, Diplo, El-P, Dust Brothers, and Adrock of the Beastie Boys all take a stab at reworking Beck's tunes to varying degrees of success.8-Bit's "Ghettochipp Malfunction (Hell Yes)" improves on the original recording, sampling the bleeps and boops of a 1989 NES cartridge to create a trippy, mind melting experience. Mixes of "Wish Coin (Go It Alone)" and "Broken Drum" by Diplo and Boards of Canada, respectively, would fit well on a chill mix. The only problematic moments occur sporadically when DJ's take the standard remix approach, manipulating speeds and time signatures a'la Fatboy Slim. This occurs sparingly, and doesn't disrupt the whole of the ride.Guerolito manages to stay cohesive not because of the solid ground material, but because of the consistency in new substance. A new ambiance has been thrust into an already solid work. It seems less a companion piece, and more a stand alone album. Those that enjoyed Guero will certainly appreciate Guerolito's distinctive approach. Curious parties should opt for the original, but certainly not disregard the new mixes.Below you should find more than enough Beck media to make you salivate: Streaming Video Hell Yes One, Two Ghettochip Malfunction (Hell Yes) One, TwoStreaming Audio: RealAudio ClipsOne, Two Three, Four, Five, Six, Seven, Windows MediaEight, Nine, Ten, Eleven, Twelve, Thirteen Fourteen. Editor's note: This work of yours now has another venue for success - and more eyes - at the Advance.net Web sites, a site affiliated with about 12 newspapers.One such site is here. Music41352@blogcritics.org Thu, 22 Dec 2005 06:17:02 EST http://blogcritics.org/archives/2005/11/21/041557.php Michael BenningThe soundtrack to The Squid and The Whale is similar to what you would find in a Wes Anderson movie, a disk filled with sixties and seventies singer/songwriters, some that defined New York's music scene of the time, and a strange feeling of nostalgia for a time and scene that you were, most likely, not involved in. The Squid and The Whale's differences are in the overall tone of the music. Rather than provide one of the upbeat Velvet Underground tunes, or a popular Paul Simon track, we're granted Lou Reed's "Street Hassle", an eleven minute song following a young couple torn apart by a heroin overdose. Much of the disk follows this route. Loudon Wainwright III provides the bitter "Lullaby" and Bert Jansch's "Courting Blues" is basted in despair. The best emotion this soundtrack offers is hopefulness, and that seems to be enough to keep me listening to it again and again.Between the somber tracks are carefully placed carefree tunes. "Let's Go," by The Feelies and "Holland Tunnel" by John Phillips keep the pace going and allow the listener to tap their fingers a bit. "Figure Eight," an old School House Rock song by Blossom Dearie, and the cover of Pink Floyd's "Hey You" by Dean Wareham, are applicable to the movie, but feel out of place next to the rest of the soundtrack. The Squid and The Whale's soundtrack is a strong accompaniment to a great movie, but most likely won't appeal to those simply looking for a good road trip mix tape. The songs are as sad and cynical as Noah Baumbach's work, which inevitably means that you'll fall in love with most of them, regardless of how much they hurt to listen to. Music39825@blogcritics.org Mon, 21 Nov 2005 04:15:57 EST http://blogcritics.org/archives/2005/10/31/074947.php Michael BenningAn amalgamation of discotheque bounciness and airy trip-hop, Goldfrapp have taken a unique journey in the 4 years since their 2001 debut with Felt Mountain, an album evoking the emotional space of European cinema soundtracks. Black Cherry (2003) maintained the trip-hop sound, but infused club accessibility to the sound, relying heavily on driving beats and 70's sci-fi sound effects. Now, with the release of the Number 1 EP on November 1st, Goldfrapp will be taking another step forward in their musical evolution, scaling back the layers and concentrating on solid works of sleek and sexy robopop.Alison Goldfrapp's voice is difficult to pin down. Occasionally soaring, sometimes discreet, but always appropriate, her vocals come across as more than just a frontrunner for the music. "Ultimately the voice is an instrument, so you can use it as a texture or put it into the foreground and make it into something distinct," she says in the UK Edition.On the new single "Number 1," Alison holds back and works the reins with subtle seduction, creating an addictive hook. This appears to be the new direction for Alison and Will Gregory, the production end of the duo. "Beautiful" and "All Night Operator" harken back to the sound of Black Cherry, but "Ooh La La" and "Number 1" are concentrated works, easily digestible and hypnotic with pop sensibility.By managing to defy definition, Goldfrapp aren't limited to comparisons. They aren't dark and moody like Portishead or Tricky, nor are they a Kylie Minogue or (recent) Madonna copycat. Goldfrapp are taking the difficult route and attempting to shake things up. Alison tells The Daily Telegraph, "When we started, everyone was very serious about the music, but we wanted to put the latex on because music is about having a laugh and getting down. Glam-rock inspired us, but you don't see that spirit now." This mentality will hopefully keep their star rising. If the recent appearance of Supernature at number 2 on the U.K. charts is any indication, they should be at the top of their game soon.The full length album, Supernature, will be available in the U.S. March 7th, 2006For videos, tour dates, news, and graphics, check out Goldfrapp's site. If you're in New York on December 5th, be sure to check them out live at the Nokia theatre.This has been syndicated to Advance.net, a place affiliated with about 10 newspapers around the country.Published:CMP Music38786@blogcritics.org Mon, 31 Oct 2005 07:49:47 EST http://blogcritics.org/archives/2005/09/07/122803.php Michael BenningIn 2001 things were uncertain for Greg Dulli, former frontman for the quasi-grung rock outfit The Afghan Whigs. He had released one Twilight Singers album, and was working on a solo collection of songs reflecting where he had been, and where he would like to go. Those tracks were shelved after the sudden death of his good friend, filmmaker Ted Demme, and were unreleased until now. Greg Dulli's Amber Headlights, released on his own Infernal Recordings label, encompasses those unique and occasionally brilliant works in progress. Dulli has worked with a number of great musicians in the past. This outing is no different. John Curley, Jerome Dillon, Bobby Macintyre, and Petra Haden all provide considerable musical talent to Amber Headlights. Nine tracks in total make for a short and satisfying listen. Some songs, "So Tight," "Cigarettes," and "Domani," are the standard fare Dulli rock, taking you up and down with a raucus love sentimentality. Others, "Black Swan" and "Pussywillow," take a different direction, occasionally allowing Dulli to share the microphone with Petra Haden. These songs in particular are intriguing not only for their sweet and soulful qualities, but also because of their sing-along vocal arrangements. While the majority of Amber Headlights is on par with Dulli's songwriting caliber, some tracks, while interesting, come across as deflated versions of their true potential. "Get The Wheel" closes out at under two minutes. While the song itself is beautiful, a full stretch would have been nice. "Golden Boy" feels like an unfinished mix, while "Pussywillow," a nice standout track, could have used some finishing touches on the vocals. Amber Headlights, in the end, stands as a nice addition to any Dulli fan's collection. While short and small in its offering, it still manages to impress repeatedly. Despite being a few years in the making, this disk still leaves the listener wondering where Dulli's musical future lies. Music35657@blogcritics.org Wed, 7 Sep 2005 12:28:03 EDT http://blogcritics.org/archives/2005/08/11/073044.php Michael BenningShelby Lynne provided an intimate and endearing evening of music for those concertgoers willing to brave the late weeknight and high beer prices at Cleveland's House of Blues.In the country music world it's difficult to ignore sparkling production values and supermodel singers to find a genuine soul. With Shelby Lynne, an artist that didn't find her identity until a decade into her career, the core is wholely apparent. The light show is minimalistic, the band drinks booze on the stage, and t-shirts and jeans are uniform for more than the audience. The connection is obvious as false promises and romanticized personas are sidelined for genuinely good music and good people.The band connected with more than just clothing that evening, however, as Shelby's vocals carried each tune through from the climbing opener "Go With It," to the lowkey "Telephone." Lynne pulled the band up and down, letting them hang back or let loose as necessary.The trial of the evening came during a short acoustic set that lasted less than one song. As the medium sized club crept toward the stage to hear Lynne play solo, the less interested parties continued to yammer loudly in the corners, cellphone ringers ablaze. The band was called out to overshadow the noise, and, after finishing up their tunes, the night was brought to a beautiful, though abrupt, close. Music34002@blogcritics.org Thu, 11 Aug 2005 07:30:44 EDT http://blogcritics.org/archives/2005/07/05/074453.php Michael BenningIt's always refreshing to see a group of shaggy haired youngsters defy expectations. While most musicians their age are turning out emo, punk, or nu-metal, The Redwalls have taken a step back and crafted tunes based on their influences: The Beatles, The Faces, and anything British in the sixties.It's not that The Redwalls can't do the emo thing, because they can. They're just talented enough to skip straight to drafting catchy, classic rock influenced songs.De Nova, the second album from the Chicago four-piece, is a mature work for a group containing only two members able to legally purchase alcohol. Logan and Justin Baren (guitar and bass), along with Andrew Langer and Been Greeno (guitar and drums), spent most of their early days learning cover songs of British Invasion bands. This influence shows through in each of the dozen songs on De Nova. Fortunately, rather than simply seeming like a tribute to a better time in rock, their idolization has pushed them to channel their love for music into a gleaming homage.The Redwalls manage to perform complex musical arrangements while deftly carrying intricate harmonies in the foreground of each of the album's tracks. "On My Way" and "Hung Up On The Way I'm Feeling" have them stretching their rock brains and brawn, standing as solid and evolving works. "Build a Bridge" and "It's Alright" take things back a notch, working as tributes to straightforward old-school rock radio in the vein of early Beatles. Catchy hooks run rampant on De Nova as well, making tracks like "Thank You" good for repeat listens.The Redwalls have a unique vision for their age, and with De Nova it's apparent that that foresight is moving them in the right direction. Despite this, songs like "Falling Down", however catchy, prove to the audience just how young they are. The establishment has always been an easy target, and in this case is too easy a target. Hopefully, just like their influences, The Redwalls will continue to mature and evolve, because right now they exemplify rock more than any of the emo and nu-metal acts around. Check out The Redwalls' official site for tour dates. Also: Check out the sampler. Check out their videos. Music32038@blogcritics.org Tue, 5 Jul 2005 07:44:53 EDT http://blogcritics.org/archives/2005/06/27/065207.php Michael BenningSleater Kinney brought the rock at their sold out show in Cleveland's Beachland Ballroom. They did such an excellent job with their frontal assault, in fact, that it almost doesn't seem necessary to describe the number of songs the girls took on with ferocity over the course of the night. The thunderous grooves emanating from Janet Weiss' drums. The Grace Slick wail Corin Tucker delivered, shaking the audience to bits. Carrie Brownstein, with her raucous guitar riffs and bouncing demeanor. Everything seemed to fall into place for the band who are currently on tour in support of their latest release on Sub Pop records, The Woods. Starting off their set with the opening tracks from The Woods ("The Fox", "Wilderness"), Sleater Kinney took no time capturing their audience's attention. Following the new tunes came "One More Hour" from 1997's acclaimed Dig Me Out. The mixture of classic and new has become a concert staple, but in this case it shows that their music stands together as a solid body, and their shows haven't dulled because of it. While the audience was mostly made up of young adults and those not yet distant from their tweens, there was no target demographic in the house that night. This lack of social concentration was an open declaration of Sleater Kinney's musical progression, moving past their fundamentalist riot grrrl punk ideals and choosing instead to create an openly appealing, brutally haunting sound. With this transition they may have taken upon a wider fan base, but in the end they have become more fascinating, and this has crossed over to the live show. Ultimately the Beachland show followed a fascinating circuit. There was no steam lost over the course of the evening and new favorites "Entertain" and "Rollercoaster" made sure of it. On the encore front, the cover of "Mother" garnered huge applause while "Dig Me Out" left everyone satisfied, though salivating for a quick return. If you have a pulse and are within driving distance of a venue hosting them, be sure to check Sleater Kinney out. Music31641@blogcritics.org Mon, 27 Jun 2005 06:52:07 EDT http://blogcritics.org/archives/2005/05/30/195829.php Michael BenningWe could all use a bit of leadership on the financial front. Credit cards are rampant&#8212every store offers one these days&#8212and carrying debt is as common as carrying a set of keys. Taking control of your financial life can often seem an impossibility. Fortunately for us, Shannon Plate, the president of Everyday Money, offers us Degunking Your Personal Finances, a new book out from Paraglyph Press that dissects every aspect of modern-day finances and offers friendly, empowering wisdom to help us take control.Like all good comprehensive financial guides, Degunking Your Personal Finances starts by explaining the fundamentals: understanding the guide, finding where to start clearing things up, organizing your finances, and understanding your entire financial picture. The more-complex issues (bankruptcy, homes and mortgages, budgeting, credit reports) are left to their own detailed chapters.While there will always be universal truths to finances, modernity is extremely important as our lives are drastically different than they were ten years ago. Plate discusses cell-phones, the rising costs of basic entertainment, and the dangers of credit cards for students. Explanations and scenarios are offered for each, and, as we all miss the obvious occasionally, a common sense analysis that serves as a voice of reason. Why don't our pre-teens need cell phones? Why don't we need that 300-dollar DVD player? Plate gives you the indisputable answers to these questions.Degunking Your Personal Finances is comprehensive enough to help you dig your way out of debt or find that little bit of extra cash you may not have known was there. It's important to understand, though, that there is no guide that will whisk your loans away the second you purchase it. Plate makes this apparent right from the start with her "Degunking Sheet." From a measly fifteen minutes all the way up to a half day, there are different exercises (nicely arranged by how much time you have) you can do to save money, pay off bills, understand your debt better, and plan for the future. All of these items take effort, though, and Plate takes a large portion of the load off by helping you every step of the way. Books30331@blogcritics.org Mon, 30 May 2005 19:58:29 EDT