My friend has a great NHL Stanley Cup Playoff Blog that you should read.

He doesn’t just recap scores/games/plays whatever.
He writes it from the point of view of all of us over-analytical hockey fans.
He writes with a lot of humour, wit, and hockey knowledge… and he updates frequently!

If you’re following the NHL Playoffs (or more specifically the Canucks), it’s definitely worth reading.

http://puckluck.wordpress.com/

Best YouTube Parody I’ve seen in a long time.

Combines two of my biggest passions:
Pokemon and Pokemon.

You’re welcome.

Thanks to Jason for showing me this amazing video.

“I GOT MA GROWLITHE, AND MA KRIBBYKRABBY”

For some reason, and I don’t know why, I became increasingly interested in Vampire Weekend as the release date for this record neared. I revisited their first album, only to discover that I actually liked it quite a bit more than I did when I first gave it a listen. I watched all their videos and fell in love with their charming, ultimate-college-band image. When Pitchfork released the video for the lead single off of Contra, “Cousins” I watched it about ten times that day.

It was a pretty Vampire Weekend-intense week.

On Contra, the ‘it’ band of 2008 return to prove that their debut was no fluke. And to a degree, they are successful, without forcing themselves to adhere to the winning formula that earned them such high critical praise.

The Vampire Weekend that shows up on Contra is more mature and much more willing to take risks with their song-writing and their arrangements. Not limiting themselves to the familiar tones that were present throughout their debut, Vampire Weekend show that they aren’t afraid to show off a bit, even outside their comfort zones (as demonstrated in the endurance test that is “Cousins”). Contra also contains a much wider range of sounds and stylistic nuances, especially with the addition of electro-based tracks like “White Sky” and “Giving Up the Gun” (however, that isn’t to say that they stray completely from what they know best as “Holiday” sounds like it was written the day after their first record was released).

Because of this, however, Contra does feel disconnected from itself at times. The band seems distracted or unfocused with their songwriting route, offering songs that diverge from the major musical themes that unify the album (like “Holiday” or “California English”).

My biggest complaint about this record (although a little superficial), is that it is not nearly as fun as their debut. While the songs are good, and many of them quite memorable and even some of their best work, Contra takes itself a little more serious than I’d like from a band I associate with road trips to California.

In the end, Contra is more than worth a listen. It is an appropriate and adequate way to start off a year of new music, all the while justifying Vampire Weekend as a significant player in the independent music world.

Favourite Tracks: “White Sky”, “Giving Up the Gun”, “Cousins”

I used to love the World Junior Hockey Championships.

It was my favourite part of the winter break.

However, courtesy TSN, it has become a huge Canadian circle jerk.

Which is why I’m glad the USA won.

Anyways, my friend Jesse posted a great blog, expressing a mutual disapproval of the WJHC. He is much more hockey-smart than me, so he articulates his points much more efficiently then I could.

check it out:

http://popquizhotshot.wordpress.com/2010/01/06/14/

Jamie

10. Veckatimest – Grizzly Bear

For my first real introduction to Grizzly Bear (2007’s Friend EP doesn’t really count as it’s full of covers by other bands), Veckatimest proved that the hype surrounding this band was completely justified. “Southern Point”, the album’s opener, poses as the album’s manifesto, embodying all of the elements that make this album as good as it is, most notably Grizzly Bear’s mastery of subtlety. The most straightforward parts of the album, like the plunky key line in “Two Weeks”, pose as a tasteful foreground to the underlying complexities that make each track on this record infinitely interesting. By managing to retain a certain level of ‘hook’ to their songwriting, Grizzly Bear manage to create a successful balancing act with Veckatimest, without sacrificing depth or aesthetic.

Favourite Track: “While You Wait For The Others”

9. XX – The XX

All year I had been bombarded with this band, without actually hearing them until recently. XX is a record that screams simplicity, relying heavily on lush, flowing vocals, thickly reverberated guitar lines and a stable, consistent back line. Not to mention the adorable lyrics complete male/female vocal dynamic that make The XX an attractive band. Despite the vast amount of bands that engage a similar formula, XX doesn’t immerse itself too far into gimmicky indie-pop, which places it above the rest.

Favourite Track: “Islands”

8. The Pains of Being Pure of Heart – The Pains of Being Pure of Heart

For a band that has thickly distorted guitars on most of the songs on this record, The Pains of Being Pure of Heart are anything but heavy. All of the songs on their self-titled record are light-hearted,  noise-pop romps that get straight to the point and end before too much complication. The youthful lyrical themes melt perfectly with the barebones production style of this record. Each track is catchy, accessible, and relatable, as the narrow-scope of this album (which in this case shows fantastic stylistic focus) transports the listener back to the perils of being a teenager.

Favourite Track: “Young Adult Friction”

7. It’s Blitz! – Yeah Yeah Yeahs

I read a rumour once that when starting to write their third album, Karen O told Nick Zinner “no guitars”. Well, the end product contains a lot of guitar, but the synth-based intentions remain to produce a dance-rock classic. Opening with “Zero”, the Yeah Yeah Yeahs set the tone for the rest of the album, launching from one dance-rock anthem to another. However, that isn’t to say that the slower tracks aren’t important tracks on the record. Less pronounced in its bass-heavy beats is the flowing “Soft Shock”, while the beautiful “Hysteric” is the highlight for me. This album is much more calculated, demands a higher production cost, and is more fluent in hyper-pop than previous records, but It’s Blitz! doesn’t lose any of the Yeah Yeah Yeahs personality.

Favourite Track: “Hysteric”

6. Merriweather Post Pavilion – Animal Collective

Unlike Strawberry Jam, I found myself less inclined to fall in love with this record upon first listen. However, i would notice certain parts in each song that would keep drawing me back. Eventually, I grew to love it. I understand why Merriweather Post Pavilion received it’s massive critical acclaim: It’s artsy, yet hooky (see “Summertime Clothes”); it’s experimental, yet audibly interesting; it’s complex, but not too saturated (see “Lion in a Coma”). The vocal melodies on this album (which I believe is the strongest point of this band) are ridiculous and the dynamics amongst the vocalists in Animal Collective are fantastic (see “My Girls”). It is probably as glossy and “over-produced” as this band is ever going to get, and it’s still the coolest and most unique band you will hear in the world of popular music.

Favourite Track: “My Girls”

5. Years of Refusal – Morrissey

Now, believe it or not, Years of Refusal was my first introduction to Morrissey as solo artist. I am well versed in his Smiths back-catalogue, but I wasn’t naive to expect Smiths rip-offs, especially so late in his career. It is a pretty straightforward rock record, filled with glorious production quality (I’m a sucker for lo-fi, if you sent me a recording of you singing “Smells Like Teen Spirit” a cappella into a computer mic, I’d probably like it more than you’d think) and snap-perfect song-writing structure. But you don’t listen to Morrissey to listen to Boz and the boys, you listen to a Morrissey record to hear the mopey crooner’s luscious voice and listen to his amazing (AH-MAH-ZING) lyrics.

Here are a couple of examples:

“I know by now you think I should have straightened myself out/ thank you, drop dead” – “Something is Squeezing My Skull”

(after describing how the narrator breaks his spine he sings:)

“so yes, there are things worse in life than never being someone’s sweetie”

- “That’s How People Grow Up”

“It’s not your birthday anymore/ there’s no need to be kind to you”

- “It’s Not Your Birthday Anymore”

Anyways, I’m sure you see my point. The album is filled with arrogance, self-deprecation, and above all else, unspeakable (and undeniable) truths. I certainly wouldn’t expect anything less.

Favourite Track: “Black Cloud”

4. Animals Are People Too – The Wind Whistles

The Wind Whistles are one of those local bands that you just kind of stumble upon. Before interviewing them, I figured I should brush up on their catalogue. Their first album, Window Sills, was good enough for me to authentically be interested in their other material, which leads me to this record. Animals Are People Too is stripped down, folk/pop, but the songs are incredibly well written. Most of the tracks are short and sweet, but still memorable. With a formula of acoustic based pop, the Wind Whistles run the risk of being boring, repetitive, and predictable. Fortunately, this is not the case and the WInd Whistles capitalize by making an overdone music style sound fresh.

Favorite Track: “Judo”

3. Small Vampires EP – Char2d2

Speaking of bands one just stumbles upon, Char2d2 was a local band I discovered entirely by mistake, having accidentally clicked on their artist profile on the Rifflandia website. Although it is an EP that clocks in at just over 16 minutes, the replay value is enormous. Also like the number 4 record, Small Vampires is full of short tracks, each one cuter than the last. Also, Tegan Quin’s influence as a producer is all over this record as it contains remnants of So Jealous-era Tegan and Sara. But that is by no means a bad thing. Regardless, the Small Vampires EP is a completely satisfying, near-perfect collection of pop music that’ll make you thirst for a full length.

Favourite Track: “Some Will Have to Go”

2. Two Suns – Bat For Lashes

Of all the records I’ve heard this past year, none have felt more painfully honest and  heartbreaking as Two Suns. I read that this album is a vague chronicle/analogy of the demise of her relationship of twenty years (umm… she’s thirty?). When I started to consider this in my listening of this record, I started to notice how frank she can be. However, despite being openly personal on this record, she embraces it in an almost ironic way at times (like singing to Daniel-san from Karate Kid in the lead single “Daniel”, which she cites as her favourite movie). However, the beauty of this record does not rely solely upon the lyrical content. Natasha Kahn has a gorgeous, full voice that seems to be without any limitations in range, which, when coated in  reverb, is haunting and vulnerable. Instrumentally, Two Suns is rich and complex, each song thick with layers of instrumentation not normally found on a pop record. Each song on this record sticks with you, with each one affecting you differently than the last.

Favourite Track: “Moon and Moon”

1. Post-Nothing – Japandroids

I hadn’t been more excited for any other release this year, and it didn’t disappoint. The local boys put together an eight track masterpiece that hits the ground running, and refuses to stop until someone dies of alcohol poisoning. Like other records on this list, this album has a distinctive theme of youthfulness, but unlike other albums that are similar, Post-Nothing takes the perspective of the invincibility of being youth. “Young Hearts Spark Fire” demonstrates this in it’s celebration of those nights where it’s balls to the wall (”you can keep tomorrow/ after tonight we’re not gonna need it”). It’s also full of Vancouver specific references that perhaps make this record more relatable from where I stand (a blunt example would have to be in “Sovereignty” when they sing “it’s raining in Vancouver/ but I don’t give a fuck/ ’cause I’m in love with you tonight”). As a the theme has been for this list, the songs are simple: dual vocals (in unison, not harmony), LOUD guitar, and LOUD drums. They’re straight to the point, and don’t deviate far from it, but still manage to have diverse and memorable moments (the never-ending snare roll into the most anti-climatic drum fill ever in “Wet Hair” is oddly satisfying). The album close, “I Quit Girls” is a perfect track to finish this record on. It signals exhaustion of all the themes discussed on the record (mainly love) to which the boys frankly (in a sweet falsetto) sing “after her/ I quit girls”. The album is intense, relatable, and exciting. Post-Nothing is the most pleasure I’ve ever gotten from being punched in the face.

Favourite Track: “Wet Hair”

Tell me what you think, if you agree or disagree, and feel free to post your own list!

Jamie

]]> http://themodline.com/main/2010/01/07/top-10-albums-of-2009/feed/ 1 http://themodline.com/main/2009/11/30/morrissey-the-paramount-in-seattle-wa-113009/ http://themodline.com/main/2009/11/30/morrissey-the-paramount-in-seattle-wa-113009/#comments Mon, 30 Nov 2009 11:14:53 +0000 Jamie Cessford http://themodline.com/main/?p=1329

So I just saw Morrissey in Seattle.

This was my second time seeing the militant vegan. And I was so excited.

In fact, the whole time I was driving there, I was thinking how I couldn’t wait to get back and write on my Modline Blog about how awesome the show/ he was.

Instead, I’m going to write about the douchebags in the front row that insisted on jumping up on stage and hugging him.

You spoiled a great show.

Now, I like Morrissey, but I’m not but I’m not going to pretend I’m the biggest fan of his solo work. In fact, in my opinion, not one of his nine solo albums holds a candle to any of the four Smiths records. That said, I do love Your Arsenal and I think his 2009 release, Years of Refusal is one of the best albums released this year.

Needless to say I was really excited.

Now, because I’m a huge nerd, I looked up the setlists he’s been playing on this current tour (having seen him already this tour I wasn’t worried about spoilers). He’s been playing about one Smiths single per album. That’s four songs. I would have paid the $62 to see him sing those four songs only, so to me, this concert was a steal.

It started off great, as he tore into a harder, fuzz laden version of “This Charming Man” (felt kind of like Morrissey doing a cover of Death Cab for Cutie doing a cover of the Smiths). He then cut into “Black Cloud”, one of my favourites off of Years of Refusal.

So far so good.

Set continued with a few songs I was unfamiliar with integrated amongst tracks off of his latest, as well as “Irish Blood English Heart”, which was probably the (second?) best song of the night.

He surprised me with a true-to-form rendition of “Cemetery Gates”, probably in my top five Smiths songs ever, and didn’t surprise me with an epic (and loud) version of “How Soon is Now?”.

After a satisfying hour of Morrissey songs, sweetened with these Smith tracks, he leaves, only to come out for the entirely expected encore.

HOWEVER, because these people at the very front of the stage (ADULTS!) seemed to think they were the only people at the show, they decided it would be appropriate to take turns running on stage and hugging Morrissey.

That’s great, because, you know, MORRISSEY RESPONDS SO WELL TO ABUSE BY HIS FANS:

OBVIOUSLY, the Moz left the stage, interrupting “Something is Squeezing My Skull” and cutting the encore short.

So to the jerks who needed to jump on stage and ruin it for everyone else:

I hope you enjoy bragging about hugging a reluctant music star (who probably also things you are all huge douchebags anyways) to people who don’t care.

I also hope you aren’t bothered that you robbed two Smiths fanboys (and I’m sure MANY others) who drove from Vancouver to sit at the back of the highest balcony, and were eagerly waiting for his version of Smiths classic “Girlfriend in a Coma” and his solo classic “First of the Gang to Die” (WHICH ACCORDING TO SETLISTS ONLINE, WERE PROBABLY GOING TO BE PLAYED, ugh).

It’s not like we were excited or anything.

Despite this setback, the show was great.

Morrissey even did his guerilla meat-is-murder schtick (that unfortunately, wasn’t as great as his “I hope that smell of burning flesh is human” speech at Coachella), which everyone loved.

But seriously. I was ready to dance.

Which is what I’m doing now.

p.s. Isn’t the Years of Refusal album art (at the Top) the most bad-ass album art ever?

I became inspired to revisit old Canadian pop-music (from the last 10 years or so), and I came to the realization that somewhere along the way all the wit, personality, and charm was sucked from OUR top40 pop. So if you want to take a break from soulless Canadian top40 music I recommend:

B4-4 — “Get Down”

Who cares if they are three hyper-cheesy, Mediterranean-looking white boys with frosted tips and FUBU jerseys…

This song is amazing for its OBVIOUS lack of subtlety (see: 1:40)

or how about:

The Moffats — “Bang Bang Boom”

For being possibly the wussiest of Canadian rock bands in the late 90s, The Moffats are significantly more badass than EVERY top40 Canadian rock band now. (look at those streaks! look at the pre-pubescent facial hair! aviators! sleeveless shirts!)

And finally (only not really):

Sky — “Some Kinda Wonderful”

This used to be my favourite song. Every band that I ever play in for the rest of my life is going to cover this song.

Want more?

I recommend checking out:

Tal Bachman — “She’s So High”
Len — “Steal My Sunshine”
Sky — “Love Song”
Remy Shand — “Take a Message from My Love”
Not By Choice — “Standing All Alone”

And for non-Canadian content:

Nine Days — Absolutely (Story of a Girl)
The Verve Pipe — “The Freshman”
Eagle Eye Cherry — “Save Tonight”
Sixpence Non the Richer — “Kiss Me”

You’re Welcome

*Apparently Tal Bachman is Canadian. Wikipedia says so. So I say so.

I’ve got a slight rant.

On October 13, I decided to make the long journey to Portland, Oregon to see one of my favourite bands, Brand New.

Sure, I’ve seen this band a thousand times. So I guess travelling to Portland to see them was also a bit excessive (considering they were in Seattle the day before…). Also, I’m not the biggest fan of their new album, Daisy, of which they are supporting. Like it’s not bad, just not their best work. But whatever.

I’ve been a fan of this band since their 2003 sophomore album, Deja Entendu, and their 2006 record, The Devil and God are Raging Inside Me, is one of my all-time favourites. So I felt obliged to my former self to see them on this tour before they broke up. And after seeing this show, I am convinced that the break up of this band isn’t far off.

Brand New was loud and played many of the songs I wanted, so I was generally content with their set. But in my opinion, their performance was lacklustre and front man Jesse Lacey seemed completely disinterested in the material. But what confirmed the inevitable demise of this band was how disconnected they were with the audience. And you know what, I don’t blame them.

The crowd at this show was an awful dichotomy of hormonal teenagers and pretentious college students, all of whom appeared to not go to many shows. Which would explain their lack of show etiquette. For example, during a slow, gut-wrenching version of “The No Seat Belt Song” from their debut, Your Favorite Weapon, the crowd started to clap at double the tempo of the song. This provoked Lacey to forcefully demand the crowd to “please don’t clap”, making the remainder of the track incredibly awkward.

Lacey’s frustration shows that Brand New isn’t detached from their fan base, but that their fan base is detached from Brand New. Their rabid (and I mean frothing-at-the-mouth, RABID) fan base is far too immersed in itself to understand this band, and it shows.

As Brand New grows up and evolves, the group of people that grew up listening to them decidedly stay at the same mental age, blinding themselves of the personal growth that this band has undergone. Which must be exhausting for the band, considering how much more dense their material with each album.

Save for their first two records, Brand New has certainly diverted the brunt of their lyrics from being angry or sad over girls. But these kids don’t see this. For them, the epic ship-wreck metaphor for love that is “Play Crack the Sky” doubles as a great way to impress the ladies on guitar. Also, ”Jesus Christ” is the perfect soundtrack to lose one’s virginity to; they just need to ignore the intense personal critique and bold religious imagery. I’m sure that was the intent when this group of 30 something-or-others wrote these songs, right?

Of course, who am I to judge other people’s opinions?

Mind you, who are they?

I remember when The Devil and God are Raging Inside Me came out, I engaged in a forum discussing the new album. Despite my adoration, I mentioned that I thought the closing track; “Handcuffs” was a weak album closer. The response was harsh. I was the recipient of relentless criticism (most of which was ridiculously juvenile). I was flamed to no end, and ultimately, I was banned from the forum!

I’ve never experienced a fan base quite like it. It would drive me crazy if I were the artist.

But that’s what has bugged me over the last couple days. I know it’s insignificant and I’m over-analyzing it.

It’s just interesting to watch these kids make icons of people who obviously don’t want to be icons.

Jamie