The National 'High Violet' Review - Originally Posted on Pop Tarts Suck Toasted

Vanilla as a flavor(and as a euphemism for a certain taste of art or personality) is underrated. There is something about clean, solid, reliable, singular taste that often is far more satisfying than all the bells, whistles, hyphens and sprinkles you can add to a sound or a sundae. Many people have found the National with their steady tempos and low melodic range to be too vanilla(or in the case of our editor often outright boring). I however have always marveled at their particular flavor of indie rock.

This is plain guy rock that understands the working class frankness of Springsteen and the baroque charm of early R.E.M. It takes the urban clatter and conversational vocals of the Velvet Underground an combines it with the austere layered arrangements of big league postmillennial indie(re: Arcade Fire and Sufjan Stevens). If this is vanilla it is because the National have taken the sums of their parts and made it into a solid flavorful whole that is as singular a sound as any American rock band has hit on in decades.

High Violet has all the things you expect from the National, really the only things you expect, and somehow is still able to bowl over expectations. Matt Beringer still mopes and smirks at the nuances and nuisances of modern relationships and dead end jobs. (A great charade considering Boxer has sold 350k copies and he's allegedly happily married.) The band uses their instruments as nuch for atmosphere as for melody and rhythm.

While the steady build of fans and press coverage assures that this will be the National's biggest album yet, it is also worth noting that the record also owns more of it's 4AD pedigree than any of their previous records. "Anyone's Ghost" plucks along with a surprising post-punky bounce. "Terrible Love" is practically drowning in spacey noise; the Cocteau Twins would be proud. Almost all of the songs hint at the broken everyman melodrama that the Red Housepainters once traded in(but then that's nothing new). The seeping influence of minimal composers and noise sculptors is obvious and acts, to keep the Springsteen comparison going, much the way Phil Spector's Wall of Sound did for the Boss. It deepens the frank simple sons making them just the right balance of epic and ghostly.

For me the album highlight is "Lemonworld" a song that could have felt like a miserable dirge but ends up feeling sweet and breezy(if a bit somber). The drums find a place between groove and texture, the guitars chime making the subtle melodic shift between the verse and chorus seem nearly like a genuine pop moment. The lyrics veer from cryptic to weirdly specific, and are ultimately as relatable or inscrutable as you choose to hear them.

The sound of the National is at first hard to parse. Rock bands often wear a new sound or idea like flair on their coats, or feather boas. It's ornamental and ultimately superficial. Everything the National does has been puréed so that it can pass muster in the tight frame of "what the National do." The results are most definitely not boring, they are in fact one of the tightest most original sounds in modern rock. High Violet is their current high water mark and my current pick for the best album I've heard all year. Get it, enjoy it with some Häagen-Dazs.

My Crush On St. Vincent Grew Three Sizes Today

I am quite fond of Pitchfork's guest list feature. My theory is and has always been, there is no one better to recommend things than people making things you already like. Eek, that's cumbersome. I am also quite fond of St. Vincent (otherwise known as Annie Clark) and her album Marry Me. Though now that I've read this guest list I'm going to be A LOT more into it.

Apparently the album title (once again Marry Me) is not a comment from a mid-twenties gal hungry for commitment. It is instead a reference to the greatest live action television show ever Arrested Development. I smiled and laughed and thought for minutes about how newly brilliant album title was.

Quote Annie Clark: "I only named it Marry Me because I thought Babysit Me was a little too awkward.

I mean it's-- I think, like, really good art is-- you come back to it over and over again and you always get something out of it, you can always enjoy it. And there are so many dimensions to it, there are so many levels to enjoy it. It's like the fucking Mona Lisa, the best-- well, I don't even know if I like the Mona Lisa-- but that's the best thing ever."

I'm glad she went with Marry Me over Babysit Me, subtle and beautiful.

A Night at Glasslands

Last night I visited Glasslands and to be honest I didn't feel terribly comfy. I almost felt like me and my friends had showed up at someone else's private party. We had a great time but it seemed peculiar that the show (a return home post tour for both performers) wasn't more crowded and rowdy. Call it Wednesday night syndrome. Luckily the newly legit Glasslands has comfy couches and a really great decor. The bands were pretty swell too.

High Places (Glasslands) 91% - The most inventive young band in Brooklyn gets no credit. Well at least no press. I've seen this band, with their totally singular sound, five times this year and every time I find them as special and refreshing as the last. Here's hoping the blogs jump on these guys soon.

Eats Tapes (Glasslands) 83% - This band is a really excellent electronic duo with a Dan Deacon endorsement. Their set (the half I saw at least) was very good and they started with a game, to warm themselves and the crowd up.

2 Blog Items Relating to 2 of the Best Indie Acts of the Year

Item Number 1) My Brother interviewed one of my early favorites for Entertainer of the Year(Seth Rogen and Judd Apatow are looking pretty good in this race as well) DAN DEACON! While in England last week. They talked about his new album and upcoming DVD, delved into some Wham City history and Dan even gives a couple of quick top 5's. Check out the interview!

Item Number 2) Deerhunter's Bradford Cox dropped his 3rd Mix on their blog today. If it's half as good as the last one, it's worth a listen.

I'm Mp3Jing This Saturday at Cargo!

So, the second Saturday of every month I play music at Cargo Cafe. Cargo is a wonderful bar and eatery that has a late night menu and an excellent clientele.

I start at 11pm and I go really late. Plus it's a five minute walk to the Staten Island Ferry!

Cargo Cafe 120 Bay St Staten Island, NY.

The Impending Pavement Reunion

Not if but when?

Has there ever been a band as frank and ho-hum about the idea of reuniting than Pavement. The internet is littered with the fellows in the band's admition that the idea has been discussed and will all but certainly happen at some time. Amongst the most elusive admitions is Mark Ibold's recent New York Magazine quote: “Our booking agent seems to think we’re going to be doing a reunion tour sometime in the next couple of years,” he says. “But it’s definitely not official” (Article.)

I suppose the question is what does this change about the idea of a reunion? And what does it say about Pavement? Are they just the most regular guy rock band ever? Do they have a terrible sense of how to build drama? Is that the point?

I don't know the answer to any of these questions really but I do know that the discussion has rather than make me cynical about the reunion kept me keeping a close eye on their every move. Perhaps, in that sense this is the saviest way to build buzz amongst a normally cynical fan base. Hmmm... good work fella's.

Awesome Cover Art/An Album I'm Looking Forward To Scout Niblett's This Fool Can Die Now

Cat Power lost her angst. She also lost her quirky sense of self. Don't get me wrong The Greatest is an excellent album and an artistic triumph, but without consulting her fans Chan Marshal has had some fundemental changes. So where does your average indie kid go for bruting quirky heart breaking indie music sung by an effective female singer?

Scout Niblett! That's where! (Or who.) She's quirky, Will Oldham shows up on her forthcoming album plus she has lazer eyes on the cover! Oh and that album title also awesome: This Fool Can Die Now.

Not only is she incredibly good and indorsed by venerable indie label Asthmatic Kitty she's also been covered by label mate Jens Lekman. Her last album I Am was perfectly stark and charmingly slap dash, this new one should be substantially more fully formed as Steve Albini is manning the decks.

All Tomorrow's Parties Please Come To New York

We here in New York are spoiled aren't we? Every band worth there salt blows through on their tours, often twice (often half a dozen times). Through out the summer there is a world of free music to explore at least three days a week. What more could New York want from the concert presenting world?

How about a big festival. A few years ago it seemed this would happen with the arrival of Field Day. Well several bumps in the road and a soggy day at Giant Stadium later and it was clear we would not soon have Field Day. Soon after it seemed that Lollapalooza might make a stand here with headlining slots by Morrisey and the Pixies, can't beat that in New York. Ooops, cancelled because the rest of the country was uninterested in the tour. As a result the fest lives in Chicago a city with about 3 major festivals a summer.

The one that sadens me most though happened around the same time as the above mentioned. There was at some point to be a Stephen Malkmus curated All Tomorrow's Parties in New York. I remember reading the news and being so excited at the prosepct of Swell Maps reunions or CCR cover bands that Malkmus would surely guarantee. I don't really recall why this couldn't happen and to be honest I'm not interested. New York deserves and should demand our own All Tomorrow's Parties. After all what city has done more to define the asthetic of ATP than New York? Why shouldn't we have one?!

I propose that we all write to ATP on their MySpace and demand a New York Festival!

Possible Curators:
Stephen Malkmus
Yo La Tengo
David Cross
Les Savy Fav
Stella
John Cale
Tom Waits
Rza
Legs McNeil
Yamataka Eye
Tom Scharpling

Murray Record Release Extravaganza This Saturday!

Murray is Staten Island's finest rock band probably ever. They are a well oiled killing machine with an excellent post-punk/new wave sound that is referential without being pastiche. I'm very find of their new EP, I was lucky enough to be among the first to hear it. You can hear some of it at their MySpace.

This Saturday the band will begin selling the record at a big showcase taking place at Staten Island's own Alice Austin House. It's going to be a hell of a show with cool art, DJs, a short film, and a performance from the band. I highly recomend you go. Sadly I don't have the chance as my cousin's wedding is that day. Go in my place!

Didn't get Sonic Youth tickets? I can assure you your average Sonic Youth fan could certainly fall in love with this band. Plus when was the last time you explored Staten Island? Probably never huh?

Times New Viking, A Band That Makes Me Want To Eat Bic Lighters

In a Good Way? In a GREAT WAY!


One might be lead to believe Pitchfork also likes them. But why then, I ask, why would Modest Mouse's latest snooze fest (with a 7.8) rating crack the recommended release pile, while the superb Present the Paisley Reich with an 8.2 be left to flounder as the third review of the day? Why?

This band is amazing. They also have intellectual currency as they get to reignite the ol' lo-fi as asthetic choice debate. (Any band on the same label as Cat Power can probably afford to have their albums mastered.) What else do they have? How about another album (their debut) that is called Dig Yourself? How bout super cool indie hotties for us all to gawk at? (2 guys and a gal to satisfy both gender preferences.) They have a Guided By Voices pedegree, comming from Ohio and releasing the two aformentioned albums on Siltbreeze Records and making the leap to Matador. On top of all that they have my favorite band name in foreva'.They are sure to be hot shit if you travel in circles that imbibe illegal substances and don't mind a bit of hiss in their music.

So why do I wish to eat cheap lighters when I hear this band? I don't know. I guess it's sort of a turn of phraze(?).

Times New Viking on MySpace Page.

They also have an official site.

Winter 07 Megamixxxxxx!!!!! Volume 1: Still Crazay After All Deez Beers

It's almost the quarter year mark. Which means it's time to make some sort of list. But this time I made a mix. These are the songs of the year as of now. ("Oh but Long Blondes and Crystal Castles came out last year," you say? "Shut up," I respond.)

1)"New York I Love You" LCD Soundsystem
2)"Ocean of Noise" The Arcade Fire
3)"Double Vision" The Ponys
4)"Nag Nag Nag Nag" Art Brut
5)"Run The Numbers" El-P Featuring Aesop Rock
6)"Love & Caring" Crystal Castles
7)"Strange Lights" Deerhunter
8)"Comfy In Nautica" Panda Bear
9)"Then He Kissed Me" Asobi Seksu
10)"Your Beat Kicks Back Like Death" Jens Lekman
11)"Knife (Girl Talk Remix)" Grizzly Bear
12)"Bricks Crumble" Dalek
13)"You Could Have Both" The Long Blondes
14)"Patterns of a Diamond Ceiling" Marnie Stern
15)"All My Friends" LCD Soundsystem
16) An Habitation Of Dragons And A Court For Owls" Wold

Maybe I'll try and put the songs up so you can listen to em. Probably not, but maybe. I took Besnard Lakes off cause I forgot to put Panda Bear on. Got a problem?!

Something I Missed: I Never Thought I'd Like An Album By A Fellow Named Jay Retard

Back in October an album was released and some (most really) probably dismissed it out of hand. At least you might have dismissed it if you were keyed in enough to know it had been released. It was made by the front man of a sub-par Queers rip off band. It has a fairly horrific album cover. The fellows "last name" is Reatard. Indeed the moniker of his sub-Dwarves home base is The Reatards. All this stacked against him and yet it turns out it might be the best slice of vintage sounding/feeling protopunk since the Exploding Hearts ended their too brief run.

The songs inspite of their brevity rarely hunker down on repetition or lowered expectations. Each is frothy and sweet melodically without losing it's ragged, aggressive swagger. Say what you will about him; Jay Reatard is the real deal and Blood Visions is the sort of album that reveals a depth that the artist himself couldn't of strived for. It's that rare serendipitous brilliance we all wait for.

Jay Reatard has probably shot this album in the foot. I have a picture in my head (perhaps it's a crude stereo type) of a number of "real" punk kids (the leather jacket and colored hair set) hearing this album and tearing apart it's sincerity and it's amazing sense of melody. I have another equally sad picture in my head of an "indie" kid (listening to Tapes N' Tapes, perhaps a copy of the latest issue of Magnet under his arm) seeing the cover reading the name and never thinking about the album again accept to make himself feel better about how much more "enlightened" his interests are. These are sad pictures because albums like Blood Visions don't come along very often. It's terrible to let them keep drifting by.

Check out Jay Reatard on MySpace.

This album was recommended to me by Paul Bruno, check him out when he DJ's.