SXSW vs. Liverpool Sound City (part 2)

New York Sound City, part 2

After the day's events, the festivities moved from the Wythe Hotel to the evening's music showcase at the Knitting Factory Brooklyn. While KOF's hiphop folk, The Verdict's British pop stylings, and Brodka's electro-pop, all made for an enjoyable evening, it was the other acts that I was most excited to see, some for the first time and others for second round.

I was, in fact, most excited to see the Wet Nuns. Playing to my theory that British metal is the next big thing, the Sheffield duo sludged through a tight and raucous short set, but delivered from the start. Reminiscent of QOTSA, but not at all uneasy about being the only heavy band on the bill, they delivered handily, and I hope they can return soon to deliver a full and proper set.

As the sole representatives for Liverpool, the Tea Street Band's energy was the catalyst that finally brought the crowd into full voice. With a 100% British sound, TSB was made to feel at home right away and repaid that embrace tenfold. Jumping into the crowd and making the most out of their Stateside debut, they made an impression and made each person in that crowd into a fan by the end of their set.

Similar to my recent post about Jake Bugg's unique positioning between UK and US fans, the final 2 acts see lots of blowback from the UK critics. Reverend and the Makers and The Enemy both seem to be too "British" for the Brits to get a fair shake in their homeland by critics and the indier than thou. But for me, they seem to honest messengers of the Anglo anthemic and the sounds that are historically and  uniquely British.

As I had previously seen Rev and the Makers open for Oasis at Wembley, having a chance to see them at such a small venue was a real treat. The energy was high, the songs were infectious and the enormous attitude was not lost in translation from the grandeur of the Wembley stage to the tiny Brooklyn venue. This isn't rocket science; it's rock music, and McClure and company deliver just that. Denying their abilities is just cynicism.

And the same goes for the Enemy. I had seen them at Bowery Ballroom before in a room full of expats, and was impressed by both their simple songwriting chops, as well as their ability to fill a room with both noise and attitude. Leaning more towards huge hooks, The Jam-style sloganeering, and uniquely British subject matter makes it more difficult to see US audiences embrace them at first blush, but again, their personality, energy and presence make them undeniable. Even though I was honestly a bit disappointed with their output since their debut album, the live set's newer songs overcame my fears and still delivered with flying colors.

Without the Doritos vending machine stage and the silly marketing attempts to connect bands and brands that have replaced the original mission of SXSW, Liverpool Sound City brought to NYC exactly what want out of my early March music showcase. As an Anglophile, this was the event of the year and worth every penny.

See you next year, New York Sound City.

Jake Bugg is Beyoncé

When I first heard Jake Bugg, I felt both elated and embarrassed. Not embarrassed to enjoy his songs, but embarrassed more at how cliché it is for me to like him and his music. He looks sounds and plays the part of the young English turk to a fault. The clothes, the hair, the thick dialect and nasal tone lamenting the troubles of small town life and big dreams of getting away... they all fit everything you have come to expect from a young Englishman playing pure and simple guitar music. With some rock and some folk, but undeniably 100% UK bred, Jake Bugg reminds me of what a sucker I am usually am for all of the above.

From what I have heard and read this is exactly the problem for the UK indie/music intelligentsia. In context, Jake Bugg's music and persona are too close to home, too obvious and an overt play for the middle. But here's the rub... these same indie/music intelligentsia folks fall all over themselves to praise Beyoncé at any opportunity. 

I'll admit, I don't care for Beyoncé's music. I think it's lacking nuance and interest. I think her style is bad, and she's nowhere near as worthy of praise as her former Destiny's Child partner, Kelly Rowland in both looks and vocal talents. And it's not that I dislike pop music or R&B. Give me Amerie over Beyoncé any day. 

But what I have come to realize is that it's all about context. I'm sure that those same British critics can think of tons of young indie guitar guys more "deserving" of praise that Jake Bugg, just like I can do the same with regards to Beyoncé. But that doesn't make her less exciting for them, or him to me. It's in the ear of the beholder. 

So see what you think and choose as you like, coming from wherever you are.

As an aside this is also very much how I have to react/explain my over the moon love for Oasis to my snotty British music nerd friends. It's one thing to be a Brit who loves them, but it's a whole different proposition to fall for them while living in the middle of Texas in 1994. Similarly, British folks who try to impress me by knowing ZZ Top, should realize that, in my world, everyone does.

The AEC Top 10 for 2011

1. Arctic Monkeys- Suck It and See
2. Noel Gallagher's High Flying Birds
3. Jamie XX & Gil-Scott Heron- We're New Here
4. S.C.U.M- Again Into Eyes
5. The Vaccines- What Did you Expect from The Vaccines?
6. King Krule- King Krule EP
7. Hurts- Happiness
8. Azari & III- EPs
9. The Horrors- Skying
10. The Duke Spirit- Bruiser

I have had this list ready for a few weeks now, but am finally sitting down to give it some editorial. I also don't want to short change your wait, so I will give you the full top ten now, and will fill in some extra insight to each one hereafter.

1. Arctic Monkeys- Suck It and See
I'm pretty sure I have made it fairly clear that I love this band. For most of the year I was sure this was going to be my #1, but Noel almost came in and made me rethink that. But that moment was short lived and after reflecting on this year, Suck It and See was by far the most interesting record this year and the one that I gave the most listens. I won't rehash all the praise I gave it before, but again, to me this is the perfect statement by Alex and company about who they are, what they can do and how much they embody and deliver the best rock n roll music in 2011.



2. Noel Gallagher's High Flying Birds
More than any other record this year, the release of this record filled me with fear. After Beady Eye, I had the lowest of expectations for Noel's solo debut. Much to my delight, all of my fears were proved unfounded. Unfettered by his brother and the weight of the Oasis name, Noel somehow found a level of freedom that not only made good on his recent shortfalls, but even proved he could better his past bests. For the first time, Noel produced ideas and depth and lyrics that resonated on a deep level and even delivered (gasp!) romantic sentiments that actually make stop every time I hear them. Sometimes, you just have to keep the faith.





Next up, #s 3 & 4...

Noel Gallagher's High Flying Birds

With his solo release Noel Gallagher has brought back to light all of those age old Oasis arguments. There's a basic timeline of how most Oasis superfan's attitude toward Liam vs. Noel goes... At first it is all about Liam. His voice, his look, his style, his swagger. Then you realize the songs that are the grandest, most bombastic and most memorable are Noel's songs, either the ones he sings or the ones that are the most autobiographical. After discovering the b-sides from the first 2-3 records cements it, Noel is now your favorite. But then, after seeing them live, you remember how much of a presence Liam really is, and how the live Oasis experience is always focused on Liam. No matter how little he moved or talked, Noel's witty quips are no contest. So in the end you try to reconcile everything, and settle on the fact that it takes them both to create the magic.

So now, with Beady Eye's debut and Noel's first solo effort, the knee-jerk judgement is easy: Noel wins. Beady Eye's flimsy lyrics and post-modern pastiche melodies are paint by numbers, while NGHFB is pretty much a modern classic. I won't say it's perfect, ("Soldier Boys and Jesus Freaks" and "Stop the Clocks" are definitely filler that should have been scrapped), but song for song there is no contest. NGHFB has much of the best of the last few Oasis records: the "Mucky Fingers" 12-bar blues of "The Death of You and Me," the soaring "Let There be Love" moments in "Dream On" and "Record Machine," and a couple of unexpected rockers including "Stranded On the Wrong Beach" and "AKA...What a Life." Even more unexpected is the fact that for the first time in his career, I can actually say that his lyrics finally caught up to the standard that his melodies have always reached. This debut is at times smart, romantic and utterly compelling in ways Noel's work has never been before.

But now, even while the glow of this record still shines, I am still 100% sure I still prefer Oasis. Not the last few records, but the platonic ideal that is Oasis. Noel's best songs, Liam's best vocals and the brick wall of sound that the best rock band of the last 20 years years produced. But I can wait. Enjoy the freedom, boys, and come back when you're ready.

If I Had A Gun... by noelgallagher

Stream it:
Spotify
Rhapsody

Buy it:
iTunes

Noel Gallagher

New song, new video and I approve.

Noel Gallagher

In the interest of time and importance, no editorial on this for now, just the press release:

NOEL GALLAGHER'S HIGH FLYING BIRDS RELEASE THE ALBUM "NOEL GALLAGHER'S HIGH FLYING BIRDS" THROUGH SOUR MASH RECORDS/MERCURY ON NOVEMBER 8 IN THE U.S.



Noel Gallagher confirmed today at a press conference in London that his brand new album "Noel Gallagher's High Flying Birds" - the first of TWO albums which have recently been completed - will be released through his own label, Sour Mash Records, on October 17 2011 in the U.K. followed by a U.S. release on November 8 2011 on Sour Mash Records/Mercury.



Video from today's press conference at Electric Cinema in Notting Hill will be available shortly on http://www.youtube.com/noelgallaghertv.



The album, his debut as a solo artist, was recorded in London and completed in Los Angeles during 2010 and the first half of 2011. It was co-produced by Noel and David Sardy, with whom Noel has worked previously. It features ten brand new tracks.



Guests on the album include The Crouch End Festival Chorus and The Wired Strings (full list below).



The choice of a single will be decided shortly.



A second album, a companion to the above but as yet untitled, was recorded in the UK this year and is now complete. This album is the result of Noel's continued collaboration with the Amorphous Androgynous, and will be released in 2012.



Noel Gallagher's High Flying Birds will tour this autumn, subsequent to the release of their eponymous album.



The track-listing for Noel's debut solo album is:



EVERYBODY'S ON THE RUN

DREAM ON

IF I HAD A GUN...

THE DEATH OF YOU AND ME

(I WANNA LIVE IN A DREAM IN MY) RECORD MACHINE

AKA...WHAT A LIFE!

SOLDIER BOYS AND JESUS FREAKS

AKA..BROKEN ARROW

(STRANDED ON) THE WRONG BEACH

STOP THE CLOCKS



Guests on the album include:



JEREMY STACEY - DRUMS

MIKEY ROWE - KEYBOARDS

MARK NEARY - DOUBLE BASS, SAW, WINE GLASSES, WASHBOARD, ELECTRIC KETTLE

BECCY BYRNE - BACKING VOCALS

JON GRABOFF - PEDAL STEEL

LUIS JARDIM - PERCUSSION

LENNY CASTRO - PERCUSSION

GARY ALESBROOK, ANDREW KINSMAN, TREVOR MIRES - HORNS CROUCH END FESTIVAL CHORUS THE WIRED STRINGS



"Noel Gallagher's High Flying Birds" is the first new material from Noel Gallagher for 3 years.

Beady Eye

While listening to Beady Eye isn't a difficult task, passing judgement on it is. It's problematic because I want to avoid my preconceived notions about the members of the band and how that affects the actual songs. But it's impossible to do so. I want to divorce this music from all of the Oasis output that came before it and judge it on it's own merits, but there will always be that nagging feeling...



At it's worst and at it's best, Beady Eye sounds like a trip through the British music canon. In terms of song writing, melody and technical prowess, it's obvious that Same Gear, Still Speeding is a work created by consummate professionals. It's tight and punchy, and plenty catchy. There are some greater than yours singles with swooping moments of grandeur and the sing-along choruses to match.



Overall, though, and this goes very much to my personal taste and preferences, it lacks that killer instinct. It never veers into the red zone. Even with moments like "Four Letter Word," this is not a brick wall of rock and roll intensity. Perhaps it's simply that rock and roll is a young man's game, but vigor is the most glaring missing link here. Any vocal appearance by Liam Gallagher sans a snarl is a missed opportunity and there just aren't enough of those here. I understand that it's a mature record by mature musicians, but that change the fact that when it comes to rock and roll, I prefer mine louder, faster and angrier than than this.



But here's my quick read breakdown of every knee jerk angle re: the New Beady Eye that will come to your mind:

Q. Is Beady Eye better than Oasis?
A. No and that's a dumb question.

Q. Are the other members of Oasis better songwriters than Noel?
A. No, but there are some very very good songs on this record that rival plenty of Oasis' 00s output.

Q. Does it just sound like Oasis 2.0?
A. Not really. The instrumentation and production alone set Beady Eye apart from its predecessor. It's definitely a different sounding band.

Q. Does Beady Eye sound at all like Ride or Heavy Stereo?
A. If you ask that question then to your ears definitely not.

Q. Should I buy this record?
A. Yes. Contextually, this is one of the best rock and roll records out right now. It draws from everything from John Lennon (obviously) to The La's, The Who, Wings, Tarantula-era Ride, T. Rex, and of course the Beatles. It's well retro, but then again, isn't rock and roll?

Brother

Since I have commented on The Vaccines, it's only right that I follow that up quickly with one on Brother.

Splitting British music fans right down the middle, most people think that Brother are either the devil incarnate or the second coming. The critical intelligentsia are dismissing them out of hand as rehashing grave-robbers with no real musical chops but tons of gall and a lot of lip service. Unfortunately for those critics, there seem to be a real market for an Oasis redux act, filming their interviews at a football stadium, claiming they are the only real music in town and insulting other bands with reckless abandon. Claiming their own sound as "gritpop" didn't help either.

But notice that I haven't mentioned much about the music. That's the thing, for the slings and arrows, the music is rarely the real topic, and I think I know why. Brother's songs are... not bad. They aren't great either. They have all the earmarks and swagger, but the things that made Britpop and particularly Oasis so inviting was the sound. Huge loud and imposing while also simple-minded dumb pop music that drives deeply into your brain after one listen. Brother's songs are ok, they aren't offensive, but they aren't inspiring. They might do better with some touring, some punch ups and a good amount of lager and a few more records in their collection. I can wait.

The Vaccines

I had been planning to do a quickie post about 8-10 new bands that I have been checking out but then figured I have the time to do individual posts bout them, so why not take the time and do right be each of them.

I'll start with The Vaccines. yet another victim in the UK crush of immediate hype, the resulting backlash and the inevitable stateside launch. The funny thing is that for these guys, it's all happened in a matter of about 4 months. I won't go into the merits of the hype, or the reasons (or merits) of the backlash. Instead, I'll just give you my take as I caught them live last week here at the Bowery Ballroom in NYC.

The songs are pretty well-crafted, and they excel when they stick to the 2 and a half minute pop song. They are capable enough players, with the drummer really standing out oftentimes, which is always nice to hear. It's good to see basic simple rock songs being played quickly with a sense of urgency, and with little to no noodling and spells of introspection.

The problem comes in the other areas of rock that they (admittedly) are just not interested in. They have no look, there is no sense of danger in the band's persona, and are overall just nice boys. (Check out this quick interview with them from Live4Ever for more on this). Now I am not asking that they be Oasis or the Sex Pistols, but with the energy and songwriting chops, I just wish they'd spend a month or so locked in a studio with Graham Coxon to figure out how to be a proper nice boy, yet dangerous, rock and roller.

Check out the video for the single that won me over in the first place:

The White Room

Figured I could take a break from the new music and give you an oldie.

I had never heard of this compilation before, but it was released in 1996 by Q magazine and sounds like something the 96 version of myself would have died for. So does the 2009 version of me to be honest. Can't get much better than this tracklisting:

David A. Stewart and Lou Reed - Walk on the Wild Side
Oasis - Good to Be Free
Edwyn Collins and Bernard Butler - A Girl Like You
Paul Weller and Noel Gallagher - Talk Tonight
Sleeper - Inbetweener
Bobby Womack and Jeanie Tracey - It's All Over Now
Ray Davies and Damon Albarn - Waterloo Sunset

Enjoy.

http://beatoasis.blogspot.com/2009/09/va-white-room-album-1996.html

Oasis, Webley, July 11, 2009

So here's what I did on Saturday...

Another blog

I know this doesn't count as a post, but I figure you might enjoy this as much as I did. You like Oasis, Ride, the Verve, Radiohead or the La's? Check out:
ocstwosway

He gets a 9 outta 10.

Cat Power

Since I know this record is going to make it into my top 10 for the year I figured I should give you something from Cat Power's The Greatest.

I am really glad that Chan Marshall is sober now. You can definitely hear it in her latest record. Not to say that its all sunshine and rainbows, but there is a sense of optimism that runs throughout. It's not unike that new Jarvis in that way. Even in its morose slow dirge-like melodies and tempo, the songs still have a hint of something calm and some sort of easiness that Cat Power records never had before. She continues to make compelling music even without the tears in her beers. Glad to see it. And even happier to hear the tunes. The Greatest gets a 9; it's one of her best records yet.

Cat Power- Living Proof

and since I am on a roll with the covers...

Cat Power covers Oasis- Wonderwall