Posts in News
Incredible Concert Over Winter Break
I never thought I would dislike having almost an entire month off from term papers, exams, useless discussion periods, and extreme amounts of reading. Then, I learned about Concrete Frequency. Concrete Frequency is a multimedia concert being presented at the Walt Disney Concert Hall this January (all on dates when I will be shivering with cold in the Midwest instead of basking in the glow of incredible music and the golden rays that shine from the Walt Disney Concert Hall). The performance features classical music, film footage of the city, and raw performances from people such as Zooey Deschanel, Sean Lennon, and Daniel Rossen (of the really cool indie band Grizzly Bear). The music in this concert is supposed to be a ripped-down-to-the-core expose of music about the artists' feelings, experiences, and attitudes towards the city. It is in several parts, Concrete Frequency I, II and III, that are spaced out over the first few weekends of January. This concert would be an experience unlike any other- fusing together media, 8mm film, the philharmonic orchestra, incredible composers, and ethereal vocalists. As William Miller in Almost Famous would say, this concert is going to be "incendiary." For real. So, basically, I need 300 dollars to fly back to Los Angeles for the weekend. and a place to stay. It would be totally worth it.
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Do the m-p-3-4-free
It's no secret there are a few power poppers around the office, so here's one for the fans hot off the MySpace: the Busy Signals. These guys have been up in Chicago mashing pop and punk together for a couple of years now, and they just released their debut LP on Portland label Dirtnap Records. All they've gotta do is cover "You're the Right One Baby" with Jamie Foxx and they've got rookie of the year in the sack.
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It's torrent hunting season
One of the most popular BitTorrent trackers on the net, Demonoid.com, had its site taken offline about six weeks ago, and its situation is finally being explained. Coming only weeks after the closure of OiNK.cd, Demonoid's shutdown has the torrent community in another frenzy. The following message is from Demonoid.com:
The CRIA threatened the company renting the servers to us, and because of this it is not possible to keep the site online. Sorry for the inconvenience and thanks for your understanding.
The site, hosted in Canada (where it was recently announced that downloading torrents for personal use is permitted), provided a large amount of the Internet's torrent trackers (or, basically, the instructions for finding peers from/to whom you can download/upload). While the downfall of the site hasn't yet affected its trackers, the future of Demonoid is obviously unknown, as stated on the site's IRC channel: "Site is down, tracker is up. Expect the site to return, unless we hear otherwise from [the administrator]." This wasn't the beginning of legal trouble for Demonoid, however. Only weeks before its shutdown, the CRIA was pressuring the website. At that time, its trackers also went down but then slowly returned. The site came back online after several days, but it was forced to block all Canadian visitors. The CRIA is also currently aiming at French-Canadian torrent site, Quebec Torrent. Update: The Demonoid tracker is officially down (~4:00PM), affecting hundreds of thousands of files available on torrent websites across the Internet.
Currently listening to

It Dies Today
The Bacchanal Affair
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Guitar Hero Does Not Make You A Real Musician
South Park Guitar Hero Aficionados of the Guitar Hero series of video games (the third installment of which was released at the end of October) were squarely in the sights of equal-opportunity offenders Matt Stone and Trey Parker in this past week's new episode of South Park. In the show, the game serves as Stan's gateway into the heart of rock 'n roll darkness: sleazy record execs, heroin addictions, and shattered friendships. Ultimately, the game also becomes Stan's salvation but not before Stone and Parker land their finishing blow on wannabe rock stars who think their road to fame travels through a video game. The usual South Park conceit is funny enough--i.e. addressing a patently ridiculous idea (like landing a record deal with a high score) with the utmost seriousness. But in the eyes of Guitar Hero fans like myself, the episode is also downright existential. How dare they ruin our fresh-out-of-the-box enthusiasm with intense philosophical quandaries? We're already a self-aware bunch. We realize that the incessant click-clacking of buttons sounds like an Under Armour commercial turned up to 75 rpm and that it's impossible to look cool while strapped in to that miniaturized show pony of a guitar controller. Nope, Matt and Trey have made us feel far worse by pointing out that my quest to score over 300,000 points miming "Surrender" on a plastic guitar facsimile is a hollow enterprise, yet another accomplishment devoid of any cultural value or personal growth (except maybe carpal tunnel). It's incredibly crushing to realize that in the time I spent trying to master a five-button version of "Holiday in Cambodia," I probably could have learned the song on a real guitar. The only real consolation is the fact that I am but a minor grifter in a sea of charlatans, as much of a part of the image-driven music industry as a guy who could actually play the bridge to "Message in a Bottle." Stone and Parker's eloquently-titled salvo "Guitar Queer-o" aside, I think I'll continue to enjoy being a fake musician. Hey, it seems to work for Daughtry.
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'Round About Midnight
So it's past midnight, and certain things only come out about this time. The first is this collection of images, at Henry VIII's wives (http://h8w.net/work/im.html), of iconic twentieth century moments, as reenacted by individuals who probably lived through every one of them. Photo Sharing and Video Hosting at Photobucket Photo Sharing and Video Hosting at Photobucket Photo Sharing and Video Hosting at Photobucket What a way to test your pop culture acumen. Second, up from the 36 chambers of Toys R Us, we've got the Ghostface Doll. Really it's all downhill after that initial doll image and beat, but what a hill it is. Photo Sharing and Video Hosting at Photobucket Hopefully you enjoyed this little show and tell. Maybe it'll be a regular thing, maybe not. We'll see what happens.
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"THE DEATH OF OINK, THE BIRTH OF DISSENT, AND A BRIEF HISTORY OF RECORD INDUSTRY SUICIDE."
Here is a fantastic blog about the fall of OiNK and its prophecy of music industry revolution It's a bit long, but a worthwhile read. There's a section in particular that I want to post below, for it yields understanding to the incentive and opinions behind many of us here at KSCR. "Unlike newspapers, record companies own the distribution and the product being distributed, so you can't just start your own website where you give out music that they own - and that's what this is all about: distribution. Lots of pro-piracy types argue that music can be free because people will always love music, and they'll pay for concert tickets, and merchandise, and the marketplace will shift and artists will survive. Well, yes, that might be an option for some artists, but that does nothing to help the record labels, because they don't make any money off of merchandise, or concert tickets. Distribution and ownership are what they control, and those are the two things piracy threatens. The few major labels left are parts of giant media conglomerations - owned by huge parent companies for whom artists and albums are just numbers on a piece of paper. It's why record companies shove disposable pop crap down your throat instead of nurturing career artists: because they have CEOs and shareholders to answer to, and those people don't give a shit if a really great band has the potential to get really successful, if given the right support over the next decade. They see that Gwen Stefani's latest musical turd sold millions, because parents of twelve year old girls still buy music for their kids, and the parent company demands more easy-money pop garbage that will be forgotten about next month. The only thing that matters to these corporations is profit - period. Music isn't thought of as an art form, as it was in the earlier days of the industry where labels were started by music-lovers - it's a product, pure and simple." Hopefully, the digital revolution will eventually banish money grubbing executives from recycling music as a disposable flavor-of-the-week. In addition, I suggest anyone who believes "indie snobs" are informed not by personal taste but by a self-righteous, just-for-the-sake-of-it rebellion to the "sheep" of pop culture, to read the above essay and then consider the common defense of mainstream music: "Popular music is popular for a reason. It wouldn't be popular if it wasn't good."
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New Thrice: The Alchemy Index Vols. I & II
I've never been that big of a Thrice fan (not that I didn't like them, I just never got into their music - except for their song Deadbolt). Surprisingly I found myself looking up the band on Wikipedia then seeing that they have a new two-disk album out. Titled The Alchemy Index Vols. I & II, the CD released on October 16 is part of a four-volume series (Volumes III & IV will be arriving in April 2008) with a theme following the four elements: fire, water, earth, and air, respectively. Most of the song names (and seemingly the song styles as well) directly reflect the theme that the disk is following. The track listing for these two volumes is as follows: Fire
  1. Firebreather - 4:42
  2. The Messenger - 2:09
  3. Backdraft - 4:08
  4. The Arsonist - 4:13
  5. Burn the Fleet - 3:47
  6. The Flame Deluge - 3:28
Water
  1. Digital Sea - 3:44
  2. Open Water - 3:47
  3. Lost Continent - 4:30
  4. Night Diving - 6:02
  5. The Whaler - 4:09
  6. Kings Upon the Main - 4:56
As you may have guessed, the disk titled "Fire" is a little harder than "Water." Full of loud vocals and heavy guitar, Fire was definitely the disk that I enjoyed the most. Neither of the disks, however, sounded exactly like the Thrice that I knew. The band's guitarist Teppei Teranishi had this to say about the album:
"We're kind of doing something that's the opposite of what a producer is supposed to do on a record--which is make everything make sense and kind of fit together--whereas this project is all about taking things apart and pushing them one way. We really wanted to try doing things our way this time around, and make this record sound the way we want it to sound, not the way it's "supposed" to sound."
While Fire is most comparable to Thrice's sound in their last album Vheissu, the songs on Water are completely different, and they made me feel like I was listening to a Radiohead album. These tracks are very slow and contain a lot of electronic/synthesized sounds, which I wasn't really expecting to hear. It's good to see that they are trying something new, though, rather than repeating their old, successful style. Although The Illusion of Safety is still my favorite album, I'll probably be listening to more of The Alchemy Index (and Thrice in general as a result) in the weeks to come - hopefully Volumes III and IV in April will be of the same, or even better, quality. Link: Listen to samples or buy it from Amazon
Currently listening to

Thrice
Deadbolt
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New Jimmy Eat World album Chase This Light out now
Chase This Light, the sixth studio album from toe tap-inducing band Jimmy Eat World is out in stores today. Listeners looking for that great, familiar sound from their previous albums like Futures and Jimmy Eat World (formerly known as Bleed American) will not be disappointed. With the perfect blend of upbeat and mellow songs, Chase This Light preserves the band's feel-good sounds and thought-provoking lyrics that fans expect. This comes as a big (yet refreshing) surprise after their latest release, the 2005 EP Stay on My Side Tonight, which brought a radical change to JEW's typical sound. The track listing is as follows: Click track titles for previews!
  1. Big Casino - 3:42
  2. Let It Happen - 3:28
  3. Always Be - 3:06
  4. Carry You - 4:24
  5. Electable (Give It Up) - 2:58
  6. Gotta Be Somebody's Blues - 4:48
  7. Feeling Lucky - 2:35
  8. Here It Goes - 3:26
  9. Chase This Light - 3:29
  10. Firefight - 3:53
  11. Dizzy - 4:56
Big Casino, released as the first single on August 28, is likely to be the album's "big song" (radio play and other mainstream popularity, comparable to their previous single The Middle). This relentlessly upbeat song got me hooked on JEW once again and force me into eager anticipation of the album's full release. Following this track is Let It Happen with a similar upbeat tune. The chorus features female backup vocals and the typical JEW style of incorporating sounds in the lyrics, which makes several appearances throughout the album. Always Be, Electable (Give Up), Feeling Lucky, Here It Goes, and Firefight all contain the same buoyant style while still preserving a level of uniqueness with each track through varying lyrics, backup vocals, and instrument usage. While Carry You Dizzy, and the title track, Chase This Light, provide moderately slower tempos with less guitar than the aforementioned songs, the most unique track on the album is certainly Gotta Be Somebody's Blues. When the album's demo recordings were first leaked on the Internet, this song was purely instrumental. With the official release of the album, however, much was added to the song to make it the excellent track it is now - the slow and soothing vocals, mysterious lyrics, and use of symphonic instruments made it my instant favorite. Now...stop reading and start listening! If you're a fan of Jimmy Eat World or alternative rock in general, there are no excuses - Chase This Light is a must have. Link: Buy it now from Insound.com
Currently listening to
Jimmy Eat World
Gotta Be Somebody's Blues
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From the Reject Bin Part 1
Ugly Beauty "You Are Unique (Just Like Everyone Else)" whale Cows and whales are arguably the two worst animals you can have on an album cover. This is because neither affiliates with any form of music, or, at least, any viable form of music. Somehow, Michigan's Ugly Beauty managed to fit 10 cows and 2 whales on their cover (plus another lone cow on the back). The band also has an annoying penchant for oxymoronic phrases. This is to be expected, i guess. They ARE called Ugly Beauty, afterall. And check out the album title. Deep stuff man. It seems that everything cancels itself out in the Ugly Beauty idiom. You can be ugly, but still win a beauty pageant. You can be unqiue, but still be another face in the crowd. And whales? Well, they can fucking FLYYYY. But enough discussion about the laser-printed flap. The music is a fusion of 80s glam metal riffs, and hardcore-lite (oxymoronic!) vocals. Perhaps the most annoying thing is that it's not as funny as the album cover suggests. It's only bad. And merely being bad, as opposed to being holy-fuck-hide-the-children-bad, might be the worst kind of bad there is. Rabid "Skull" rabbit What is it with this trend? So we get a CD and there's some arbitrary animal on it- lets say, an emu, a bald eagle, or, in this case, a rabbit, and although we know it's going to be 12 tracks of pure awfulness, we still have high hopes for something strange or satanic. But once we pop the disc in, it's just a regurgitation of the worst glam metal cliches: scale shredding, toms and more toms, etc. And has anyone ever read "Bunnicula"? Cause the album cover is totally reminiscent of that. DLo "I Dare You To Love Me" (single) DLo dlo There's bit of a mystery with this single. If you look close enough, you'll notice that the front and inside cover features the exact same head! So who is DLo? And why did the people at MTM Entertainment need to place his cropped-off cabasa on two seperate bodies? And who do those bodies belong to? These questions are undoubtedly far more intriguing than the song itself. "Dare You To Love Me" is your standard R&B fare that longs for the days of Boys II Men. If you can't get enough of it, the second track adds saxomophone to the mix, and the third is all instrumental (just in case you want to play it over your Fergie acapella cuts). We're not touching this stuff, even if DLo (if he even exists) names it "Double Dog Dare Ya."
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Peanut Butter, Collected Animals, Closed Captioning for the Hearing Impared
Last week marked a significant milestone in the indie music world. In this day and age, as obscure and less-marketed music constantly finds itself thrust into the popular culture spotlight, it becomes less shocking when an Of Montreal ripoff pops up in an Outback Steakhouse commercial, when Mates of State is shown touting AT&T phone service, when Bright Eyes graces the stage of The Tonight Show. Yet, despite these leaks of indiedom into the ‘real’ world, it still seems rather surprising that, of all the bands in the non-mainstream world, for Animal Collective to have been asked to perform on the Late Night with Conan O’Brien. Who is the brilliant executive who ok’d this decision? (They must be a genius.) Better yet, who’s the brilliant closed-captioner who, while watching the band’s performance of “#1,� decided these words would accurately describe the ethereality of the song to the hard-of-hearing?: Animal Collective performs on 'Late Night' and has a run in with closed captioning Honestly, were they unable to see that Noah Lennox, (AKA: Panda Bear) clearly does not possess any estrogen? Perhaps the captioner lacked his sense of sight, and had to rely upon his sense of hearing to communicate to those with the former and without the latter. All joking aside, though, Animal Collective’s appearance on national television not only makes great strides in the world of independent music, but for the band themselves. Strawberry Jam, the title of New York City-based band Animal Collective’s newest release, seems somewhat of a contradiction, for the sugary-sweet artificiality conjured up by the album’s name clashes horribly against characteristics of the group’s previous releases. Known for its revolutionary delves into uncharted areas of electronic psych-rock, Animal Collective—which consists of members David Portner, Noah Lennox, Josh Dibb, and Brian Weitz operating under the clever monikers of Avey Tare, Panda Bear, Deakin, and Geologist, respectively—push, often, into unsettling, confusing territory; sugar-coated and generic it is not. However, despite the inherent contrasts which arise through the album’s name, Strawberry Jam, upon first listen, seems more of a delightfully fitting name than misguided misnomer. In fact, the album emerges as a collection of songs as accessible and easy to love as, well, strawberry jam. Blending together their traditional high-register harmonies with intensely developed and intricately executed electronic instrumentation, Animal Collective seems to abandon their previous musical style—vaguely ethnic songs strongly influenced by experimental folk structures—on Strawberry Jam. The result emerges as an oddly fantastic one. Unexpectedly, the characters of Animal Collective jump from upbeat trip-pop—seen on track such as “Peacebone� and “Chores�—to mellow, reflective numbers, such as “Fireworks� at the drop of a hat. These constant shifts, however, work together perfectly, with each track building off their predecessor. Performing on Conan may have been a public jumping point for Animal Collective, but Strawberry Jam should be seen as their long-deserved bridge between a discriminating audience and those who appreciate well-crafted music. So, pull out that white bread and peanut butter, and spread a liberal amount of Strawberry Jam onto your next afternoon snack. Watch Animal Collective's national television debut here.
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