2008: Year's best songs

2008 has been a wild ride (I'm still shaking off the Simian Mobile Disco show at Mezzanine and finding my dreams haunted by Crystal Castles) -- and it was packed with some great tracks.  Picking favorites is always tough, but here are the tunes that caught my attention.  Enjoy!

In review -- best albums of 2008

After hearing, seeing, and feeling a lot of new music this year -- I present you with my choices for the year's best discs:  

Tokyo Police Club "Elephant Shell"

[Full Review] 

With their first full-length release, the Canadian teens kick out the indie jams and leave you wanting more.

Kings of Leon "Only by the Night"

The Nashville quartet's beautifully soulful effort translates feelings of loneliness into powerful rock. 

Glasvegas "Glasvegas"

While this album won't be officially released in the states until January, it's worth tracking down an import copy.  Sounds like:  If Keane and Muse had a Scottish lovechild.  

The Raveonettes "Lust Lust Lust"

The Danish duo showcase synchronized guitars and vocals in a manner that manages to sound retro and cutting edge at the same time.   

Santogold "Santogold"

The indie darling from Brooklyn shows she knows a thing or two about soul, rap, funk, r&b, and ballad-crafting -- all on one disc.  

Beck "Modern Guilt"

You can feel Producer Danger Mouse's paws on this release (especially on tracks like "Modern Guilt"), but that keeps it from falling into esoteric territory.  

Death Cab for Cutie "Narrow Stairs"

Excellent instrumentation and deft songwriting make even the longest of songs ("I will possess your heart" is 8 and a half minutes) beautiful to listen to, and turn the shortest songs ("You can do better than me" is 2 minutes flat) into delicate daydreams.  

Girl Talk "Feed the Animals"

Is there any song Pittsburgh's Gregg Gillis can't mix?  Everything from Ace of Base to the Beach Boys to Kelly Clarkson, Queen, Jay-Z, the organ opus "96 tears" and Rick Springfield's "Jessie's Girl"  make an appearance on this album.  

Vampire Weekend "Vampire Weekend"

As much as I want to sideline this group of squeaky clean Columbia kids, they made the first critical splash of 2008 with their self-titled mid-tempo keyboard-infused release.  It is rather catchy.  

Runners-Up:

Bloc Party "Intimacy"

[Full Review] 

Crystal Castles "Crystal Castles"

Does It Offend You, Yeah? "You Have No Idea What You're Getting Yourself Into"

Treasure Island Music Festival: Day One

Do you like neon?
Have you recently stolen a pair of sunglasses from your grandma?
Do your jeans cut off your circulation?
Do you usually think you’re the best looking person in the room?

If you answered yes to these questions, congratulations, you were probably at Day One of the Treasure Island Music Festival.

With an eclectic indie-electro line-up that included UK rockers Hot Chip, Brazilian crew CSS, and French DJ duo Justice, the hipster kids turned out in droves to dance, D.A.N.C.E., and take pictures of themselves dancing.

Mike Relm’s party set was a highlight of the afternoon as the Bay Area mix-master blended Does It Offend You Yeah’s “We Are Rockstars” with the Beastie Boys’ “Intergalactic,” highlighted the “Peanuts” (“Snoopy”) theme, and dropped a clip from “High Fidelity” about how to make a mix tape.

CSS also titillated the crowd with lead signer Lovefoxxx owning the stage in a crazy puffy/furry poncho/dress and outrageous hair-do. Drawing most of their set from new album Donkey, CSS did make time for their disco-darling “Let’s Make Love and Listen to Death From Above” and dedicated their made-famous-by-iPod-commercials “Music is My Hot, Hot Sex” to Obama (whom they said they would vote for, but they can’t vote).

Brooklyn band TV on the Radio seemed an odd choice for an evening set at the fest, with their live show managing to be both sonically daring (with soaring vocals and interesting percussion) and boring (too often relying on repetitive sounds). Joined for a couple of songs by Antibalas on horns, the band knocked out a few tracks from Dear Science, and ended the set with “Staring at the Sun” – the only time the crowd got really excited during the performance.


The night was truly meant for Justice, who electrified the crowd with lights (displaying their signature cross at the stage’s center) and rigging two massive sets of speakers with white and blue bulbs. Mixing from Cross, the duo proudly played “Genesis” and the requisite “D.A.N.C.E.” – much to the delight of a flock of girls who’d opted to stand on a table in the middle of the huge crowd, blocking the view of everyone behind them. That’s hipsters for you.

The Man, The Myth

At the US Air Guitar Championships in San Francisco one man emerged victorious.  

Read all about it here:

http://groundcontrolmag.com/detail/2/1178

It was just announced that Hot Lixx Hulahan has now been named the world champion.  In case you need to see it for yourself...

Reality Bites: Five reasons to put down the remote control

This summary is not available. Please click here to view the post.

About last night: The Breeders

http://groundcontrolmag.com/detail/2/1023/

When Bad Movies Happen To Smart People

I had to walk out of “Smart People.” Director Noam Murro’s dramedy about an unlikable aging widower and college professor Lawrence Wetherhold (Dennis Quaid) had reached its most melodramatic moment, forcing Lawrence and his doctor-girlfriend Janet (Sarah Jessica Parker) into a fabricated argument in the airport security line. I couldn’t watch any more.

Like so many films that long to make eloquent statements about relationships, “Smart People” had fallen into a tired trap – eschewing thoughtfulness and subtlety for action and plot twists. It’s rarely the plot that makes a movie.

For narcissistic English professor Lawrence Wetherhold, life it something merely to get through. He’s already lost the love of his life, his academic writings are continually rejected, his relationships with his temperamental children are strained at best, and when he lands in the hospital after falling off a fence (he was trying to get his car out of the college’s impound lot), he’s reached an all-time low. For someone presented as so demonstrably loathsome so early in a film, it’s hard to feel sorry for him.

While in the hospital, Lawrence is attended to by Janet Hartigan (Parker), whom we come to find out was a former English student of his, burned so badly by his gruff and uncaring cynicism, she dropped English to pursue medicine. And yet, in order to adhere to cinema’s formulaic rules, Janet and Lawrence agree to go out and start a relationship.

Meanwhile, Lawrence’s adopted slacker brother Chuck (Thomas Hayden Church) is brought in as a driver for Lawrence, since he is under strict orders not to get behind the wheel. While Chuck adds a much-needed dose of humor, he too comes off as a bit dislikable. However, his despicability pales in comparison to what we feel toward Lawrence’s daughter Vanessa (Ellen Page). A straight-up right-wing know-it-all brat, even the wonderful Ms. Page cannot save this character. In the film’s second half, when Vanessa has let her guard down and is at her most vulnerable, we just can’t feel for her. It’s too late.

While the dialogue in the first half is well-crafted and the conventions of set-up are in place, it is really the characters that disappoint. It is hard to feel empathy for any of these people – they may be smart, but they are more likely smart alecks.

I would love to tell you how this film ends. I’d love to say when things get resolved we find that we do like these characters, we relate to them, we are them. But the truth is, I’ll never know. When the final credits were rolling, I was already at home.

Priceless Entertainment: Rachael Ray, Bad Jokes, and Japanese Ska-induced Riots

There was a line extending up the block, past two venues and a shady bail bonds office, and nearly into the next street’s crosswalk. Word had gotten out that ubiquitous celebrity chef and one-woman brand Rachael Ray was serving lunch at Beauty Bar.

Apparently the invite said something along the lines of “Rachael Ray, celebrity chef and indie music lover, invites you…” Indie music lover? And this whole time I thought her only love was for Wheat Thins.

We found our way inside where DJ Efren Ramirez (still coasting on his “Pedro from ‘Napoleon Dynamite’" fame) was spinning, but we continued on to the stage at the rear patio. The area was slowly filling, free margaritas were flowing, and the media empress herself was floating about in a sea of flashbulbs. Her food – ribs, mac and cheese, and bite-sized burgers – was being doled out and oh, did I mention her husband’s band (The Cringe) would be playing?

I have yet to listen to the free CDs they were giving out to see if the music is fittingly cringe-worthy – so for the meantime, let’s just say that it is.

Meanwhile, Autovaughn was wrapping its set and when the applause settled, I happened to again bump into our family friend. “Wow, you came to see Autovaughn!” he said.
“Sure,” I said. “There was a long line to get in because of Rachael Ray.”
“Who’s Rachael Ray?” he asked.

Apparently he’d been standing right next to the indie music lover herself during Autovaughn’s set and wasn’t quite sure why everyone was so excited to snap pictures of the hostess.

We boogied on outta there and headed up to the less-glitzy festivities at Waterloo Park. Making our way to Stage One, we were promised an afternoon of comedy. But what we got was some of the most groan-inducing repartee I have perhaps ever heard. This is, and I am not making this up, one of the jokes told by a showcasing comedian:

“The previous comedian mentioned Courtney Love. What’s glassier – Courtney Love’s stare or the glass floor Courtney Love walks on? The answer is C: Philip Glass.”

Yeah. I’m not sure I have any words to adequately describe just how bad the rest of the jokes were.

We wandered around for bit looking for something interesting, and found exactly that at Emo’s – an all teen girl Japanese ska band called Oreskaband – or maybe Ore Ska Band – I’m not really sure.

The thing I am sure about is how quickly a group of Asian girls in ties could motivate a group of 20-something boys to start a dance-induced mosh pit through their high energy tunes. Dancing and tooting on trumpets and saxophones, the band put on an impressive show – and all props must go to the amazing electric guitar player. She truly rocked.

To properly finish off a highly weird afternoon, we paid a stop to the Liverpool Sound City showcase – which could have easily doubled as a sauna. We caught a set by The Rascals – a UK group that’s practically indistinguishable from the Arctic Monkeys – but our real want was to see The Wombats.

While their full album may still not be available in the states, if you can get your hands on a copy of The Wombats’ “A Guide To Love, Loss, and Desperation,” it’s definitely worth listening to – many times. The album’s breakout hit, “Let’s Dance to Joy Division” isn’t a question, it’s a command. Boogie.

Getting Offended: The Ting Tings, Santogold, Shout Out Louds, and She & Him

An afternoon at Stubb’s quickly turned into an evening at Stubb’s – the first part of it anyway, as we scurried to catch the end of the UK duo The Ting Tings. We were running a bit late, as I’d been caught up having coffee with a friend of the family who recommended I check out The Heavenly States (from Oakland) and a band called Autovaughn. I told him I’d make a note of it.

Hearing just the last couple of songs from The Ting Tings, it seemed that they’d be best served by picking a sound and style and sticking with it. And, if I might suggest one – the high-powered rapped-over electrorock they cranked out at the end on “That’s Not My Name.”

The Tings were quickly followed up by Brooklyn diva and would-be MIA successor Santogold who was flanked on either side by white sunglassed dancers in black and white parachute-style pants. Backed by Diplo who was running the mix, Santogold was undoubtedly the happiest person in the venue and her incessant smile let you know it. Though when she easily belted out “L.E.S. Artists” everybody was happy to smile.

We were in the mood to dance and a quick glance at our watches let us know that we had just enough time to ask ourselves Does It Offend You, Yeah? In the half-lit back part of Emo’s heads bobbed and booties shook when the British rockers proclaimed “We Are Rockstars.” They were rockstars and we were anything but offended.

To change things up, we powerwalked to the Parish on 6th Street for Swedish smoothies the Shout Out Louds, who delighted with stellar versions of “Impossible” and “The Comeback.” It was the plan to be at the venue early to make sure we got good spots for one of the fest’s hottest tickets – the Zooey Deschanel / M. Ward project, She & Him.

When a doe-eyed starlet joins forces with an indie darling, tongues tend to wag, and we were glad to have our curiosity justly satisfied by seeing the duo up close. With folk/country sensibilities and simple songwriting, the collaborators seemed to pull it off – with some assistance from sometimes Bright Eyes bassist Stefanie Drootin. Note to Hollywood: Have a part that requires an actress to sing? Cast Zooey. Nothing could have saved “Spiderman 3” – but Dechanel’s singing far surpasses the likes of Kirsten Dunst.

Spin Cycle: An Afternoon With The Raveonettes and Vampire Weekend

Choosing to make good use of our status symbol invite-only SPIN party badges, we headed to Stubb’s to catch Ben Jelen’s hyper electric fiddling as he wrapped a sweat-soaked set. It was hot and the incessant axe swinging of The Whigs made things feel hotter. Folks had been buzzing about the Atlanta, GA band, but musically it was hard to differentiate song from song or chorus from melody. They may have just taken turns playing expert guitar solos, I’m not really sure.

The band I was really here to see was The Raveonettes – those formerly Danish hipsters whose “Lust Lust Lust” disc I’d been spinning quite frequently. The two front members each wore big ‘80s era sunglasses and Sharin Foo donned perfect classy old-school hipster garb with her high-necked red blouse and fitted black skirt. “Hallucinations” was a definite standout, while the danceable “You Want The Candy” was a solidified hit. The band chose to end on a more somber not with the ethereal “Aly, Walk With Me,” and may have been better served by slotting “You Want The Candy” in here.

The so-called “it” band that people were packing in to see though was the collegiate quartet Vampire Weekend. The former Ivy Leaguers had made a couple of appearances in SF in early February and subsequently sold out their late March shows. Their brand of upbeat melodies often sound like something you’d hear on a funky carousel, and while “A-Punk” is a solid track and a worthy single, one can’t help but wish there was a little more to get excited about. Of course, for a band that’s already played SNL and landed the cover of SPIN while still in its infancy, they must be doing something right. Even if that something is marketing.

Hipster Pants and Intense Sincerity

Eager to embrace our first night at SXSW, we ran to Cedar Door to catch LA dance-rockers Iglu & Hartly. Each of the band members had taken special care to wear the tightest pants they could find – one of the lead singers donning brilliant orange ones topped with a low-cut top featuring cartoon drawings and exposing an impossibly hairy chest. Despite their seemingly constricted legs, they were ready to rock the crowd and justly did so with electro strains and a rapping style borrowed from Mickey Avalon.

It was a 180 degree turn then, to walk into Mohawk Patio for the mellow stylings of Wisconsin’s Bon Iver. With songs infused with a genuine pain and far-reaching vocals, the group tried to woo the crowd into chanting “what might have been lost” before the drummer lost his mind and broke out the intense beats.

It was a packed house at Mohawk, but the crowd was there for one reason: Jens. With a full band, including a tiny Tinkerbell of a bassist, a bongo player, fiddler, cellist, and electronic mix-master, Jens Lekman gave a rousing performance, himself alternating between guitar and keyboard. He did a stellar version of “A Postcard to Nina” – complete with full story details further explaining the song, and let the mix-master work in the chorus line from Chairmen of the Board’s “Give Me Just a Little More Time” on “The Opposite of Hallelujah.” The Swedish sensation is definitely here to stay.

Third Time’s A Charm

At 5:30am, when I was half-way through my shower, I got a call from American Airlines that my flight had been delayed. 15 minutes later I was knee-deep in anxiety trying to re-schedule my now cancelled flight. Having been excited for weeks knowing I would be making my third pilgrimage to Austin, Texas for the South by Southwest Music conference, I was befuddled at the possibility of not going due to an airline failure.

It was bad enough that we’d already been bumped from the Sheraton due to a hotel overbooking mishap, but the very thought of staying home was unbearable. So, I did what any die-hard indie music festival lover would do -- woke up my roommate with faux-kidnapping flair and hightailed it to the airport.

We talked our way into bulkhead seats on the next flight and finally, at 8pm (5 hours later than our scheduled arrival) we’d made it to Austin.

We walked forthrightly into the convention center to pick up our badges, and were flanked by neon images of a pretty-boy band beaming from multiple TV screens broadcasting the concert going on in the room next door. “Who is that we asked?” and consulted the schedule to see that it was, of course, Hanson.

We’d just traveled 1500 miles to get to indie rock’s yearly keystone fiesta and this is what we get: Mmmbop.

Texas Adventure 2008: SXSW

With the South by Southwest Music Festival merely a few days away, I can hardly contain my level of excitement. I been waking up dancing to the sounds of Simian Mobile Disco and White Williams, playing The Wombats’ “A Guide to Love, Loss, and Desperation” and The Raveonettes’ “Lust Lust Lust” on repeat, and putting the spit shine on my cowboy boots. A trip to Austin, TX demands it.

In preparation for my adventure, I present a special pre-SXSW playlist of what has me most excited.

Songs I can’t get out of my head: Vol. 8

Hot Chip



Hot Chip – Ready For The Floor
This track from the UK electro-rock group that gave us “Over and Over” and “And I Was A Boy From School” is the prime dance cut from new album Made in the Dark. If there’s one thing Hot Chip surely knows it’s how to get a song playing on “repeat” in your head – and this song is a perfect example. Just try to listen to it without singing along and shaking your hips.

The Lashes – A Pretty Girl is Like a Melody
The Lashes full-length release Get It drops soon, but this is a sneak peek at the “powerpop” of this Seattle outfit. Once you get your hands on the album, give “Wanna Girl” a spin. That pop is powerful.

The Helio Sequence – Keep Your Eyes Ahead
Getting ready to play Bottom of the Hill at SF’s NoisePop fest, this track from the Portland indie rockers is repetitively catchy. If it sounds like something borrowed from The Shins, you won’t be surprise to learn they’re label-mates on Sub Pop.

Yeasayer – 2080
The first cut off their “All Hour Cymbals” release, this track has taken Yeasayer to the top, and it remains that album’s strongest. Their brand of sleepy esoteric prog rock shines with melodic vocals and carefully plucked guitars. The Brooklyn four-piece has been touring in the states with MGMT, but is taking off for Europe toward the end of the month.

Songs I can’t get out of my head: Vol. 7

The Virgins






The Virgins – Rich Girls
The story goes that lead singer Donald Cumming was living in New York and writing poetry and no one was listening – so he set his words to music, and before he knew it, his band, The Virgins was off and touring. Now on the road with Ra Ra Riot, we caught them opening for Tokyo Police Club in October. This track, featured on their EP, blends Strokes-y guitars with a super-funky bass and a vocal track that sounds like it could belong to the Arctic Monkeys.

Two Gallants – Despite What You’ve Been Told
If there’s a standout track on 2Gs’ moody self-titled album released this past September, it would be this one. Here the lead vocal wail is complemented perfectly by a banjo-sounding guitar, and it’s rather catchy. The video, which features an aging clown, is genuinely weird, but you might catch a glimpse of a few San Francisco landmarks.
Expect to see the SF band at SXSW.

Iron & Wine – Innocent Bones
There’s a reason Iron & Wine’s “The Shepherd’s Dog” ended up on so many 2007 “best of” lists – its beautiful mellow sound has all the makings of a soundtrack for a lazy Sunday afternoon, or perhaps an artsy indie coming-of-age movie where the characters take a road trip to “find themselves.” I can see that too. This track is simple and delicate and deserves at least a couple lazy afternoon spins.

Hot Challenge – Wine
With the electro sensibilities of Hot Fuss-era Killers, this track from SF band Hot Challenge works some synth into the mix. They’ll be at Great American Music Hall February 2.

Les Savy Fav – Patty Lee
This Brooklyn four-piece (whose members met at RISD) has become well known for their live shows – thanks largely to the clothes-shedding antics of lead singer Tim Harrington. (Catch them in SF April 27th at Great American Music Hall.) This track from their “Let’s Stay Friends” release is less hard-edged and features falsetto-ish vocals, but generally sounds quite similar to Against Me’s “Thrash Unreal.”

Songs I can’t get out of my head: Vol. 6

Operator Please

Von Iva – LaLa

When this hard-rocking trio of SF girls opened for Imperial Teen last month at the Independent, I was duly impressed – and not just because the lead singer jumped on the drum set in a tight dress and high heels.  This signature track bemoans the superficiality of Los Angeles.

Operator Please – Leave It Alone

There’s something oddly infectious about this effort from the Australian five-piece Operator Please.  The lead singer’s vocals are reminiscent of a huskier Blondie, but the track is a stand-out for its rockin’ violin.  

The Heavy – That Kind Of Man

If a song can be a mode of transportation, this groove offers time-travel back to the 70s.  Pick your afro and listen to this funk & soul groove. 

White Denim – World As A Waiting Room

Issuing a five song EP, Let’s Talk About It last year, White Denim has been drawing praise and positioning themselves to take off as a bona fide top tier rock act.  This track, from an album they’re releasing a track at a time online, sounds like it’s taking its cues from the likes of the Black Keys.  Also check out “Paint Silver Gold” from this new release.