Mr. Flattop himself, Joel Leoschke, has just had some words with Pitchfork about Kranky Records.
Funny that he almost called the label Curmudgeon, because seriously, if I ever knew a churlish little codger of a man, Joel is it.
-Cole
The Smogdog himself, Bill Callahan, played in Sydney's Hyde Park tonight in the first of five shows for the Sydney Festival. The venue, the "Famous Spiegeltent," looked a bit like an auctioneer's showgrounds, but proved to be a very intimate setting for Bill and Co. This was no ordinary Co., though. The Dirty Three's Jim White and Mick Turner accompanied him on drums and guitar, respectively, in what turned out to be the loudest Smog show I've ever seen.
On first impression, Bill looked like an almost entirely different person that the last time I saw him. Previously trimmed and suited, tonight he was sporting a Canadian tuxedo, hair to his shoulders, and a patchy beard to boot. All this can be evidenced by a very blurry photo: 
I was surprised that the first song turned out to be "River Guard," for one because I've just recently started re-listening to Knock Knock, and two because I've never heard him play that song before. The rest of the songs (with the exception of two new ones) were all usual live Smog fare, though with the complementing sounds of White and Turner they were given a bit of extracurricular muscle. It was pretty clear they hadn't played together much before, and though White's drumming was free-flowing and exceptional, Turner occasionally appeared lost and often referred to notes in front of him. Bill chose to play a decidedly rock version of "Our Anniversary," which I felt took away a little from the brilliant lyrics, and Mick's guitar seemed a bit out of place. Of course Mick's a great guitarist, and he nailed it at least half the time, especially on the driving "Bathysphere" as well as the climax of "Say Valley Maker." That song is the absolute jam.
Two new ones seem extremely promising, though I know nothing of their names. One was an upbeat single-worthy song akin to "Sycamore." The other was an actual break-up song about him and Joanna Newsom. I didn't know he had it in him. I'm really excited to hear the new album, with the soaring and cryptic name "Sometimes I Wish We Were An Eagle."
The night ended with four "A River Ain't Too Much to Love" tracks- "Say Valley Maker," "In The Pines," "Rock Bottom Riser," and "Let Me See The Colts." He could play most anything off that album and I'd enjoy it, but as a last song "Let Me See the Colts" is perfect.
There's nothing like an excellent show from one of the best songwriters ever to end a good week.
-Cole
As of last week, it appeared that Dr. Dog was playing only one Sydney show, opening for The Black Keys and Gomez. Ticket price: $60. I love Dr. Dog, but that is one rich cheese steak, youknowwhatImean? One quick check on Pollstar this Monday and I come to find they're playing at the Beach Road Hotel. Whaaa? Never heard of it. It turns out to be a three-story club in Bondi. Doesn't matter, because it's FREE.
So Dr. Dog shows up and turns it out. This was the fourth time I've seen the band, and every time I'm amazed at how much musical prowess these guys have. Their albums highlight songwriting and production abilities, but the live setting is where they get to show off their chops. What differed this time around was that they focused almost completely on songs from their latest album, Fate. I'm not saying that's a bad thing, but I love all that Dog MD offers me, and a little "Say Something" or "Pretender" wouldn't have hurt anybody. Much to my delight they did throw in "Oh No" and "Ain't It Strange" though.
Unfortunately for the Dog, the sound wasn't great, the lighting was worse, and a lot of people were there to hang out, not to see a band. It was a lot of beach kids sipping cocktails and chasing tail. I think the band knew this, and they ran through their set in what seemed like double time, cranking out jam after jam. This didn't deter the quality of the songs, as these guys are pros. There just wasn't much fooling around in between. I was hoping to say hi and possibly buy a t-shirt, but the band didn't stick around and weren't selling merch.
All in all it was great to see them live again, as the live setting really shows what an incredible band they are. Toby's songs are always more dominating live than on record, and I'm surprised the guy still has his voice intact. They also get to jam out a bit, which suits their style perfectly, considering the classic rock influences (Scott even looks kind of like Tom Petty, though not as much now that his hair is short). These guys are a really great, fun rock band that should be blowing up the world stage any day now.
-Cole
I've been reading "Helter Skelter," the all-telling account of Charles Manson and his Family. I've realized that there is a modern-day Charles Manson roaming around. Just like Manson, he gives vague and non-committal answers in interviews, sings cryptic folk songs, acts like a hippie, and leeches off people more famous than him to gain credibility.
Who is this mystery man?
It's Devendra Banhart!
The Beatles - Helter Skelter.mp3
-Cole
Wolf Parade – At Mt. Zoomer
At Mt. Zoomer is another piece of mastery from this Canadian quartet. Between Wolf Parade releases both of the band’s songwriters have released albums that don’t stand up to their talents as collaborators. The album works both as a singles album as well as a coherent piece thanks to the prowess of Spencer Krug and Dan Boeckner. The aesthetic is similar to their previous works, keeping with the lo-fi sound, punchy guitars, and swirling keyboards. The production, coupled with the imagery of ghosts, static, radios, and constant danger, reminds me of a time when child abuse was common, muddied long-johns were a display of productivity, and the macabre was all the rage.
Walkmen – You & Me
After their misstep “A Hundred Miles Off” in 2006, the Walkmen put out an album this year that’s both a return to form as well as a fresh take on their patented sound. The usual instrumentation is everywhere- the trebled guitars, piano, that straining voice- as well as a few new additions. The bass sounds like it was recorded underwater on both the intro track “Donde Esta La Playa?” and “On the Water.” There also seems to be a bigger emphasis on the bass drum and floor tom, which gives the music a greater depth. They’ve continued to use horns to great effect, allowing for a more worldly image. This record is mostly a mellow affair, one that could be enjoyed with a glass of red wine and some mood lighting. 
Koushik – Out My Window
Using a combination of downbeat hip-hop beats, electronic manipulation, psychedelia, and ambient/shoegaze vocals, this guy has come up with one of the most amalgamated and fresh sounding albums of the year. Some of these songs sound like they belong on a J Dilla record while others fit in with Caribou, RJD2, or Four Tet. I was absolutely blown away upon first hearing this album, and also really disappointed that nobody has mentioned this as one of the best albums of 2008.
Koushik - Be With.mp3
Mount Eerie – Lost Wisdom/Black Wooden Ceiling Opening
Lost Wisdom showcases much of what’s great about Phil Elverum’s songwriting talent. Though the words are moody and cryptic, he states them matter-of-factly, displaying the disparate elements of each song. Here he teams up with Julie Doiron, a Jagjaguwar folkie/solo artist, to help sing. Thanks to these female backing vocals, this release sounds most like the Phil/Mirah tag-team of early Microphones days.
Then there’s “Black Wooden Ceiling Opening.” It kept being described as metal, which it definitely is not. The music is distorted and slapdash, reminiscent of a mid 90’s punk band recording in their basement with one microphone in the center of the room. This album is not recommended as an introduction to Mount Eerie, but is a great anomaly in the discography of a very prolific songwriter.
Shearwater - Rook
Everywhere that Okkervil River has gone wrong in the last few years, Shearwater has gone right. I should give props to Okkervil River for giving Jonathan Meiburg a chance to sing on their newest record, but why bother waiting around to hear a snippet of his voice when you can pick up a Shearwater record and bask in it? This record is dramatic, often utilizing a loud/soft dynamic to establish moods of beauty and terror at once. The band uses a boatload of instruments, including dulcimer, glockenspiel, pump organ, horn section, and a string quartet. And Meiburg offers what so many rock bands can’t, which is a pure voice that could break glass. There’s no idiosyncratic tone or word manipulation, just a great range and powerful delivery.
Bottomless Pit – Congress
Late last year this band released “Hammer of the Gods,” a surprisingly amazing album (ep?) from the former Silkworm guys. I never especially liked Silkworm until I heard this last album. The guys in this band have only gotten tighter and more comfortable with themselves musically over the years. Each new release better explains the previous one, showing both their progress and methodology. Still keeping the 90’s low-end indie rock torch lit, the Bottomless Pit are a band that Chicago should be proud of having as an alternative to Kid Sister or Fall Out Boy.
Bottomless Pit - Fish Eyes.mp3
Dr. Dog – Fate
Fourth release in as many years, “Fate” serves as catchiest album on this here year-end list. Scott and Toby alternate songs on this album (as usual), and though there are none of Toby’s stand-outs like “Goner” and “Pretender,” buried deep is “The Beach,” a show-stopper live. Scott’s “The Old Days” moves fluidly, like the roaring Mississippi, while “The Rabbit, the Rat, and the Reindeer” is pure ear candy from start to finish. Sure they blatantly rip off the Beatles, but so do SO many other bands, and not as well as this band (dear Oasis: fuck you). How these guys aren’t more popular I don’t understand.
Beach House – Devotion
I wasn’t expecting to really enjoy this album, as their first one was ok but didn’t show much room for growth. Their second full-length shows them using the same formula to greater appeal, highlighting both vocal and guitar work this time around. I’d like to see them experiment with keyboards a bit more, but for a band that’s only been around for two years, they definitely know how to write some dark, dreamy lullabies. If you think Brightblack Morning light are a little boring, and She & Him was too glossy, this is definitely the album to check out.
Beach House - Gila.mp3
Benoit Pioulard – Temper
Thomas Meluch (aka Benoit Pioulard) appears to be shaping himself as the next Lindsey Buckingham. His powerful, pulsating fingerpicking work rivals Buckingham’s, and the two share a lo-fi intimate atmosphere so commonly shunned in the age of digital recording technology. The tense moods and paranoia are more prominent on Temper than they were on Precis. Where Meluch branches off from Buckingham is in his use of found sounds and atmospheric washes. This experimental bent provides a layered backdrop for Meluch’s bedroom pop.
Benoit Pioulard - Idyll.mp3
Other good albums this year:
Portishead – Third
Sparks – Exotic Creatures of the Deep
She & Him – Volume One
Dianogah – Qhnnnl
Spiritualized – Songs In A & E
Grouper – Dragging a Dead Deer Up a Hill
School of Seven Bells – Alpinisms
School of Seven Bells - Iamundernodisguise.mp3
Department of Eagles – In Ear Park
Silver Jews – Lookout Mountain, Lookout Sea
Jamie Lidell – Jim
Jamie Lidell - Another Day.mp3
Dungen – 4
Izza Kizza – Kizzaland
Album that should have been good but wasn’t:
TV on the Radio – Dear Science,
Album that should have been bad but wasn’t:
Kanye West – 808’s and Heartbreak
-Cole
A twofer on this Christmas Eve:
The Walkmen - Christmas Party.mp3
This song is awesome, because it's a Christmas song sung by a guy and girl who sound drunk, singing about being drunk and singing a song at a Christmas party.
The Staple Singers - Who Took the Merry Out of Christmas.mp3
A classic soul track from the Staples Family.
I've always admired the Dismemberment Plan for making the music that they do, because it's pretty much unlike anything else. It's sort of punk, but not really, and it's arty, but not inaccessible. The music is a mix of weird, intelligent, funny, horribly depressing, and sometimes annoying. Here's a Christmas song of theirs that is none of the above really, but it's very catchy.
Dismemberment Plan - This Christmas.mp3
Here's Of Montreal's take on Christmas consumerism.
Christmas Isn't Safe For Animals.mp3
Christmas music is a dichotomous affair. I think it's fair to say that the people who enjoy the classics/standards do so out of sentimentality, and not for quality of the music. I, for one, am sick of the classics, and I doubt I'm alone. Sentimentality and nostalgia are nice, but the quality of "We Three Kings" and "Jingle Bell Rock" far outweigh the pleasant memories I have of the songs. Then there are the newer Christmas songs. I was surprised to find out the sheer number of contemporary artists that have written songs about Christmas, whether they be funny, serious, arty, sad, or (surprise!) sentimental. Again, a lot of these songs are total garbage. From Paul McCartney's "Wonderful Christmas Time" to Bob Geldof's "Do They Know It's Christmas?" to Mariah Carey's cover of "All I Want For Christmas Is You", there's a lot of crap out there. All in all, the bulk of Christmas music is wholly terrible. There are a few gems around, and over the next week or so I'll post a few Christmas songs that I think are actually of merit for one reason or another.
-Cole
James Brown - Let's Make Christmas Mean Something This Year.mp3
Sometimes there are bands that have names that properly serve their identities. Cannibal Corpse? Yeah, I know what I’m getting into. Nickelback? I knew what they sounded like before I ever even heard that horrible drivel on the radio. Korn? Limp Bizkit? Intentional misspellings are ALWAYS a dead giveaway that the band sucks. Sonic Youth and Throbbing Gristle are both perfect for their respective music.
Then there are bands that have good names but make terrible music. I want a band named Destroyer to kick my aural ass. Or take Australia’s own, Baseball. If you’re from a country that has nothing to do with the greatest sport on earth, and you name yourself after it, you better make the finest slice of harmony this side of the Eagles. But no, you get yokel on fiddle and sloppy incompetence on guitar and drums.
The third category is for people who make awesome music but have terrible names. What kind of shelf life does a band named Stereolab have? Do I really want to hear what a rapper named Common has to say? Steely Dan was named after a dildo! Holy Fuck fall into this last category. No doubt they’ve offended many parents, religious leaders, and Canadian arts-subsidizing organizations over the years.
Name aside, this band is pretty on-point live. On record they’re a mix of electronic and krautrock, but live they’re a dance machine. Normally I’m pretty opposed to dance music. For one, the mastermind behind such music generally involves some fat 40 year old vocalist living with a bunch of cats who goes by the name of DJ Saucy, and for two, people that listen to dance music often have ecstasy-induced holes in their brain that enable them to wear tight white pants or use bolt-cutters to cut their hair, giving a whole new meaning to “a layered ‘do”. Anyway, Holy Fuck aren’t really an ordinary dance band. They have an insanely tight drummer, letting the drum samples act as enhancements rather than backbones. Their on-stage activity is unrelenting, blowing acts like Kraftwerk out of the water in a live forum. Like a lot of dance artists, they have vocals, but the difference is that Holy Fuck only sort of have vocals, occasionally using a highly affected microphone to either yelp or say thanks. And most importantly, they’re less of a stereotypical dance band than they are an experimental electronic band with lots and lots of drums, thereby making it very beat-oriented. This distinction probably doesn’t make a difference to the girl who decided to pop some E, put on a bowler hat and a half vest, and rave until her teeth hyper-grind through her permanently close-mouthed smirk. But for me, it makes them one of the best live acts I’ve seen this year.
-Cole
Lovely Allen.mp3
So my old boss, Kip, plays in this band called Dianogah. I went to see them in the summer of ’06 in Chicago, mainly because he told me Andrew Bird would be playing a couple songs with them. This collaboration has born fruit, namely on Bird’s “Daytrotter Sessions” and a few tracks off Dianogah’s new long-player, “qhnnnl.” Bird’s involvement with the band is worthwhile, to say the least, but not really why I’m talking about them. Instead, the reason is the last song they played at that show. All three members of the band sang (or more appropriately, yelled) out raucaus lyrics over a punk drum beat and a noodley bass line. It was a throwback to the great Chicago indie/punk of the early-to-mid 90’s, reminiscent of Braid, Planes Mistaken For Stars, Small Brown Bike, etc. I went home to look up the song, and to my dismay, found nothing about it. I never remembered to ask Kip about the song, and figured it was something they had buried in the vaults, or something they whipped up at practice, never to see the light of day again.
The aforementioned LP “qhnnnl” was released in August of this year, and I was quick to snatch a copy. When listening to it while cooking dinner a few weeks ago, what do I find buried on Side 2, amidst the instrumental low-end post-rock that Dianogah has fully mastered? Why, it’s this very song! And what’s more, my ex-co-worker, stomach slapping compatriot, and Traitors goof-off Billy Smith played guitar on the track! All this time and it was right under my nose.
-Cole
Dianogah - You Might Go Off.mp3
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