popwreckoning

As I’m nearing my 21^st birthday, the ever-present anxiety surrounding who’s playing all ages shows has gone out the door. However, the last all-ages show I will see as a 20-year-old human being (well, except for Sasquatch this weekend) turned out to be Broken Bells and The Morning Benders at the Showbox this week.

This is the first time I’ve seen a band since…February… that I was almost more excited to see the opening band than the actual headliners. Nothing against Broken Bells – their debut album is fantastic, but having seen The Morning Benders two times prior, first with We Are Scientists in 2008 and then with Grizzly Bear last October, I was really looking forward to seeing them for a third time.

The Showbox was packed. Packed tight light a space bag, but instead of blankets and pillows, it was full of people. Starting at about 9, the Berkeley natives stepped out on stage – Chris Chu on lead vocals, Tim Orr on bass, John Chu on guitar and keyboards, and Julian Harmon on drums. The one thing that I always loved about seeing these guys live is how humble they are. Each time they thank the headliners multiple times and thank the crowd for “coming early to see us.” I may have said this before, but I didn’t go early, I went on time! It was also nice to see that Chris’ brother John, who joined the band last year, was sporting the same Telecaster that Chris used two years ago, with the familiar “Britney Spears” label, even if it was quasi-covered in duct tape.

They started with “Stitches,” an achingly beautiful ballad that builds to an ending no less than epic with the lyric “you don’t know me by name” repeated over and over; and it was also my second-favorite song off their phenomenal second album Big Echo. The guys were much more at ease on stage than when I saw them in October, when prior to the show someone broke into their van and stole a bunch of their equipment. At this gig, they were fully equipped with not only their instruments, but so many of the great songs off Big Echo, including the slower “Wet Cement” and “Mason Jar,” along with more upbeat tracks like “Promises,” “All Day All Night” and the short ditty “Cold War (Nice Clean Fight).”

Throughout their performance I glanced around where I was standing, and I was the only person singing along to virtually every song. No, really. Thankfully they closed with “Excuses,” as people had been shouting it various times up until then, so people had to sing along. Chris put down his guitar and grabbed the mic off the stand, and came to find that it was going to cut in and out, so he scrapped his mic and grabbed John’s from atop his keyboard. In the absence of the strings, John played the chords on his keyboard while Chris meandered around the stage from the right side to the left, singing the lovely song directly to the audience. I swear, when I heard “Excuses” for the first time, I thought I’m playing this song at my wedding, whenever it may be. It’s that adorable, but somehow not saccharine. At this point I urged everyone around me to sing along to the “da dum, da dum, la da da dum,” and I finally wasn’t the only one joining in the song.

After a half-hour intermission, Broken Bells, led by James Mercer, stepped out on stage to an ecstatic crowd. I mean, the crowd had to be ecstatic – the show sold out in a matter of days when the tickets went on sale a couple of months ago. Before jumping right into “Vaporize,” James Mercer declared to the audience, “you’re too good to me, Seattle.” To tell you the truth, we’re pretty good to most people.

Broken Bells played through the light and fun songs off their self-titled debut, as well as a cover of Tommy James and the Shondells’ “Crimson & Clover” that was pretty ace. I’d have to say that their set wasn’t quite as dynamic as the Morning Benders, but it was far from boring. I like Broken Bells music because you can dance to it, but it’s so slow that it turns into a slow dance and it’s not so fast that you get tired when you’re dancing for almost an hour.

I especially liked when Brian Burton (better known as Danger Mouse) got up from the drums and sat at the keyboard in the middle of the stage, which was otherwise vacant without Burton playing. I never really knew how multi-talented he is. Burton surely has an impressive resume.

The only thing that spoiled my night was the fact that halfway through Broken Bells’ set this guy who was obviously high on something (something that apparently makes you a total and complete butthead) came and stood right next to me and started thrusting himself around obnoxiously like he was in a mosh pit. Okay, so Broken Bells isn’t mellow, but they aren’t necessarily mosh-able. He even suggested at one point while he was filming the show with his phone that he was going to crowd surf, before the guy standing behind him told him off. Honestly if that guy had crowd-surfed, I would have let him drop. I know personal space technically goes out the window when you’re at a show, but when no one else around you is gnashing against one another, you should take a hint that you need to chill.

Trying to ignore the annoying dude standing next to me, I joined in the crowd’s massive sing-along to “Crimson & Clover,” which would have been a nice surprise if I hadn’t taken a picture of the set list before Broken Bells came onstage. It was still quite nice, though.

After their first “last” song, Mercer and Burton played a charming version of “Insane Lullaby,” from Danger Mouse and Sparklehorse’s 2009 album Dark Night of the Soul. You don’t normally expect two covers in one show, and this was pretty cool. It was just Mercer on acoustic guitar and Burton on keyboards, and it worked really well. They finished out the night with my favorite song from the album, “October,” which instantly made the crowd sway to-and-fro to the easy beat, and the dude standing next to me finally calmed down.

Broken Bells Set List:

1. Vaporize
2. Sailing to Nowhere
3. Trap Doors
4. Citizen
5. High Road
6. Your Head is On Fire
7. The Ghost Inside
8. Crimson & Clover
9. Mongrel Heart
10. The Mall and the Misery

Encore

1. Insane Lullaby
2. Hold On
3. October

Broken Bells – comprised of the Shins‘ James Mercer and Danger Mouse (better known to his mother as Brian Burton) have announced their first headlining tour of North America. The jaunt across our continent begins May 18 in sunny San Diego. The duo’s trippy, psychedelic, pop-tinged self-titled debut album was released on March 9 and is available now in regular and deluxe editions. Check out the promo video for “The High Road,” the first single from the album, below.

Tour Dates
May 18 – Humphrey’s Concerts by the Bay / San Diego
May 19 – Henry Fonda Theatre / Los Angeles
May 21 – Regency Ballroom / San Francisco
May 24 – Wonder Ballroom / Portland
May 25 – Showbox at the Market / Seattlke
May 26 – Commodore Ballroom / Vancouver
May 29 – Gothic Theatre / Denver
May 31 – Vic Theater / Chicago
Jun 01 – St. Andrews Hall / Detroit
Jun 02 – Queen Elizabeth Theatre / Toronto
Jun 04 – Royale Nightclub / Boston
Jun 05 – Fillmore New York at Irving Plaza / New York City
Jun 06 – Electric Factory / Philadelphia
Jun 07 – 9:30 Club / Washington DC
Jun 10 – Center Stage / Atlanta
Jun 11 – 40 Watt Club / Athens, GA

Broken Bells: website | myspace | Broken Bells review

I still maintain that 2009, besides being a crap year financially and personally, should have not focused so much on which albums were better than others, but on what kind of crazy collaborations the greater indie genre saw (think Discovery, Karen O. and The Kids, etc.). The announced project that came out of the meshed minds of Danger Mouse and James Mercer in September, Broken Bells, would hold its own in that list with the their blippy, bloopy, but otherwise sophisticated (thank you Mercer vocals) smooth starter debut single in December: “The High Road.” It promised a serious balance of The Shins and electronic to symphonic elements with the edge of a producer who has given a proper noise to everyone from Gnarls Barkley to Beck to The Black Keys.

The resulting self-titled full-length doesn’t sound as cutting edge and genre-blasting as I would have expected. But classifying it just isn’t easy; saying I’ve heard the sound before would be too much so. The duo recorded all their own instruments, which definitely boosts the cool-factor of the final result. If you imagined The Republic Tigers broadening their scope by suddenly including, wait, by including Danger Mouse, well you might just get the same effect. You could sub Danger Mouse for another searcher of solo spotlight—Julian Casablancas. The album is catchy after a few listens, and it’s nice to use the words “electronic elements” to describe some highlights of the album, and not have to follow up with an eye roll. The lyrics–for all you weather-beaten and serial status updaters out there–are quite an eyebrow raise of life lessons: “Come on and get the minimum/Before you open up your eyes/This army has so many hands to analyze.”

As far as internal movement, there are moments of subtlety and inner-focus, where you hear a lot of keys and minor percussion and sweeping, swooning vocals. Those are plays like “Sailing to Nowhere,” which is great in its entirety as it breaks down to a few hooks of acoustic confession and bass drum spotlight and then flips into dramatic swings and a piano rift straight out of the 20s. “Trap Door” is also mellow, keeping in tune those low-key “electronic elements” with a hand clap-style back beats and even an inclusion of “mmmm” that I definitely dig, and you’ll appreciate. To switch gears to something a bit more upbeat and add some attitude, immediately set your dial to “The Mall and Misery” and feel a bit closer to a DJ state of sound as you bounce your head to a mini percussion lab. The lyrics here play out a tad more spiteful, “Your tiny vengeful life might pass through my mind, but I blink and it’s over.” Perfectly matches the bad-ass sound that the Shins never got to break out.

The remainder motion of this debut gift of an otherwise stellar partnership (because who knows how long it will last, so let’s not get too involved in the fling), flirts with southern acoustic (“October”), Mars Volta-reminiscent overdramatic echoes (“Vaporize”), a Bee Gees-style sound of soprano heights and hand-claps (“The Ghost Inside”), and lyrics that are more observatory than “God, I’m so heartbroken, lonely, introspective and abused.”

This album can’t be better likened to anything less obvious than a sigh. A freaking sigh. You don’t really know you needed it until it runs through your entire soul, removing all frustration, confusion and clutter by giving you the ‘You Time’ that’s deserved. Add to that some famous guys and a fling with electronic tics and you have something that should feel even better when you know what to expect.

Track Listing:

1. The High Road
2. Vaporize
3. Your Head Is On Fire
4. The Ghost Inside
5. Sailing to Nowhere
6. Trap Doors
7. Citizen
8. October
9. Mongrel Heart
10. The Mall and Misery

In a deck of cards, the Joker stands out and doesn’t fit into any one suit. Similarly, The Joker’s Daughter, the musical collaboration of Helena Costas with the production of Danger Mouse, stands out in music and doesn’t quite fit any one genre. Sure there’s rock, electronica, psychedelia, but there’s also hints of genres like polka. In just three songs, Costas managed to fit a lot of surprises. The Worm’s Head is a 7 inch teaser of the music of The Joker’s Daughter before the debut full-length is released by Team Love on February 3, 2009.

“The Worm’s Head” is a quirky song that introduces Costas, backed by a beautiful string arrangement. Her voice reminds me a lot of Feist mixed with Emilie Simon. After “The Worm’s Head” is the silly and lovable number “Bouncing Liquorish Bears.” On the verses, the music sounds like a polka as Costas sings silly phrases like, “Liquorish is very stickerish.” The jingle of the bell accompaniment adds just enough fun to make this seem like it would be a bedtime number.

The last song on this three-song 7-inch is “Slayer.” “Slayer” has a bit more of an edge to it as Costas sings repeatedly, “Waiting for the sun to come down.” She sings this phrase through a voice box. I like how the modernization of the voice sits with the more antiquated effect of the bongo beats.

The Joker’s Daughter’s The Worm’s Head was released digitally today, November 4, 2008 a physical 7-inch dropping on December 9, 2008. Look for the full-length The Last Laugh on February 3, 2009.

Tracklisting:
01. Worm’s Head
02. Bouncing Liquorish Bears
03. Slayer

Joker’s Daughter: website | myspace

Written by: Bethany

AA Bondy

11:45-12:30 // AA Bondy // Dell Stage
Despite a burning desire to sleep till noon, I rolled out of bed at 9:30 (that’s early for a Sunday!) to make sure Josh and I were at Zilker in time to catch Alabama folk singer AA Bondy. He reminded me a great deal of Bob Dylan with a tinge of Rocky Votolato, although almost any modern folk singer with an acoustic guitar and harmonica reminds me of Votolato. Regardless of any comparisons, Bondy’s set was quite lovely, despite not being tight in the least.

Angela of Sybris

11:45-12:30 // Sybris // AT&T Blue Room Stage
Only knowing that I needed to see Bondy at 11:45, I hadn’t paid attention to anything else on the schedule, knowing I’d figure it out more or less when I arrived at the park…and had a chance to actually wake up. Initally I’d thought that Bondy was on the Austin Ventures stage, but as we neared, I could have sworn I heard the fantastic musical stylings of Ohio duo mr. Gnome. Discovering my mistake, I was delighted to find that the tunes actually belonged to the reverb-loving foursome from Chicago known as Sybris.

Though not playing to a sizable crowd (opening slot is tough), Sybris rocked out hard and most certainly drew a great performance. Those in attendance loved every second of the high energy shoegaze (oxymoron?) set. Once their set ended, Josh and I headed over to the AMD stage for Nicole Atkins and the Sea, happening upon a large spot of lawn covered in a mass of glitter. It had us thinking that Tilly and the Wall performed a secret set at ACL, and if that’s true, we’re not too happy about missing the memo on that one.

Nicole Atkins

12:30-1:30 // Nicole Atkins & the Sea // AMD Stage
As a member of local public radio station WXPN (which, if you’re a regular here, you know I pimp as often as poss.), I’d long heard of Nicole Atkins and the Sea, but this past weekend was my first chance at seeing the outfit perform live. Just the first few seconds of the set alone had me understanding why XPN loves this woman so much and I was blown away myself. Atkins has a rich and transfixing voice, intermittently punctuated with a squeal belonging to a rocker from the 50s a la Barrett Strong or even a James Brown.

Nicole Atkins and her sea swelled with great intensity as they produce poppy dance rock jams that had the crowd (most certainly me included) dancing along in the afternoon Austin heat. To do “as the Austinites do,” Atkins played a rather catchy country song she’d written as part of her set. Not a fan of country due to the twang in the vocals, I actually rather enjoyed Nicole’s rendition of a country song seeing as it lacked the twang and was just as hooky as every other song in the set. For sure an act I’ll catch in a more intimate setting, and not only because Atkins is beautiful, sassy, and I have a girl crush on her.

Day 3 was by far the hottest of the fest, so Josh and I made our way to the other side of the park to enjoy some Rock Band, football and air conditioning in the AT&T Oasis, and an oasis it was. On the way to the Oasis, we were treated to a bit of Abigail Washburn & the Sparrow Quartet‘s set, featuring legendary banjo player Bela Fleck. Man, that Bela wails on the banjo. Switching gears (and how!), as a long time fan of The Octopus Project, I mandated we leave the oasis and head to the Dell Stage as to not the Austin locals’ set.

1:30-2:30 // Octopus Project // Dell Stage
Arriving only a bit tardy, I was pleasantly surprised to find a middle school band on stage playing and dancing along with The Octopus Project. No other electronica pop band has ever had a more lush sound than The Octopus Project did on Sunday. I was delighted with the upbeat set, the band’s energy as they moved around and took turns playing the others’ instruments, and Yvonne Lambert‘s adorable sky blue dress. Lyrically, the band was slim, but they more than made up for it with huge electro-poppy melodies.

Later in the day, I briefly chatted up the band in the media area as they made the press rounds. They’re absolute dolls!

Pricilla Ahn

1:50-2:30 // Pricilla Ahn // Austin Ventures Stage
Sunday was the day of forming girl crushes, but honestly, you listen to Pricilla Ahn for five minutes and tell me you’re not in love. She has the sweetest voice and was simply enchanting in between songs as she bantered on the stage. Another cute dress noted, Ahn wore a flowy, yellow halter dress that made her shine even brighter.

1:30-2:30 // The Kills // AT&T Blue Room Stage
The Kills’ feminine half, Alison “VV” Mosshart looked just like Jack White as she took the stage, decked out in tight pants, a floppy hat and long dark hair in her face. Despite my initial judgement of her outfit (side note: I used to work for a fashion magazine, thus all the clothes talk), I was happy to find The Kills nailing an energetic performance chock full of fun rock songs.

2:30-3:30 // Gillian Welch // AMD Stage
Josh had been looking forward to checking out Gillian Welch all weekend so we swung by the AMD Stage on our way to land a spot for Stars while in search of friends of mine. As we happened by the stage Gillian played on, we heard her announce a special guest joining her on stage, so needless to say, we stopped dead in our tracks. Lucky for us we passed by at that time, because Alison Krauss joined Welch for a beautiful cover along with one of Gillian’s guitarists.

2:50-3:30 // Tristan Prettyman // Austin Ventures
Still on the way to catch Stars, we briefly walked past Tristan Prettyman’s performance and, man, what a beautiful voice. Girlfriend can sing it.

3:30-4:30 // Stars // AT&T Blue Room Stage
Never having seen Stars, I was ridiculously excited to catch them at ACL. They were absolutely amazing — which is really all I have to say about them — though I had the nagging feeling that they’d be much more enjoyable at an indoor venue. This thought was later confirmed when Josh told me that they’re better indoors. Solid.

Stars

What turned out to not be as regrettably as I’d initially assumed, Josh and I left Stars’ set early to chat with Sybris and Five Times August in the media area. Brad of Five Times August was lovely and Sybris was a wild ride. Following an interview in which Josh and I did shots with the band and they beat on each other, we hung out backstage with them, scored some free shoes, sat in on a video interview they had to give at their behest (I became the tambourine player and Josh, the bassist) and just had a hell of a time.

5:30-6:30 // Okkervil River // AT&T Blue Room Stage
Sybris had to take some things back to their bus, so the antics ended and Josh and I caught the last quarter of Okkervil River’s set. They put on a wildly energetic set that you should make your business to see.

Okkervil River

The Raconteurs, Photo: Nick Davis

6:30-7:45 // The Racounteurs // AMD Stage
Josh, and the rest of the world pretty much, could not shut up about how amazing The Raconteurs are live. Honestly, I was bored. Granted, by 6:30pm on the 3rd day of a music festival, maybe my tolerance for great music had hit an all time high or I was beginning to suffer from A.D.D. as a result of sleep deprivation. For whatever reason, I was totally bored out of my mind and just wanted to leave The Raconteurs set.

6:30-7:30 // Gnarls Barkley // AT&T Stage
Despite having lost the hype for Gnarls a while ago, I was excited to catch their set on the other side of the park since Jack [White] and Brendan [Benson] had only managed to bore me. Cee-Lo and Danger Mouse, I thought, were a more entertaining duo that day. They exceeded my expectations from the last time I saw them, but then again, I hadn’t just been blown away by The Roots. Following “Crazy,” Josh and I snuck back into the AT&T Oasis for a little R&R.

7:30-8:30 // Band of Horses // Dell Stage
Thousands of people flocked to the Dell Stage for Band of Horses late set. Josh and I scoped out a spot after leaving Gnarls a bit early, only to be told that I was going to get my throat stepped on by a Mets (boo fucking hoo, you should hate your life) fan because the Phillies clinched the division and I’m a Phillies fan (go Phils!). Fearing for my trachea, Josh and I stayed for only a few songs, including the hugely commericially popular “Is There A Ghost,” before heading back to the media area to listen to the set in piece and with way better accomodations than the dusty parkgrounds had to offer.

Band of Horses

8:30-10:00 // Foo Fighters // AT&T Stage
I’d seen the Foo Fighters for the very first time with photographer Ajay at this year’s Virgin Mobile Festival in Baltimore and was thrilled at the chance to catch them live again — had never seen them in my 23 years and then see them twice in the same summer, crazy. Dave Grohl is as dynamic a personality as they come and he is nothing but entertaining in every aspect of his stage show from hilarious and out there stage banter to just rocking the fuck out.
If you’ve never seen the Foo Fighters live, regardless of how much you like or dislike their music, I feel sorry for you that they’re going on hiatus. Foo Fighters definitely rival for a top spot in best shows I’ve seen this summer.

Dave Grohl on the JumboTron, Photo: Quiet Color

Taylor Hawkins on the JumboTron, Photo: Quiet Color

a prettier one, Photo: Ben Watts

10:00-2:00 // Conor Oberst and the Mystic Valley Band w/ Jenny Lewis & M. Ward // La Zona Rosa
So much went on here that you’ll have to check back for another post! It was amazing.

Austin is an amazing city and Austin City Limits is one of the best festivals I’ve been to, hands down. Shout out to all the fantastic people I met and thank you to Sandee and Marcy for such a wonderful time! Here’s looking at ACL 2009.

Austin City Limits: website | day 1 | day 2

Beck‘s new album Modern Guilt, produced with Brian “Danger Mouse” Burton, will be released July 8th on DGC Records in North America and July 7th on XL Recordings in the UK and Europe.

The new album contains 10 new songs, and with the exception of last year’s Grammy-nominated, digital-only single “Timebomb”, Modern Guilt is the first new material Beck has written since the prolific stretch that produced 2005′s platinum Guero and 2006′s universally acclaimed The Information.

Modern Guilt is a tightly assembled group of songs that range in lyrical tone from introspection and social commentary to off the cuff wordplay and lighthearted humor. Musically, the album’s ten tracks vacillate between economy and experimentation, hybrid and pop classicism, while consistently manifesting Beck and Danger Mouse’s shared interest in psych-rock, folk, electronic minimalism and orchestration.

Tracklisting:
01. Orphans
02. Gamma Ray
03. Chemtrails
04. Modern Guilt
05. Youthless
06. Walls
07. Replica
08. Soul of A Man
09. Profanity Prayers
10. Volcano

Tour Dates:
8/22 – San Francisco, CA – Outside Lands Festival
8/24- Bend, OR – Les Schwab Amphiteater
8/30 – Seattle, WA – Bumbershoot Festival
9/20 – Hollywood, CA – Hollywood Bowl
9/27 – Austin, TX – Austin City Limits Festival

Beck: website | myspace
Danger Mouse: website

The new Gnarls Barkley album The Odd Couple could not be more aptly titled: this duo is odd. You’ve probably seen them playing recently in MTV commercials as they are the “Artist of The Week,” seemingly unaware of the people in animal suits wrestling each other behind them. Maybe you caught their performance on the 2006 “MTV Music Awards” when they were decked out in Star Wars costumes, complete with Chewbacca on drums.

One thing is for sure, we can expect the unexpected from these two. They’ve created a style and sound that is all their own, proving to be impossible to define in the best way possible. According to their MySpace page, they describe their music as “alternative / soul / experimental” but after listening to The Odd Couple, genre labels can’t even compare to what comes out of the speakers. It’s a unique combination of whole-hearted sincerity and emotion mixed with technological brilliance that captures you through the entire album. They are definitely one of the most unique and original groups out right now – and incredibly talented in every aspect.

The first track, “Charity Case,” jumps right into the album without warning and I’m immediately hooked. Then “Who’s Gonna Save My Soul” comes on. As you can guess from the title, this track is soulful – old school blues but still very modern, something I didn’t expect to follow such an upbeat first song. This becomes a pattern of the album: you never know what’s next.

“Going On” gets back into that fast-paced sound and there’s definitely a lot going on in this song. The music changes constantly when you least expect it and the flow into every different sound fits perfectly together. The ability to experiment with various sounds and make each one enjoyable is one of their biggest strengths throughout the entire album.

Their single “Run (I’m a Natural Disaster)” is like the speed metal of their style. The video has been banned from MTV for causing seizures, but the song itself could probably do the same. Cee-lo gives fast talkers everywhere a run for their money. The following song “Would Be Killer” is considerably different. Despite the haunting lyrics, it’s very chill and downright sexy. The most attitude is in the shortest track, “Whatever.” There’s this snotty, “it’s my party and I’ll cry if I want to” outlook, but way more badass: “I don’t know what else to do / Said ‘fuck me,’ well fuck you, too!” The last song “A Little Better” is a little more optimistic. It really hits your heart when Cee-lo wails out his painful past into better times over more instrumental music rather than electronic-made beats. It was a perfect way to end such a great album.

Regardless of what kind of music you generally prefer to listen to, you will love this record, in stores now.

Gnarls Barkley: website | myspace

-Melissa

Beck has recorded a new album, produced with Brian “Danger Mouse” Burton, whom Beck met a few years ago, to be released this summer. The as yet untitled album contains 10 new songs which stem from last December when Beck and Danger Mouse found mutual time to get together to do a few songs. Those songs turned out wonderfully and encouraged the pair to work on a full-length together.

The result is a tightly assembled group of songs that range in lyrical tone from introspection and social commentary to off the cuff wordplay and lighthearted humor. Musically, the album’s ten tracks vacillate between economy and experimentation, hybrid and pop classicism, while consistently manifesting Beck and Danger Mouse’s shared interest in psych-rock, folk, electronic minimalism and orchestration. The album’s diversity of tone is belied by an emphasis on songwriting and musical concision, with the album clocking in at a little over 30 minutes.

The album represents the first new Beck music since last year’s Grammy-nominated digital single “Timebomb” (which is still in heavy rotation on our playlists!) The new songs also mark the first new material Beck has written since the prolific stretch that produced 2005′s platinum Guero and 2006′s universally acclaimed The Information.

Beck will play his biggest hometown headline show to date September 20th at the Hollywood Bowl. The bill will also feature special guests Spoon and MGMT and is the first headline date announced on a U.S. itinerary that so far includes the Austin City Limits, Outside Lands and Bumbershoot festivals.

There’s little Beck can do wrong, so we’re just as stoked as you are for the new album! We’ll be sure to catch Beck’s set at Austin City Limits, but be sure we’ll bring you more news until then.

Beck: website | myspace | “Timebomb” video
Danger Mouse: website | the Grey Album