A Blog Of Ill Repute

review by Kristine Ugalde Little Brother is one of those underground hip hop groups that gained critical acclaim a couple years back, but never received widespread attention. While it may seem like an odd collaboration, I don’t know why I’m still surprised that Weezy is on the track. It's certainly the right direction to go, not only because the self-proclaimed “Best Rapper Alive” has established himself as a formidable emcee, but also his ability to blow up the track. However, unlike other artists who collaborated with Lil’ Wayne in the past, Little Brother doesn’t take a backseat. They hold their own weight. Wayne’s verse is saturated with clever metaphors, and many might easily dismiss the verse as a freestyle cipher from the 90’s. I found that the “She loves me, she loves me not” cut in the beginning as well as the hook lacked creativity. It sounds like an old school R&B song bordering trite, holding no emotional resonance. While personally I’m not usually drawn to songs about relationships, the specificity of the lyrical content is honest and on-point. Phonte’s line “Cause a woman's life is love, a man's love is life” on the surface sounds like a gendered stereotype, it speaks volumes about the dynamics between women and men. Although it’s a romantic track, the track ends with Phonte’s commentary on the younger generation’s misguided consumption and critiques how the ethnic majority are the benefactors of hip hop materialism, proof that Little Brother manages to put out evocative, honest music, which is the basic foundations of hip hop as a musical medium. Buy at Rhapsody Breakin My Heart feat. Lil' Wayne (mp3)

review by Monica McCallum The opening chords of Vetiver’s cover of Michael Hurley’s “Blue Driver” evoke, in my mind, a very particular image. Driving through the desert, in an old beat up van with bad coffee, sporadic air conditioning, and stops at shady diners planted haphazardly in the middle of nowhere – I can understand why folk music is so popular out here. Of course, if you’ve never made the drive yourself, you can get pretty close simply by listening to this song. The steady tap of the drum and repetitive bass line in the background lend a sense of perpetual motion to the tune as it progresses steadily from start to finish, without a care in the world, ending only when a vocal siren wail pulls the song over for being too awesome. Vetiver’s Andy Cabic first brought the group together in Greensboro, North Carolina where he met his fellow musicians Sanders Trippe (guitar and vocals) and Brent Dunn (bass). Since the group’s move to San Francisco, they have collaborated with numerous artists, including the delightfully original Joanna Newsom, amongst other local musicians, to produce a string of whimsical, earthy, indie-folk albums. “Blue Driver” can be found on Vetiver’s June 2008 release, Things of the Past, which boasts a wonderful collection of folk/rock covers from the late 60s and early 70s, revitalized by Cabic without destroying their originality. If you are looking for a mellow, blast from the past for your daily commute, be sure to listen to “Blue Driver” – you won’t be disappointed. Buy at Rhapsody Blue Driver (mp3)

review by Joanna Clay Birthed in the Big Apple in 2007, The Pains of Being Pure at Heart is comprised of Alex, Kip, Kurt and Peggy. The band name comes from an unpublished children’s story written by a friend of Kip, and the band notes musical influences such as Black Tambourine and My Bloody Valentine. The melancholy melodies of the talented four-some are reminiscent of dream inducing sugar-pop of the 80s and 90s. Their Slumberland single, “Everything with You,” sounds like the lyrical love child of the Velvet Underground and the Pastels with its magnetically soft vocals and bouncy beat. The sadly hopeful lyrics read like a journal-torn pubescent ballad: "I’m with you and there’s nothing left to do/Tell me it’s true/ …and the starts are crashing through/ I want everything with you!” Even if the themes may be youthful, the band is anything but immature with consistently solid tracks and stories that speak to souls of every shape and size. Buy at Rhapsody Everything With You (mp3)

review by Joanna Clay “Purple Flies” by the Window Twins sends you into a mystical world of ambient infused folk that brilliantly exposes the debut collaboration between Tim Cohen (Black Fiction) and Jon Bernson (Ray’s Vast Basement). It showcases Tim’s audacious psych-pop roots, but at the same time it doesn't overwhelm Jon’s understated hippie-rock. The song begins hesitantly with delicate instrumental and then introduces the soft harmonies of the San Francisco musicians. The lyrics tell the story of Joey, a guy that parked his camper on an island in the middle of the world by the nest of the purple flies. The synchronized chanting sounds like spoken poetry set to music with a distinct pulsating rhythm that simultaneously is hypnotic and irresistible. Buy at iTunes Music Store Purple Flies (mp3)

review by Lorraine Chambers "You! Me! Dancing!" begins with a slow introduction, and then explodes into a surging wave of guitar strumming fun! You start jumping around and wishing that your earplugs had a longer cord! Then the singer begins to talk--is that a Welsh accent from a band named Los Campesinos? Yes, this is not a band from East L.A. This is a Welsh big band of seven! Back to the song, who cares where the band is from, we're having too much fun jumping around to this song! It's recess time again back in the schoolyard - get crazy! Very reminiscent of the power pop scene pogo pits during the early punk days of the 70's. Yes - this is 'bedroom dancing' just like the singer says. (Resume bouncing around!) Whew! A wee bit of a rest with a melodic break with taps sounds tapping into a gunning taps rhythm. Another buildup to more madness?? Relax, there is more chatting, now we hear a female voice...oh wait, back to more 'Bedroom Dancing'! This song should be played daily so listeners got there heart rates up! Pure fun! Buy at Rhapsody You! Me! Dancing! (mp3)

review by Joanna Clay Finding meaning in an Andrew Bird song is sort of what it is like when I try to analyze In Rainbows. He’s one of those artists that really uses instruments and vocals in true harmony to create pieces that are uniquely beautiful and poetic. However, many contend that it is simply that- words artfully thrown together without much thought for an actual story. Rumor has it that Andrew was commissioned by Molly Shanahan to write the piece for an interpretive dance routine. Each artist was given an inanimate object to use as inspiration thus producing some of the ambiguous lyrics. Nonetheless, “The Trees were Mistaken” is my favorite Bird song and I would love to steal his journal and see the evolution of his writing process and how he comes up with lines like “feathers are warm in molasses.” Similar to stream of consciousness writers, his lyrics roll off the tongue in rhythmical fashion as if each song is improvisation, performed on the spot as a result of his present emotions. If you’re interested in checking out his writing process, Bird frequently contributes to the New York Times blog Measure by Measure detailing the development of songs such as “Oh No” and “Natural Disasters.” Buy at iTunes Music Store Andrew Bird - The Trees Were Mistaken (mp3)

review by Kristine Ugalde No stranger to the game, Presto has been producing and DJing for almost 20 years. He describes his sound as “hip hop with a soul backdrop and jazz edge.” It is almost too easy to guess his influences: DJ Primo, Pete Rock, Jay Dee, Tribe--yet, he brings to the (turn)table a definitive edge. Although State of Art was released June 2008, hip hop heads continue to sleep on Presto. Why? Because the digital age has led to saturation of wanna-be artists/producers now that hip hop has imploded the music industry and American culture. His album does justice to the hip hop luminaries before him and his collaborations on “State of the Art” with such influential hip hop greats such as Large Professor, CL Smooth, and Sadat X is an indication that hip hop, even with its explosion in the mainstream, is still capable of producing quality music. His sound is jazzy, soulful, organic, old-school with refreshing enough to keep it contemporary. The layered instrumentation of jazzy keys, echoing horns, easy-going drum composition, and the inclusion of sleigh bells in a meticulous, yet subtle synthesis of samples shows his skill as a producer. And so the age old question still remains: what is hip hop? Is it flashy videos, blatant misogyny, violence and brutality, or reinforcing materialistic values? To avoid sounding like a diatribe, the answer remains ambivalent. One consolation is that Presto takes us back to the fundamental sounds of the early 90’s. Sampling jazz and soul music using a keyboard rather than an MPC gives the production a sense of intimacy and live instrumentation. Blu still doesn’t disappoint. A favorite in the underground scene, his consciousness and ability to illustrate day-to-day vignettes demonstrates how the resurgence of West Coast hip hop deviated away from gangsta rap and into an art form used to contextualize his environment. His flow displays his excellent storytelling skills about how he emerged from being a eager amateur to internet/underground success. Blu balances his cockiness while still maintaining his cool against the jazzscape background. His album does justice to the hip hop luminaries before him and his collaboration on his album “State of the Art” with such influential hip hop greats such as large professor, CL Smooth, and Sadat X is an indication that hip hop, even with its explosion in the mainstream, is still capable of producing quality music. Buy at iTunes Music Store Pour Another Glass (mp3)

review by Robbie Santos Lee Bob Watson’s track “Let The Hate In (I Won’t)" comes from his CD Family Album (Grass Roots Record Co.). Watson does not adhere to a set genre and is not quite country or indie rock. But rather, he brings together a unique blend of folk, country, and soul-jazz. Heavily influenced by the music of the late 60’s and 70’s, he combines different several layers into a distinct sound punctuated by his soulful vocals. Lee Bob Watson passionately proclaims in his track that “I won’t let the hate in” with a country, gentlemanly like drawl on top of a steel guitar. The virtues of perseverance and faith through hard times seep through the song, leaving the listener with a simple message of optimism. Watson lets his talents shine through as the track expresses the story being told by a man and his guitar. He lays down bluesy, rhythmic guitar solos as his vocals echo the plight of the everyday person. The sound is completely organic and never comes across as forced, taking on a kind of a grassroots charm which makes it easy for the listener to identify with the message Watson is trying to send. Lee Bob Watson’s track, “Let the Hate In (I Won’t)”, presents the soul-searching quality that the blues brings about but as well as his own unique sound. In these difficult times, it is easy to delve into negativity and spread it to others but Watson encourages hope and love through his catchy, nuanced song. Buy at iTunes Music Store Let The Hate In (I Won't) (mp3)

review by Perry Chavez Sparxxx is an experience that is lighter sound-wise than the Love Language’s debut single Lalita with a bouncy guitar and harmonies that channel the Beach Boys. It has a somber tone in comparison but equal amounts of awesome. More emphasis is placed on the melody and vocals on this track as they sweep over the fast guitar whose prominence sometimes changes and can be sparse at other times. The melody’s notes rise and release, like a cold, refreshing wave at the beach, into the chorus. It would be a shock to find that the Love Language’s Stuart McLamb was not influenced by 60s pop because this song unconsciously has what seems to be influences of artists of that period. The song feels naturally a piece of that time period but with a modern twist because it rocks way more than anything could back then. The tone is surprisingly upbeat for a song that describes the singer’s “heart in ruin”, but then you hear that the tone is inspired by “white lies [that] have set [his] heart on fire” as he continues to describe that a girl he was smitten with wants to watch his heart in pain. It then all makes sense. He’s angry, he wanted her to “blow [him] away, like a birthday candle” instead of watching him squirm, and it’s chilling to hear him end the song chaotically as he emphatically screams “do what you, want!” because that’s exactly what she did to him. Buy at iTunes Music Store Sparxxx (mp3)

review by Robbie Santos The track “I’m Happy But You Don’t Like Me” comes from Asobi Seksu’s self-titled album in 2004. Asobi Seksu, when loosely translated, is a Japanese colloquialism meaning “casual sex” or even literally “fun sex.” The band draws heavily from the shoe-gazing genre and combines elements of dream/noise pop. The band is comprised of Yuki Chikudate (keyboard) and James Hanna (guitar) who share vocal duties throughout the album. The standout elements in this song are Chikudate’s vocals and Hanna’s guitar work, which easily draws comparisons to Blondie. The entire song is sung in Japanese which could easily distract the listener but Chikudate’s vocals, while not overwhelming, are extremely charming and compliment the poppy track well. However the band’s talent for expression is showcased when the lyrics are translated: “Futari de koi shite/tanoshii tokoro eikitai kedo/kimi wa dokonimo inai”: “I want to go back to the time/when we loved each other and had fun together but/you aren’t here.” While the entire mood of the song remains upbeat and airy, the juxtaposition of these somber lyrics with the remainder of the track brings a different facet to “I’m Happy but You Don’t Like Me.” Steady guitar and keyboard (played by Hanna and Chikudate, respectively) keep the buoyant song afloat, never drawing too much attention to one or the other. Asobi Seksu keeps things fun but at the same time builds on this consistency which allows them to delve into various forms of expression. The entire album is definitely worth a listen but “I’m Happy but You Don’t Like Me” is a great starting point for everyone. Translated lyrics: Look at those clouds That small bird is flying I'm happy but you don't like me I want to go back to the time when we loved each other and had fun together but you aren't here Why did you want to disappear Why did you want to run away Why, why, why I love, love, love you, but... Buy at iTunes Music Store I'm Happy But You Don't Like Me (mp3)

review by Christine Thrasher A departure from the acoustic folk pop/rock work that Beirut is most famous for, “My Night With the Prostitute from Marseille,” a new track from their March of the Zapotec EP, features fully electronic instrumentation along with Zach Condon’s signature melodic vocals. This song is fairly short and repetitive, featuring lyrical motifs such as “I believed her then,” and “now outside you see the waves in her eyes / and I, I won't mind what you decide to swear by,” but the effect is nostalgic and romantic. The track brings to mind a strange, colorful dreamlike circus in the summertime, perhaps describing the confusing but delightful absurdity of love and beauty. On many levels, the track is quite melancholic, remembering a time past. It should appeal to fans of Alaska in Winter, Owen Pallett, and A Hawk and a Handsaw. If you’re expecting something identical to Beirut’s indie hits “Elephant Gun” and “Postcards from Italy,” this track will surprise you with its catchy, almost danceable electronic instrumentation—it might throw off some fans of the band. However, if you give it a chance, it will grow on you. Buy at Rhapsody My Night With The Prostitute From Marseille (mp3)

review by Christine Thrasher In “Two Tongues At One Time,” Mariee Sioux, an American folk singer of indigenous descent, both comforts and haunts the listener with her acoustic guitar playing, accompanied by beautiful yet strange lyrics about being a child of the “wild plains.” This song comes from her first studio album, “Faces in the Rocks,” following her self-released album “A Bundled Bundle of Bundles.” Though the song is simple, using nothing but voice and guitar, the songwriting is creative and unique, demonstrating her talent with the guitar and poetic lyrical voice. Her style is mystical and spiritual, with a hint of the psychedelic grotesque. She writes about “faces in the rocks with medicine tongues” and “blankets. . . woven from the hair of the dead” as well as the ” thundering roll of ghost buffalo.” Her voice is fragile and wavering, reminding the listener of wind across the plains, and she takes you on a stream-of-consciousness journey through her meditation on history, natural environment, and the human experience. I would recommend her to fans of Joanna Newsom, Alela Diane, and Joni Mitchell, but her work should appeal to anyone who appreciates poetry about the natural mystery of the universe. Two Tongues At One Time (mp3) Buy at iTunes Music Store

review by Perry Chavez I knew something good was coming when I heard the first few seconds of Lalita’s tempo explode into energetic drums and a muddy distorted guitar. The Love Language intricately mixes 60s pop with a modern lo-fi sound that resonates deeply within the listener due to the feel-good vibe it provides. This song proves a good first single off of the Love Language’s debut album because of the sweet and simple quality of the guitar and chorus. The pulsing drums make you want to get up and dance the night away like no one is watching, affirming the band’s self description of “western swing.” The song sounds like it comes from somewhere innocent and sweet while maintaining an almost ominous undertone because of the reverb placed on seemingly everything and the hidden nature of the singing. Stuart McLamb’s vocals blend in the background of the song and I wish it they were more prominent and audible, because I would love to scream along to this song and become part of the music. The singing makes me imagine what sad, yet uplifting love story the Love Language front man is trying to keep from me. Lalita amps you up and ends abruptly leaving you with a sensation of restlessness. I wanted the song to never end because it was so inviting and catchy. You’ll find yourself singing “Lalita, don’t you hate these kisses” before you know it. Buy at iTunes Music Store Lalita (mp3)

review by Robbie Santos The School of Seven Bells is comprised of Benjamin Curtis, along with identical twins Alejandra and Claudia Deheza. The track “Chain” comes from their 2008 release Alpinisms, which melds a dream-pop vibe together with an indie-electronic style. The upbeat “Chain” is immediately likeable—vibrant from the outset, but soon takes on an ethereal quality when the vocals from the Dehezas enter the track. The sisters work together in a seamless way with the arrangement; they are an unmistakable presence, but never take the forefront and compliment the dreaminess of the caressing melody. The trio utilizes an unconventional process in the composition of their songs in that the music is made to shape and to supplement the lyrics. “Chain” is no exception, as the entire piece can essentially be described in the first lyric of the song: “My sleep burrows me a chain of monochromatic rooms/that jangles in the day and recalls a samey drone.” The combination of the haunting, siren-like harmonic unison of the sisters, along with the almost meditative quality that the rhythm takes on, creates a soothing ambiance. The track is unrelenting in its thoughtful cadence; focusing on one element of the track is almost impossible as the rhythmic guitar, along with the gentle layers of the drums, brings the listener right back to the dream-like vocals. “Chain” states that “I cannot seem to remember my dreams lately” and while being a sentiment that many of us can relate to, it is a lyric that sinks right into the soul of the track and reverberates into a noteworthy composition. Buy at iTunes Music Store Download (mp3)

review by Joanna Clay Heralding from Brooklyn, New York, the dynamic duo of Matt & Kim prove once again that hipster punk pop is anything but fluff with their new single “Yea Yeah.” With loaded lyrics tackling those things that, well, suck, it makes me happy that they can smile and play while doing it. A little hair tossing never hurt anyone, right? Their self-produced music video is just so cute. It makes me want to pull on a white tee, grab a guitar, and be part of their paper constructed band set. Apparently the lyrics and playfully ferocious food-fight are portraying the classic human problem of sweating the small stuff. In interviews, Matt uses common annoyances like fines and tickets as examples of how he lets things build up to become larger issues. If only a pie to the face was the biggest of our problems. As of January 20, their newest album Grand is now available on Fader label. I warn you though, upon purchase you may not be able to stop banging pans and dancing on your kitchen table. Buy at iTunes Music Store Matt & Kim - Yea Yeah (mp3)