popwreckoning

Scandinavia is just bursting with talent right now. In the last 2 years, I’ve seen acts like the Asteroids Galaxy Tour, Peter Bjorn and John, Lykke Li, and Miike Snow (well, two-thirds of the band are Swedish) go from virtual obscurity to worldwide attention. Soul singer Jenny Wilson might just be the next big thing to come from the land of IKEA. Stateside success appears to be just around the corner for Wilson, who awed industry types when she performed at CMJ in October 2009. In August she will release her second album, Hardships!, in America.

On the album cover, Wilson is sporting boho chic (black beret, black turtleneck sweater). But oddly, she is striking a potentially incendiary pose akin to Morrissey on the cover of his 2006 comeback album You Are the Quarry; she is seated and holding a rifle. In the case of Morrissey, it was assumed that this was a tongue-in-cheek gag to get people talking about his album, because he is widely known as a pacifist and impassioned supporter of animal rights. But I don’t know if Jenny Wilson hunts. Maybe she means to simply say, “don’t mess with me”?

But the cover doesn’t reflect the beautiful music contained within. Wilson may have been a bird in a past life. The title track is evidence of this, allowing Wilson to stretch her voice in different directions, with wonderful results. Her soulful warblings are of the pleasant kind, and not in the vein of, say, Jesca Hoop. This is a very rhythmically dynamic album, mostly dominated with dark piano touches. Touchstones include hip hop soul popularized by artists like Mary J. Blige and Erykah Badu (check out “The Wooden Chair,” “Porcelain Castle,” “Anchor Made of Gold”) and the idiosyncratic whimsy of Bjork. “Pass Me the Salt” and “Like a Fading Rainbow” (watch below) remind me of tracks by the late, great Aaliyah. To be honest, if I hadn’t read the words “Already an award-winning national sensation in her homeland of Sweden” on the promo material I received in the mail with the CD, I would guessed Wilson was from the ‘hood, not from Scandinavia.

Songs like “Only Here for the Fight” and “Strings of Grass” show reverence for ‘70s soul, complete with brass section. Speaking of brass, the instrumentation used to record this album is varied and interesting – how often do you see marimbas on pop records these days? Forget the album cover: you need this album.

Track Listing
01. The Path
02. Like a Fading Rainbow
03. Clattering Hooves
04. The Wooden Chair
05. Porcelain Castle
06. Anchor Made of Gold
07. Bad Waters
08. Only Here for the Fight
09. Pass Me the Salt
10. Motherhood
11. Hardships
12. We Had Everything
13. Strings of Grass

Hardships! by Jenny Wilson will be released on August 24 in America on Wilson’s own Gold Medal Recordings label. Wilson plans to tour here in early fall in support of the album.

Sindri Mar Sigfusson, aka Sin Fang Bous (or Sin Fang Blues Brothers as he asked us to call him) looks like an even more baby-faced Beck and is just as cuddly. It’s a rare occasion that I check out a support act as I hate waiting around for the main act to come on (why do they insist on taking so long?), but Sing Fang Bous’ warm and fuzzy sounds were a pleasant welcome to the friendly space of the Black Cat. Low-key retro pop was the order of the day, and, while it wasn’t revolutionary, it was certainly enjoyable, with a refreshingly sparse and pure sound — no unnecessary quirks. Elements ranged from folky acoustic guitar with handclaps to sea shantyish organ sounds, the best tunes being the simpler ones. He ended with “Life,” a song in the epic-indie style, which I found the least engaging. The milder stuff was better, something I’d happily settle down with now that winter approaches and the nights get darker.

In contrast to the simpler pleasures of Sigfusson, Múm are a multi-instrumental band of multi-instrumentalists, with a rotating string and guitar section, at least three dedicated singers, as well as bass, organ, trumpet, laptop, kazoos, mouth-organ, harmonica, and drummer, and some other stuff I don’t know the name of. They were suitably foreign, all wide eyes, cute phrases and smiles, funny clothes and haircuts, just the kind of thing an indie crowd laps up (though perhaps it wasn’t part of the act? Maybe their clothes and haircuts reflect the collapse of the Icelandic economy?). I went in to the show having heard some of the older stuff and expected some ethereal ambient female-led electronica with some good glitchy beats, a bit Sigor Ros, a bit Bjork. What I ended up hearing was a little more down to earth and more along quirky indie lines, apparently a reflection of where the band is now, which is fair enough.

They started out very soothingly, to the point where I began to wonder if their choir-like sound worked well in a space like the Black Cat, with it’s low ceiling and basement vibe (though it’s actually on the top floor). Soft electric slide guitar and mournful trumpet carried on the warm tones from Sin Fang Bous on “If I Were a Fish.” Other early songs made use of the strings and voices supplied by Hildur Guðnadóttir and Sigurlaug Gisladottir and the sound was quite experimental, with good use of the trumpet in particular. Gunnar Örn Tynes seemed to play the role of band leader and whipped out his mouth organ fairly often. He looked faintly ridiculous, but the toy-like sound fitted in well with the overall calming mood of the songs.

Later on things were more uptempo, Múm’s amazing rhythm section working as well as a drum machine to get people’s feet moving. Playground 8-bit beats were layered with shimmery guitar; a cowbell was heard while Guðnadóttir and Gisladottir added theatrical (and somewhat overemphasised) yelps; whale-like bass backed up what sounded like a heavy rock christmas carol. The Orb-like dub and skittery beats of “A Little Bit, Sometimes” were particularly impressive, the overlayed mouth-organ bringing Red Snapper to mind. The electronic side of Múm is definitely impressive, but sadly there somewhat twee indie-rock side is less so — kazoo and harmonica orchestras are amusing, but an extended jam that seemed to last twenty minutes started to grate. Some of the latter dynamics were also predictable — loud-quiet, female-male, fast-slow. It’ll get most of the crowd going but it’s not particularly clever. Having said that “Sing Along” was scary and unhinged which seemed very apt for some reason. Live bird whistles were employed before the song vapourised into a rock lullaby echoing from the 50′s. The encore made up for the somewhat lagging final third of the show. “Green Grass of Tunnel” has that glacial vibe I was looking forward to, and the band stretch it out live into something far more filmic, with elements of the Cocteau Twins and (sorry) Bjork, and some glorious floor-shaking bass.

A bit of a mixed bag then, but something to satisfy most indie-rock fans and even some electronica ones, if they don’t mind their beats a little buried under the avant-garde.

Múm: website | myspace

As much as I love music, sun and Chicago, it is a very fortunate thing that Lollapalooza is only a weekend long. Next year I am wearing a pedometer just so I can see how much I walked, although I’m not sure why this festival was so much more brutal when I have survived SXSW, Bonnaroo and even Lollapalooza before.

Though it was early in the morning and the final day, a large crowd had already amassed for Sam Roberts Band. Canadian flags with pot leaves in place of the maple were in no shortage as the jam rockers played their songs. While I doubt that I’d go out of my way to buy an album, it was fun to pick up on the choruses and singalong.

Friendly Fires was next on my agenda and I must say that the Brits (oh Los Campesinos, why couldn’t you play every day?) and all the other European bands that crossed the great pond for this fest owned it. Friendly Fires didn’t have that large of a crowd, but they had everybody dancing as they sang “Jump into the Pool” and other tunes. It was difficult to pull away from their set, but I knew my beloved string players in Ra Ra Riot had started their set at the opposite end of the festival.

Usually when watching Ra Ra Riot, I geek out over the strings, but today I finally saw how talented of a performer singer Wes Miles is as he was practically skipping about then even ran out to sing as close to the crowd as he could get from the barricade. Even though lyrically they can be a downer band, I was beaming as I watched his glee at performing at Lollapalooza.

Bat for Lashes tried to mystify with ethereal vocals, creepy angel dolls and shiny spandex.  The only thing I was really mystified by was why she played the piano by just poking it with her pointer fingers. I mean even if that’s all the song needs, the norm is to record the pattern then let it loop. It was just confusing. But she does have a great Bjork voice. I do think their stage show just might fit a little better in a foggy club than the bright outdoors.

I really wanted to see Cage the Elephant after Joshua told me their Bonnaroo made him think they were the next Nirvana. Not only were they late to the stage, but it was just a messy performance. I couldn’t even force myself long enough to hear the radio tune “Ain’t No Rest for the Wicked”.

Severely disappointed, I went to the Airborne Toxic Event, whom have always impressed me in the past. The sound seemed off and I was in need of some more tunage that wasn’t so nostalgic, so I again band jumped to the Kaiser Chiefs.

I had an interview scheduled far too many blocks away, so I missed the next few acts, which was a bummer because I couldn’t even find the band I was supposed to interview and by this point, all the walking was making me feel like I would never move again (I later learned that my body aches were a bit more severe than I thought and not quite from the walking, but other problems. Eeks!).

The Raveonettes greeted me as I walked back into the fest. Finally, a band that was worth the hype! The vocals were amazingly powerful and I immediately was bummed that I didn’t run to see them in their entirety. Alas! Perhaps in the future, they’ll swing through my neck of the woods.

Preppy indie darlings Vampire Weekend came out in thick shades and brightly colored shorts in contrast to their usual khakis and cardigans. A more appropriate dress choice in the unbearable heat. They started off with a new number, but one I had heard before and as Ezra led the crowd through his little yelps and he rocked up on his toes, there was one clear thought I had about this band: they have the most tone deaf fans ever. The audience tries really hard to singalong with this band. They try really, really, really hard, but they are awful. At least the band is good. I know that it is just as popular to hate on this band as it is to love them. I happen to love them and find them and their tunes absolutely adorable (plus I’m a communications major and let’s be real–who gives a fuck about an oxford comma?).

The next bit of the festival is a bit of a blur as severe dehydration started to set in, my leg problem worsened and Ezra’s brilliant idea to make the crowd dance turned into a mosh pit that caused me to get pushed all the way to the front of what would later be a 200,000 person crowd. Exciting, but scary. To be honest, I wasn’t sure how I felt about my new spot by the barricade. On one hand it was exciting. On the other, it was sad because there was no way I could get back through the crowd and see bands on other stages.

I did get to hear Cold War Kids and Silversun Pickups, but I couldn’t really see them. It was hella fun to be stared down by Snoop Dogg‘s guards on stage and be able to see his phenomenal drummer. I have to hand it to Snoop, he really knows how to work up a crowd (especially considering everybody up front seemed to be waiting for the Killers.

I guess I missed out on some excitement at the other end of the venue. Lou Reed went well over his set time, cutting into Band of Horses‘ set. A pissed off crowd apparently yelled “Fuck off, Lou” and “Boo,” but Band of Horses politely started their set and even kept playing after “The Funeral” ended and Jane’s Addiction started.

I doubt that anybody is surprised that I wanted to see the Killers over Jane’s Addiction and reports of crowd sizes between the two headlining stages make it sound like I was not in the minority. It also sounds like from other reports that I picked the better of the two shows. Perry may have started this festival, but it has outgrown him and his gaudy tactics.  A helicopter shined a spotlight on the audience, the band was joined by vaudevillian (cough prostitutes cough) characters and even invited Aerosmith‘s guitarist to join them for “Jane’s Says”. Yes, I am very glad I missed that abuse of music.

The Killers have a big stage show and lights, but at the heart of their performance, they don’t rely on the gimmicks that the night’s other headliner used. Their stage show was more so used to compliment the theme and vibe of the latest album. It enhanced the music instead of detracting. They had their palm trees and lights, and in the heat, it really did feel like the Killers transported all of us from Chicago to their home of Las Vegas.

The band has really grown into their element and while they have headlined countless European festivals, just this past year have they received that same honor in the States. I think this might have been their largest audience on U.S. soil.

As the Killers played, each song got better and bigger than the last. Singer Brandon Flowers seemed especially chatty and happy this night as he told the tale of how he and Dave Keuning first met and wrote “Mr. Brightside” (true story) to a mystical tale of the band’s travels to get to Lollapalooza (slightly exaggerated). Flowers’ extra happiness might be attributed to the fact that his second son was born the week prior to the festival.

Though I’ve seen this band many times before, they still brought out a few surprises like an extra verse addition to “Bling”, a song that was never a single, but has easily become one of their most popular live hits. And while there was no Lou Reed guest spot as many–myself included–speculated, this set still took Lollapalooza out with a a nice “twist with a shout.” Reference to obscure? Get yourself to an iPod or a Killers show asap.

Lollapalooza: Sunday in summary:
Best set of the day: We know I loved the Killers. What a great way to end the fest. I guess I’ll throw Friendly Fires a bone here, too.
Best surprises of the day: Aerosmith members during Jane’s is a surprise, but not a good one (please don’t let them headline 2010 like Perry joked). Band of Horses making up for Lou Reed stealing their set time and playing against Jane’s Addiction is pretty awesome.
Breakthrough of the day: Friendly Fires.
Biggest let downs of the day: Cage the Elephant. Ugh. Lou Reed. And no Lou Reed at the Killers, but my understanding is that again was Lou Reed’s fault and the Killers tried to get him to join them. Oh and that the root of my pain was not all the walking, but was a spider bite that has caused my leg to swell, turn red, give me a fever and is serious enough that I need to go the ER like asap.
Crazy crowd moment: Let’s just say that Snoop Dogg made some people who had just met feel extra close. I feel a bit scandalized.

Lollapalooza: website | schedule | set lists

There’s not much about this band that isn’t a giant version of WTF?! But before we determine that such a statement can only bring about negative connotations, realize that a lot of WTF?! objects can sell for lots and lots of money and be declared as “revolutionary” and “artistic” and “rare genius.” I’m silently giggling to myself but perhaps after a few tracks off of the self titled collaboration of “genius,” you’ll appreciate just how indie these cats know how to sound.

Honestly, this review would go nowhere without the explanation of their name: UUVVWWZ. Don’t be all normal and pronounce it out. Direct from an adorable illustration on both their blog and their Myspace, you’re supposed to say “double you, double vee, double double you, zee.” Or shorten it and call it the double unit, but not simply “double you” because they worry that’s too lonely. They are worry warts, the illustration tells you. Mmmkay.

Moving on, the album starts out with the calm, odd chanting of Teal Gardner, but if you manage to hold on for a minute more, you’ll be rewarded with some sultry drum beats and growling distortion. Without such atmospheric repetition you’d have nothing to get stuck in your head (“I like the blackberries/cause they cannot entangle me”) as you pass the fruit section of the grocery store, so accept it. For the rest of the album, don’t be alarmed when the acceptance could possibly turn to a slight adoration and suddenly, maybe it’s too much for you, and then you find out you just need it. The love-hate relationship with her shrilling could come at fever pitch on “Jap Dad”, where instruments go chaotic and she keeps right up. It’s also at that point when a younger, crazier Karen O seems channeled. Remember the frenzy of Fever To Tell? Haunting shrills and leaps and bounds, all out of a tiny little stage queen? You’ve got that here—or at least the potential of it. When they start getting a bit experimental – a bit “break the mold” – songs like “Trapezus” happen, and it might take an altered mind to understand anything that happens there. There are no rules. It’s as if they picked up instruments and said, “okay, everyone just follow everyone—now go!”

Luckily, the smooth and seductive “The Sun” could be the saving grace of this entire endeavor, because when a song sets a mood for the listener, you’ve got yourself a winner. The track begins with a taunting much like the hypnotic, epic Salma Hayek scene in From Dusk Till Dawn, and each note seems to tiptoe some elliptical dance. When the band finally lets it all go, a third into the song, you’re already in love with the southern influence and lingering swoon to even care that Gardner’s voice is in hyper-drive again.

Chords of the Deftones, hints of Bjork, and a more modern link to Deerhoof are all you need to know in order to decipher that this band is something only the artsy-est of art kids could discover. My prediction is that Saddle Creek made a good move (although seriously unpredicted) in taking them under their financially supported wing. Could this rugged power zap! bam! boom! movement be the new sound of ’10? Maybe, as long as the show can hold up to the intensity of rare genius. Oops. I said it.

UUVVWWZ – “Shark Suit”

UUVVWWZ will be released by Saddle Creek Records on July 7, 2009.

Tracklisting:
01. Berry Can
02. Shark Suit
03. Jap Dad
04. Neolaño
05. Castle
06. Green Starred Sleeve
07. Trapezeus
08. The Sun
09. Hum Jam

UUVVWWZ: website | myspace

Written by: Heather Lumb

Special thanks to editrix extraordinaire Jessica McGinley for last week‘s Britney Spears-ified Under Cover!

My last few months of writing ‘Under Cover’ have been one big lovefest. But sometimes I feel like balancing things out by tossing in a little sour with the sweet. Never one to shy away from the dissenting opinion, this isn’t just about my need to hate on things every now and then (especially since some rockers make it so hard not to). I’m just trying to keep it real. And fun. And mix it up. For you guys, the readers. And since last time was such a blast, I present Under Cover: WTF!? Edition, Part II. Music crimes perpetrated by musicians who surely should know better may not be punishable by death or even law, but that doesn’t mean we give up our constitutional right to make fun of them. Why, you ask? More like why the fuck not!?

A great song can be a great thing. But a bad cover song is indefensible and may quite possibly be what Led Zeppelin meant when they sang “What Is And Should Never Be”. Like last time, these nonsensical acts generally lead to any, if not all, of the following questions: Are you kidding me? Are you serious? Who the hell allowed this one to happen? Why God, why? As well as: How could you do this to your fans? and How can you show your face in this town ever again? The reactions of listeners vary greatly, but some have been reported as: loss of appetite, loss of will to love music, wanting to burn their iPods, and willingness to move to Amish country. This week I salute Cheap Trick, Pink Floyd, and Björk, and throw e-darts at photos of Velvet Revolver, Scissor Sisters, and the Yeah Yeah Yeahs at my dart board. Sigh, did it really have to come to this?

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“Surrender” by Cheap Trick (original: 1978)

Cheap Trick – “Surrender”

website | myspace

Velvet Revolver (cover: 2004)
Security? Security? Can someone please come and take this awful cover away? Out of the ashes of Stone Temple Pilots and Guns N’ Roses came the phoenix that is Velvet Revolver. Or in the parlance of rock journalists, the “supergroup.” I’ll be the first to admit this was much more musically orgasmic in theory than reality. And what do arrogant supergroups do? Aside from aging groupies, they cover rock anthems. And do drugs. Is it really ironic to see lead singer Scott Weiland voluntarily cover a song that mentions the “Indonesian junk” that’s going ’round? As this is rumored to have referenced low grade heroin, perhaps not such a stretch for Weiland after all. A lot of my problem with this rendition, I’ll admit, is with the band itself. Remember 90′s Stone Temple Pilots and their once virile Weiland with that powerful, deep voice and an ability to exude sex on-stage? Well, throw in a heroin problem and now we’re left with an effeminate lead singer with an irritatingly high-pitched voice and a penchant for guyliner. Weiland’s barely audible vocals are strained and to add insult to injury, the back up vocals are higher to match. The music sounds overproduced and the guitars aren’t nearly as raw as the original. And it’s a sad day when not even the great Slash can save the ensuing mess. I want to like this rendition, but it’s atrocious and unforgivable. To perform a live impromptu version at a concert is one thing, but it’s audacious to record this for their album and make millions. I laugh when Weiland sings “Whatever happened to all this season’s losers of the year? / Every time I got to thinking, where’d they disappear?” because he probably doesn’t realize he’s singing about himself here, specifically. Sorry guys, but I’m going to have to go ahead and file this one under “Cover Songs That Should Never Have Made It Backstage.” Don’t even bother flashing boob, it won’t work.

Velvet Revolver – “Surrender” (Cheap Trick)

website | myspace

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“Comfortably Numb” by Pink Floyd (original: 1979)
English progressive rock bands will always trump their American counterparts, and I proudly wave a white guitar, bow down and salute Pink Floyd as one of my all-time favorites. If you want a stellar example of music that is inventive, out-of-this-world, inimitable, and unlike anything that has come before or after, get thee to the record store and request a copy of The Wall so you can listen to “Comfortably Numb” as often as you’d like. I could go numb, quite comfortably actually, if I had nothing on a deserted island but lead singer David Gilmour‘s voice to listen to (and Hugh Jackman to look at). It’s so relaxing. Beautiful. Flawless. Pretty. Inviting. But that guitar solo mid-song is a whole ‘nother story! I recall a best friend urgently calling my cell several times while I was once driving with this song on the radio. I called her back later and said, “Sorry, I just really had to hear that entire guitar solo” and she laughed and understood why it took me 20 minutes (10 minutes to process the whole song, and an additional 10 minutes of reeling post-song) to finish up, regroup, and call her back. How’s that for an understanding friend? But any true Pink Floyd fan can attest to the entrancing nature of their soundscapes. They are, at best, carnivals of sound that completely take over your senses when you listen to them and keep your undivided attention, even after they are over. While “Comfortably Numb” isn’t my favorite, it’s arguably [one of] the best and perhaps most recognizable in their discography. The lyrics are equal parts thought-provoking and peaceful, but they are eclipsed by that monstrous guitar coda that defines the song and sets the outro on fire, even as it fades out. Trust me, this one should already belong in your collection. And if it doesn’t, consider this a public service announcement sufficiently urging you to do the right thing and increase your musical consciousness.

Pink Floyd – “Comfortably Numb”

website

Scissor Sisters (cover: 2004)
Cut! Cut! Can someone please yell cut!? If ABBA and the Bee Gees had the good sense not to cover this, what’s your excuse? How could you butcher a classic song of your fellow British countrymen? God save the Queen? More like God save me from the horror that is this version. The popularity of Scissor Sisters is something I can’t comprehend and quite frankly, I really don’t even want to. If you actually make it through this entire song, I applaud your patience and high tolerance of all that is unbearable and wrong in the world of music. I also question your hearing, but will refrain from judging. First of all, what’s with the beginning riff that so shamelessly pilfers Stevie Nicks‘ “Edge Of Seventeen”. I was actually waiting for someone to start singing “just like the white-winged dove,” but instead this disco-style song pushed me to the edge of wanting to off myself. The protagonist in Albert Camus‘ classic existential novel The Stranger famously blamed the sun’s glare for provoking his murder of a man on a beach. Too bad the Scissor Sisters weren’t around in the early 20th century since I’m sure he could have blamed their music for his transgression and actually had a better case. And I don’t even know what’s worse… the cheap imitation of ABBA? The Bee Gees-like falsetto vocals? The disco music? The fact that there is not even a hint of a guitar, let alone a solo? Or the fact that Pink Floyd gave permission for this song to even happen, making it the biggest UK hit single covering a Floyd song. What?! Pink Floyd and dance music should never share the same sentence, let alone music chart. The only consolation I find is hearing how David Gilmour invited Scissor Sisters’ lead singer Jake Shears to help sing “Comfortably Numb” during some live shows in 2006, but dropped the idea very last minute (read this). Kind of a dick move, but I’m glad Pink Floyd probably came to their senses and realized they couldn’t possibly subject their hardcore fans to disco if they value them at all. I also imagine it would be hard to smoke pot and “do the Hustle” at the same time? But still, what’s more rock n’ roll than a feud and/or a possible fisticuffs? Oh, and the inevitable press coverage. Sorry chaps, but I’m going to have to go ahead and file this one under “Cover Songs That Actually Make Me Wish I Were Deaf.” Ouch.

Scissor Sisters – “Comfortably Numb” (Pink Floyd)

website | myspace

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“Hyper-Ballad” by Björk (original: 1995)
Wow, to be the incredible man who inspired such a mind-blowingly creative love song! I’m getting chills just thinking about him. Quite simply, “Hyper-Ballad” is one of my favorite love songs written of all time off Björk‘s album Post, which incidentally is in my “Top 10 Albums of the 1990′s.” To know Björk’s music is to love her. Like, all of her. That means all her quirks, neuroses, general oddness, insane talent, boundless imagination, temper tantrums and questionable fashion choices. Her music will make you experience every possibly known (and sometimes unknown to you before her music) feeling in the spectrum of human emotion. Perhaps a fan favorite and one of her more accessible tracks, “Hyper-Ballad” details her waking up early before her boyfriend and throwing small objects off a cliff to watch them crash onto rocks. She, instead, imagines her body in place of those objects, which makes her only happier to be home, safely waking up in his arms. Perhaps an extreme way to come to appreciate a boyfriend, but the music (and many remixes) makes up for it. The best part of the song is the build-up in intensity. It goes from soft to loud, slow to fast, simple to complex, and when she hits the breaking point (realizing she really is happier in his arms), the song almost takes flight and her happy yelps make you feel like you’re running away with her, back home to your lover, excited and happy to find them there. Her lyrics are so seemingly simple, but they have a much broader focus than they let on. Is “Hyper-Ballad” about doing away with materialism? Thoughts of suicide? Letting go of the past (love) to be fair to your future? Freeing the soul by doing away with the ego and body? Ridding oneself of destructive impulses? Detoxing your life of the things you hate so you can appreciate that which you love? Purging life of the bad and finding renewal in catharsis? I think it’s about all of those things as well, but mostly about all the private thoughts we experience and the rituals we have to do in order to make love work with another person. If you’re less literary and into looking at stunning visuals, check out the Michel Gondry-directed video as it perfectly captures the beauty of this song and Björk’s brilliance. I also highly recommend the Brodsky Quartet version found on Telegram. Not only is it amazing, but it only further demonstrates how versatile, boundless, and inventive her music is. She defies genre classification and basic human comprehension, putting her in a class all her own. Björk is just an incredible force of nature that you can’t help but love, even if you don’t quite understand her.

Björk – “Hyper-Ballad”

website | myspace

Yeah Yeah Yeahs (live cover)
Yeah Yeah Yeah? More like No, No, No! “Hell To The Motherf*#&n No (the remix)”, even. Not many musicians can perform renditions of songs that hit different notes than the original yet can still make it work successfully in their new direction, so unless you’re brilliant at it like José González or Chan Marshall (see: Cat Power) you’re already climbing a slippery slope. Enter Yeah Yeah Yeahs with an uninspired acoustic cover of “Hyperballad”. It’s pretty bad, but the fact that it was performed live (and not recorded as a single) makes it only slightly more forgivable. Frontwoman Karen O‘s vocals are off-kilter, disjointed, out of tune, and quite frankly all over the place. This actually amuses me since Björk herself has made a career out of singing in an off-kilter, disjointed, “out of tune,” and all over the place manner. The only difference is Karen O’s interpretation of “Hyper-Ballad” is painful to listen to, while Björk manages to create aural sex whenever she sings. Not only does this version not do the original justice, but it only reveals how uncomfortable she is singing someone else’s masterpiece. She sounds unconfident, unsure, and the opposite of “owning it.” Had the Yeah Yeah Yeahs took the original material, started over, and created something entirely brand new maybe only then this one would sound better. Haplessly changing notes to try and make it sound different does not a good cover make. All it did was confuse the listener since it just sounds like Karen O herself has no idea what verses she’ll sing next. The beautiful “I go through all this / Before you wake up / So I can feel happier / To be safe up here with you” chorus is supposed to be something to look forward, but not in this rendition. Instead, it only means we’re one chorus closer to the song being over. I feel bad dissing a fellow Jersey girl, but I must. Sorry, but I’m going to have to go ahead and file this one under “Cover Songs That Need To Be Taken To The Country And Shot…Twice.” Stick to the original material!

Yeah Yeah Yeahs – “Hyper-Ballad” (Bjork)

website | myspace

It feels like a sin to put so many good indie pop acts in the same room that Copeland‘s current tour does. I don’t think that the Slowdown has ever heard so many happy and chill piano acts.

Opening the show is Canadian artist Lights, a.k.a. Valerie Poxleitner. Old Navy has this amazing talent of picking the best new artists’ music to use in their commercial and, in the case of Lights, they have used more than one of her songs in their commercials. Her synth pop music is like listening to a happy Björk. Lights may just be a very tiny girl with a keytar, but she carries a very powerful punch. She stood several feet away from the microphone as she belted out the chorus of “White,” a ridiculously catchy tune that had the whole audience dancing.

If you don’t have her EP, I strongly suggest checking it out. Of all the artists in attendance, her songs were what I had stuck in my head after the show. Oh, and did I mention the keytar? How can you not love somebody with keytar?

Another music site, Absolute Punk, has just been raving about the next band, Lydia, so I was quite curious to see if this barefooted group was really worth all the praise. Omaha almost didn’t get a chance to see them perform after the group had a run in with a deer in Pennsylvania that totaled their van. None of the members were injured, but this was their first show back since the accident. Now, with the first song I was worried that I was going to be bored and this set was overhyped, but soon I found my self nodding along and tapping my toe.

The male and female vocals with piano make me long for the days when Michelle DaRosa was still playing with Straylight Run. The stand out song for me was “This Is Twice Now.” After watching their entire set, I don’t know if Absolute Punk is quite right with all the buzz about this band, but they were quite pleasant and I would listen to them again.

Compared to Lydia and Lights, Lovedrug is a group comprised of musical veterans. I’ve seen them before and I really enjoyed their piano melodies. Tonight, however, the crowd and the band just did not connect. I think the band felt it, too, because Michael Shepard tried his best to get the crowd to be more energetic and responsive. He seemed mildly frustrated when his attempts to talk to the crowd didn’t get much of an answer. Nonetheless, they still sounded fine and I loved the killer bass line on songs like “Blood Like.”

Aaron Marsh of headlining act Copeland came out by himself to play the piano and sing the first half of “Strange and Unprepared.” This simple opening proved to be very powerful as the audience stood completely entranced in Marsh’s music. About 2/3 of the way into the song, the rest of the band came out and helped finish it up before jumping into the rest of the set. Copeland is another act I had been on the fence about. Pretty music doesn’t always translate into an exciting set, but they were actually really fun live with great instrumental build ups. Songs off the new album You Are My Sunshine were actually much improved live. Where grabbing the crowd’s attention had been a struggle for Lovedrug, Copeland hardly had to try.

Set List:
Strange and Unprepared
Happy Now
No One Really Wins
Paula Sparks
Careful Now
Eat Sleep Repeat
Chin Up
Control Freak
When You Thought
Gray Man
Not Allowed
Brightest
Pin Your Wings
Attention

Lights: myspace
Lydia: website | myspace
Lovedrug: website | myspace | Sucker Punch Show review
Copeland: website | myspace

Photos and Writing by: Bethany

The progressive-jazz-rock band Monika H. Band from Brooklyn, New York will be putting out their second, and latest record Disguised As Umbrellas, We Slept on October 28. This unique band is composed of five members, Monika H. on voice, Jason Lindner on the keys, Grey McMurry on guitar, Rob Jost on bass, and Jason Nazary on the drums.

The music that they play can only be compared to Björk as both singers have similar vocal stylings. The major difference between the two is that Monika H. Band creates an off tone eerie sound mixture with the vocals and installments. The majorities of their songs are sung about their significant others and sex.

In almost every song, Monika refers to a man that plays a part in her stories, such as the song “Fun To Be Had, If You Let It” and how “he is not there.” On title track “Disguised As Umbrellas, We Slept”, she sings about sleeping with “him,” while the song “Incoming Queen” is about being one with “him” and holding his heart in her hand.

Monika H. Band is one of those diamonds in the rough bands that are not too hard to find, and an eclectic one at that.

Tracklisting:
01. Anyanything
02. Fun to Be Had, If You Let It
03. Moonshine
04. Food Stamping
05. Outgoing King
06. Appropriate
07. Disguised As Umbrellas, We Slept
08. Incoming Queen
09. Night Spray
10. Ride
11. Your Doom

Monika H. Band: website | myspace

Written by: Kyle Thurin

Jessica, PopWreckoning: Quite a number of musicians from Iceland such as yourself, Björk and Sigur Rós have found great success in the United States. You broke through here quite some time ago, but what were — and what may still be — some of the challenges reaching an American audience?

Photos: Jonas Val

Mugison: I think the main challenge for me is money. It’s very expensive to come over and do shows for free or next to nothing. I need to do big support shows or get a spot on a late night TV show, be caught with a prostitute on camera, have a baby with Whitney Houston, be in a Jack Black movie, split my penis in half live on MySpace.
I don’t know, If somebody out there has money to give to me, then I suggest this, give me 30,000 dollars for a radio campaign, 40,000 dollars for a TV campaign, 30,000 dollars for online campaign and while your at it give me 60,000 dollars so I can take my family to Hawaii over Christmas.

PW: Your father is a professional karaoke singer, did that have any influence on your initial musical endeavors? Does he sing your songs for karaoke?
M: Yes, when I saw him sing for the first time I realized all dreams can come true, if you just follow your heart, it’ll give you and others joy. My dad hasn’t sung my songs yet, not that I know of, but sometimes he performs with me.

PW: What are your musical influences? You have quite a unique sound — where did a lot of that come from?
M: It’s just a mix of all my influences. I don’t try that much, it´s just the mix I get when I do music. I believe in music like people believe in God. I also love it like a girl and it makes me horny.

PW: It’s my understanding that you’re self-taught with everything you’re doing –
M: Pretty much, yeah. I’m a good example of no talent getting things done.

PW: A lot of your photos shot by Jonas Val are pretty bloody and feature your right leg turning into an instrument. Where did the concept for this shoot come from?
Was there any difficulty in shooting it or is most of it Photoshop effects?

M: Jonas is a great artist, people should check his website out or Google him. It’s an old fantasy of mine to see myself mutated into that animal. Just love the idea of my leg being a double bass, and my arm a microphone, jacks sticking out of my belly. I was also feeling like I was on the edge of something mentally when I finished the album and we did those photos. I love ‘em.

PW: The latest album Mugiboogie is a lot edgier and more rock and roll than your previous releases — what brought about the evolution in your sound?
How have you found the responses to the change?
M: I felt like rock and roll and had to do the best rock’n roll album ever made. I think it’s the best album in the world, but obviously the world doesn’t agree with me. Maybe in times to come you’ll all turn around…or maybe I’m just ill.

PW: In terms of making and performing Mugiboogie, what was it like working with a full band instead of just a laptop?
M: The band is more like a normal stuff, it’s just sex and power. The laptop stuff was more like wearing your shirt inside out and asking people to spit at you for a dollar.

PW: Which do you prefer?
M: I like both, the laptop stuff was more nerve racking, and sometimes more rewarding. The band is better for traveling and smelling.

PW: You just finished up a tour in the US — how did it go?
M: I loved the driving and meeting people. Very few people knew about the shows, so I was often just playing for 5 people. Totally fell in love with Tucson, Arizona, I might move there some time. I feel at home over there, really do. I miss it like a friend.

PW: What are the differences between touring in the US and Europe?
M: The normal people in the US, the people serving on the highways and in bars, in diners, hotels.. the people that I met were all so helpful, funny and interesting. In some places in Europe you don’t get that.
In some places, if you talk to someone you feel like they’d like to get paid to talk back at you, paid by the word — especially France, there I always feel like I’m wasting people’s time when I talk to them, like they’d scheduled some quality time, maybe their all just about to meet their lover and I’m in the way, who knows. Don’t get me wrong I also love the particular mood of France…aaaahh it’s all so different. Love it.

PW: If you could put together your ultimate dream tour, who would you want to share the stage with — any band/musician living/dead, whatever?
M: I’d like to tour with U2, I love them. I’d like to tour with Will Oldham, Robbie Williams, Pixies, Dolly Parton, Matthew Herbert, Björk, Four Tet, Beck, Primus and Tom Waits, Celine Dion in Las Vegas – I’d love to do that (not joking). Sade .. I´d kill for a Sade support.

PW: Thanks so much!
M: All the best.

Mugison: website | myspace

All Photos: Jonas Val

Stop me if you think that you’ve heard this one before: a singer/songwriter branches out from his or her band to release a collection of “solo material.” The inevitable blog buzz builds. Chatter rises about potential turmoil within the group. Some people even celebrate the idea that an artist can finally explore and express new ideas that he or she may not have been able within the confines of a group dynamic.

You hear word about “high profile” producers and collaborators. A killer advance single may even leak that convinces you that you’re really in for something extraordinary. Then the album drops, you pop it in for a listen and it sinks in: This doesn’t sound all that different from the band. It’s nothing new. Individual output from artists as diverse as Thom Yorke, Jenny Lewis, and Siouxsie Sioux over recent years, while far from terrible, has done little to justify its existence outside of the respective bands. To that growing list, we can now add Dresden Doll Amanda Palmer and her Ben Folds-produced, “Twin Peak”- nodding debut, Who Killed Amanda Palmer?.

Perhaps I’m just being too cynical. After all, many of the songs included here are quite good, and most of the highlights actually began as live favorites during the Dolls’ myriad tours, most notably in the lush opener “Astronaut (A Short History of Nearly Nothing),” which now features swelling strings courtesy of Rasputina’s Zoe Keating. Other stand-outs include “Ampersand,” a sobering ballad in the vein of Yes, Virginia’s “Delilah” that once again seems to explore a dysfunctional relationship this time from an internal perspective, and the perky “Oasis,” a single-in-the-making sporting girl-group harmonies, Cars-styled synths and archetypically Palmer-esque lyrics about date rape and abortion.

Indeed, a good deal of these songs would be right at home on any Dresden Dolls album (Maybe, Virginia perhaps?), but that’s the point. Why go through the facade of a solo outing when your best songs originated within the band? Why not record versions of these that include the fierce and propulsive percussion of fellow Doll Brian Viglione? Furthermore, if you insist on asserting your independence, why not choose collaborators that actually challenge your aesthetic and listeners’ expectations in order to make something unique instead of ones that, while undeniably talented, merely encourage and accentuate attributes that were already prevalent in your work?

Ben Folds is in full-on “Brick”-hurling mode here with his production, and while on paper a team-up between him and Palmer sounds like a match made in Heaven, his quirky touches frequently get lost amidst Palmer’s trademark in-your-face melodrama. The one exception where their styles truly come together into something worthy of them is on the sauntering “Leeds United,” a delectable slice of Cabaret swagger complete with swanky big-band trumpets. The other team-ups don’t work nearly as well as they sound like they would. Annie Clark of St. Vincent fame is wasted on the soporific Carousel cover “What’s the Use of Wonderin’?” while East Bay Ray’s guitars add little to the already slight “Guitar Hero.”

Perhaps the only way for an artist to truly shine on his or her own is to cast aside the band altogether. Frank Black wrote some of his most intriguing (if not ultimately satisfying) work post-Pixies, and Björk continues to spin beautifully challenging gold from her Sugarcubes’ straw. But should it really have to come to that before a solo album can take on genuine artistic relevance? Do band artists really have something unique to say beyond their collectives any more or are they simply going it alone to prove that they can? These are questions that deserve answers, and any of those answers would probably be more satisfying in the end than the answer to Who Killed Amanda Palmer? Nobody may have killed her yet, but she’s certainly veering dangerously close to shooting herself in the foot.

Look for Who Killed Amanda Palmer? in stores September 16, 2008.

Amanda Palmer: website | myspace | NYC show review

Written by: Rob Huff