The Virgin Suicides In Review

Angst.

It makes an exceptional movie theme, and it's no secret. To say that it is overused is putting it lightly.
Still, the Virgin Suicides may very well become one of my favorite movies that I've seen over the last year. The characters are compelling and the story is believable, the acting is convincing and the narrator is a poetic spirit. The angsty teenagerism of it might be overwhelming for some adults, but I am not an adult, and I am not overwhelmed or under appreciative. Lux is a bit of a cliche, the free spirit with the binding situation, but Kirsten Dunst pulls it off well in what has to be my favorite performance by her, though I don't have much to base that on, considering i'm not a fan usually. Also, isn't that just a great name, Lux? It sounds like an unstable chemical, which makes a lot of sense really.

This is probably a movie I'm going to watch in ten years and hate for being pretentious and intolerably vague, the way my thirty-something-year-old uncle hates American Beauty, and maybe he's right and I'm wrong. But from this world view, it was a great film, and if you are not thirty-something, you may feel that way too.

Bon Iver in the morning, Bon Iver in the Evening...

"Oh my god," said the girl on the blanket next to me. "Oh my god," she said, with her black cowboy hat on tight almost over her eyes, a beer held in one hand daintily like a wine glass, her slight southern accent blazing with excitement. She wasn't entirely there, that was for sure. There was something a lot heavier inside her than alcohol and i can't say I care to know what it was. All I knew that she'd uncovered some epiphany and was about to share it with the world.
"oh my god," she said, and she went wide-eyed.
"That was the best dor-i-to I ever had."

You have to be mighty out-of-it if you're 2 hours away from seeing Bon Iver in a cemetery at 6 am and all your excitement is pouring out of you into a chip. But I can relate to one thing with that kinda-probably coked out Texan woman; I found joy in unexpected places. I sat at some guy named Fairbanks grave and listened to a friend talk about his history with girls and parties and life. I occasionally stuck in a neurotic aside about my lack of life experience, but those comments were uneeded, because this guy was a great story teller. I'd take them back and just leave the story if I could.
There was also a pretty sick security guard, and a guy with free donuts at the end, and a man in a snuggie who wouldn't stop dancing. All in all, it was a good group of wackjobs, myself included.

I figured that I would be coming to this concert ready to hear my album played back to me on a live stage, which at the time made me spazz (pretty badly) with excitement. I was prepared to recognize every stylistic touch, the way I had with Phoenix and with Wolf Parade and with all the concerts I had had previous to this one. But anyways that didn't happen. Bon Iver opened the show with "Lump Sum" and it exploded from the speakers with more livelihood than I would have ever expected with electric guitars, rhythm and lead, a base that was set so high the air shook, and two drum sets. Every simple song was fleshed out, every melody amplified. Creature Fear especially impressed me, the way the sudden chorus shift sounds live is unbelievable.

I could be wrong, but the track list went SOMETHING like this:
1) Lump Sum
2) Creature Fear
3)Teams (improv)
4) Blood Bank
5)Flume
6)Babys
7)Skinny Love
8)??? (megafaun song)
9)For Emma
10)Re:Stacks
11) The Wolves

I loved Justin's comments throughout the show. He was humble and funny, but mostly he was just weird. He played the first two songs before he ever spoke to us, but when he finally did the whole serious atmosphere just dropped away.
"Thank you guys so much for being here. Like....whoa." Everyone laughed a little and Justin took a swig of something before shaking his head and heading back to the microphone.
"I think this is the weirdest thing any of us here have ever done."
Justin Vernon was an odd speaker, but he was just what I expected; A little strange and a lot of amazing.
The songs live were better than every recording I'd ever heard of them. It's not often these days that I come across musicians who have the charisma or the talent to make their songs wok on stage but Bon Iver pulled it off with little effort. I enjoyed every second of this concert, and it wasn't just the music I heard; it was the sound of two years of obsession solidifying.

So some people have their doritos and others have their music. But in the end we all find a reason to feel full.

Bon Iver Wiltern Concert Review 9/25/09

We came late to Wiltern, missing the opening act, but right on time for Bon Iver. The venue was packed, and you could feel the immense energy of the crowd.

Everybody was super psyched to finally hear Justin Vernon and his angelic falsseto voice!

Here's the setlist:

1) Lump Sum

2) Flume

3) Blood Bank

4) Re: Stacks Racks

5) Blindsided

6) Miscellaneous improv

7) Beach Baby

8) For Emma

9) Skinny Love

10) Wolves

They were then joined onstage by Megafaun for 2 encores, both of which were bluegrass covers.

Highlights:

1) We saw the azn lady from Grey's Anatomy. She was there chillen, enjoying the tunes.

3) As Justin sang the first words of Lump Sum, I got major chills. There's something quite magical in hearing your favorite artist live after months of listening to the record.

4) The crowd joined in to sing the ending of Wolves, and it was fucking epic. Bon Iver gets labeled as a soft, laid back band, but the energy of that moment was massive.

2) After the show, Bubar and I chilled at the Wiltern's stage entrance, and luckily got the chance to speak with Mike Noyce of Bon Iver and the Brad Cook of Megafaun. Speaking to Mike was really interesting, partly because he's really babyfaced (looks like a tween version of Sukin lol). We asked him about the upcoming grave yard show, and it seemed he didn't know more about it than we did. He said it was their agency's idea to book them that eccentric gig, and continued to express that all his fellow band members were worried about how their 7:00 am vocal performances would turn out.

Here's out conversation with Brad Cook:

Phat Fellas: Yoooo, any sweet coke parties on the road with Bon Iver?

Brad Cook: Na dude, we eat healthy and go to bed at reasonable hours.

P.F: But you would party with the Crüe back in '86 if you had the chance, right?

B.C: Yeah, most likely.

P.F: Seriously though, how is it touring with Justin and the rest of Bon Iver?

B.C: Well, we were all buds growing up in Wisconsin, so we've played together for years.

I'm just glad that everybody is finally responding to Justin's music, he's worked so hard.

Heading for the Weekend

So it looks as if another week has passed. I'm not sure about the rest of Phat Fellas, but I'm looking forward to the weekend approaching, because my week has been crowded and unsatisfying. But thing's are getting better, because: On Friday Bon Iver will be playing the Wiltern along with Megafaun and I'm sure it's going to be an amazing show, but I won't be attending. I will be going the the Hollywood Cemetery morning show, and if all goes according to plan, I'm also going to chill in a graveyard at night for 6 hours beforehand. I'M EXCITED!

On a completely unrelated note, this is Ivan & Alyosha. I think you'll like them. They're nice guys and they make good music, so be a pal and give them a listen. The song is "Easy to Love" and it's the first single off the album. I've been obsessing over it for the past week and am anxiously awaiting the release of their first CD, The Verse, The Chorus on Oct. 20th. Enjoy!

(I'm going to figure out this link situation eventually.)

Men Without Hats- The Safety Dance

An absolute classic of kitsch and insanity, this synth pop great has one of the best music videos I've ever seen. This is actually some pretty terrible music and is probably offensive to countless sensible folks, but who am I to complain? This is one of the few pairings of synth pop, medieval imagery, and midgits that I have ever seen. How this become a hit is beyond me and Ivan's over the top vocals and dancing must be heard to be believe. Also, the synth riff is so catchy (and kitschy) that it should be illegal. So sit back, relax, and enjoy some pure 80's sunshine.

http://www.youtube.com/watch?v=HcOZ6xFxJqg

David Chevan's Afro Semetic Experience with Cantor Alberto Mizrahi- Yizkor

If you hip hebrews need some brooding and spiritual music in order to atone for your many sins this Yom Kippur, consider this extremely unique release from bassist David Chevan's Afro Semetic experience. Fusing traditional Jewish liturgical music with Coltrane-esque Afro-jazz workouts, the group produce subtle and sensitive music that is beautiful and moving. This was a grave omission on my first post about cool Jewish music, but I hope this rectifies things.

Similar to Herbie Hancock's "Hear O Israel", "Yizkor" takes the Jewish Yizkor memorial service and places it to music. Perhaps the most unique feature of this album is the cantorial vocals of Hazzan Alberto Mirahi, which adds an old-school European dimension to the proceedings. His vocals recall more the great jazz improvisers than Jewish singers. Particularly powerful is "Yizkor for the Martyrs", which resonates with the pain of thousands of years of Jewish suffering. From Mizrahi emotive vocals and Stacy Phillip's resonator guitar at the beginning, this Jewish blues marks itself as something different. By the end, when Warren Byrd conjures up the thunder of heaven with his McCoy Tyner like left hand heavy piano, and the whole band follow him into an impassioned rage that reflects the serious and grave nature of the Yizkor service. "Psalm 23" is really funky, in a Blue Note/ Coltrane kind of way. In fact, the whole record has a Pharoah Sanders style intesity which makes for a great and moving listen."El Maleh Rakhamim" has a great Latin groove, and "Psalm 16" features a great vamping intro (props to Baba David Coleman for his atmospheric percussion).

All in all, one of the most spiritual, funky, soulful and unique albums I've ever heard.

Upcoming: Dual back to back Bon Iver concert reveiws!

All of us here at Phat Fellas are huge Bon Iver fans, and were fully disappointed when he didn't tour the west coast festival circuit this past year. 

:(

Fortunately, Bon Iver has returned! He is redeeming himself by playing two consecutive shows: One at the Wiltern Theater, and the other at, you guessed it, Hollywood Cemetary. Both shows are highly anticipated, each providing its own unique Bon Iver experience.

We will be posting back-to-back concert reviews of these two shows.

Expect greatness!

DOUBLE FEATURE! Moulin Rouge and 2001: A Space Odyssey

2001: A SPACE ODYSSEY


Giant fetus in space.

Why??

I still don't know. The movie was amazing, especially for the time (1968). The story is split in four parts, the predominant one being the Jupiter Mission. The Dawn of Man is the tale of a tribe of monkey's (us!) who wake to find a large black monolith outside their cave for the night. Some of the creepiest music I've ever heard follows. The next section is TMA-1, which follows a professor heading to space to discuss something important with the men on the moon (saying as much as possible without spoilers). Jupiter Mission follows the story of two men on a mission to Jupiter with their sentient ship system, HAL. You can guess what happens then. Jupiter and Beyond the Infinite is the last section, and cannot be summarized, because I have no idea what happened. It however related to the above picture.
The effects were unarguably impressive, the acting was convincing, and HAL presents to me a mind-fuck like no other: Can a computer, programmed and designed to be logical, become driven by actual, true emotion?

"Stop.
Stop Dave.
Dave...stop. Dave...I'm afraid."

I got chills when he said those lines.
I would be working this out still, but the galactic infant is a more pressing dilemma. Stanley Kubrick is kinda messed up, yo.
____________________________________________________________________

Moulin Rouge



THAT was fun. That was probably one of the most entertaining movies I've ever seen. Nicole Kidman is beautiful and exciting and at times ridiculously over the top with her AYYYYAYAYA-ing. When Christian's awkwardly singing her Elton John and she's having a screaming orgasm on the bed, I burst out laughing. Ewan McGregor was great too, actually. I'd argue to say I liked every predictable minute of it, save the line "I'll always be with you," which just HAS to be uttered for a love story to be a love story. Still, it was great. This is what good showmanship looks like.

The National

this is album is a couple years old now, so I don't feel quite right blogging about it, but I don't feel quite ready to blog about my most recent musical ventures (Peter and the Wolf, and the Traditionist) just yet. But that's not a real loss, because this is one of my favorite albums of all time, and I need a good rant right now.


The Nationals 4th album, Boxer, is a beautiful and sincere piece of work. It is host to lazy recluses (and rebellious ones) and people drunk and in love. When I walk down the streets with it playing in my ears, I feel like I'm somewhere else, in another city living another life, crooked and happy. Matt Berninger writes like he's been through a whole life and back again, and his tired baritone voice draws you in to the words and their meaning like no other singer I've heard. There are singers everywhere you hear, but don't listen to. Matt is not one of those singers.

The album is at times heavy and dark, and alternatively can be bright and soft. In fact, almost every other song switches off that way. There is a specific song on the album I can't get enough of, Gospel. With it's odd lyrics and it's washed out sound, it is unusually bright and romantic, making it stand out on the album and, in my opinion, making it the gem on the top of the crown. Don't miss out on this.

Vibrations (1995) - Movie Review

Ah, rave movies of the 20th century.

Synopsis: A talented young rock keyboardist allows his life to fall into the gutter after he loses both hands during a mugging. He is later fitted with special hand extensions, but these neither allow him to play music nor much of anything else. Despondent, he starts drinking heavily and soon finds himself a self-pitying homeless street bum in New York. His life starts improving after he encounters Anamika, a New Age girl who befriends him and introduces him to special friends, one a computer genius and the other, her landlady, a metal sculptor. Together with some assistance from his roommate, the three devise a marvelous set of hands for the boy, ones endowed with special qualities that allow to play music even better than before. Billing himself as Cyberstorm, the lad becomes a star. A hometown rave gives him a chance at revenge. 

Packed with cheesy rave music, no-name actors, and a synopsis that would make any musician shudder, its evokes hilarity from its substandard acting. Plus, the bootalicious actress from Married...With Children!

In Honor of Rosh HaShanah- Some Funky Jewish Music

For all of you Hebrew hipsters who want to spice up your Jewish new year with something a little funkier than the Malavsky Sweet Singers of Israel Family Choir (more on them and their ramshakle charm another time), check out these cool, funky, obscure, and yes, Jewish LP's that will sweeten your holiday while keeping yourself firmly within your cool, Pitchfork reading, indie image.

Herbie Hancock Sextet- Hear O' Israel: A Prayer Ceremony in Jazz
The title really says it all; this classic period "lost" Herbie Hancock album (only a couple hundred copies were initially pressed) is a Jewish prayer service set to jazz tunes commission by Rabbi David Davis and written by 17 year old Jonathan Klein. The work was preformed at Friday night prayer concerts, and recorded in 1968 with the absolutley stellar lineup of Herbie Hancock, Thad Jones, Ron Carter, Jerome Richardson, Grady Tate, Jonathan Klein , soprano

and contralto vocalists and Rabbi Richard Davis as reader. Much of the album is made up of Coltrane style spiritual jazz, hard boppin' Blue Note-style tunes or Herbie Hancock piano explorations, yet the Hebrew singing gives it a whole different twist. Indeed, the vocal charts are pretty out there and are an aquired taste that can occasionally grate on the listener, but not enough to scare them away from this swinging and beautiful peice of Jewish soul Jazz. A really unique and spiritually moving record, "Matovu- Borchu", "Sh'ma", "Sanctification" and "Torah Service- Adoration" are among the highlights of this interesting, surprising and often beautiful record. Never thought you'd hear a Herbie Hacock song called Kiddush, right?

Various Artist-Soul Messages From Dimona

The musicians on this extraordinary compilation first worked together as part of a group of session musicians from Chicago called the Metrotones. After becoming involved with Ben Ammi Carter's Black-Hebrew Zionist vision, these musician moved to West Africa, where they encountered many a hardship (including the abduction of band members Shevat Boyd and Yehuda Whitfield). Re-christened the Soul Messengers, the group moved to the settlement of Dimona in Southern Israel's Negev Desert.

Augmented by female singers Spirit of Israel, teen group the Tonistics (the black Jewish Jackson 5), and male singers Sons of the Kingdom, the musically collective became popular for their free shows during the Yom Kippur War.

The music included on this collection is diverse; songs range from Jewish psychedelic gospel to spiritual soul Jazz to disco infused funk. Most songs have religious subject matter and all are ridiculously funky. For all of you Hebraic Fela Kuti worshipers, this is the album for you. I am hesitant to peg this one with the "Jewish" tag; this is simply one of the best soul releases of any sort I have heard recently. And come on, where else can you hear a Hebrew rewrite of Steam's "Na Na Na (Kiss Him Goodbye)" ?

Oren Bloedow and Jennifer Charles- La Mar Enfortuna

Sephardic indie rock? What, what? Yes, you heard right. The masterminds of the indie rock group Elysian Fields explore the music of the Spanish Jews on this 2001 release as part of avant-garde jazzer John Zorn's Radical Jewish Culture imprint of the Tzadik record label. The reinterpretations can be radical; "La Rosa" is transformed from sultry love ballad to a menacing and sexy blues workout while "Ayyu-Ha S-Saqi" becomes an avant garde Arabic drone workout, complete with requisite backwards tapes, oud and saz. The 10 minute "Porke Yorach" is slow, jazzy and sexy in a way that few music is. These reinterpretations are alternately edgy, dark and creepy or sultry and passionate; although respectful of the music's spirit, this is, as the label suggests, radical Jewish music. Jennifer Charles is a very sultry and passionate singer, and approaches these songs with heart. Embracing jazz, funk, avant-garde, rock and Latin, this indie-Sephardic record is a unique jem.

More on Jewish grooviness another time, peeps. So, Jewish folk, happy new year.

Additional Jewish Grooviness: anything on John Zorn's Tzadik label

Great Albums: Spoon- Girls Can Tell

It's midnight; the fog rolls in heavily, enveloping the bleak urban landscape with a layer of haze. Only the warm light of the streetlamps can penetrate through. Shady men congregate at steet corners and smoke their cigarettes while engaging in illegal business. This is sleek, moody, modern, in a 1940's way; very dark, very sleek, very now. No, this is not a film noir; Humphrey Bogart is irrelevant to this post. This is the sound of Spoon's masterpiece "Girls Can Tell".

After having released two raw and urgent post-punk albums that were heavily indebted to Wire, Gang of Four, Nirvana and the Pixies, Spoon finally found their own unique voice on this 2001 release. Rather than adding elements to their music for dramatic effect, Spoon pare their sound down to only the most essetial elements; a sort of minimalism akin to a Mondrian painting. These songs are lean, mean and direct in a way that recalls Elvis Costello, yet is unique to Spoon; in an era where bands are becoming increasingly pompous and self indulgent (Muse anyone?), Spoon's self councious minamalism is a breath of fresh air. The album exudes the stylish swagger of Film noir, an effect enhanced by liberal use of vibes, mellotron, viola, harpsichord and percussion. However, they never pile on too many instruments and always know how to let the music breathe, a skill which is lacking these days in most bands (I love you Arcade Fire, but you're a prime culprit).

Singer, guitarist and composer Britt Daniel draws from many influences (among them Elvis Costello, Motown, the Beatles, Gang of Four), but rather than becoming a slavish impersonator, he takes from them the indescribable qualities that make music classic and timeless. Daniel's vocals are raw and emotional, sometimes to the point of sounding angry and confrontational; in my opinion, he is one of the great rock vocalists of all time. The lyrics are literary and largely obscure in nature, but they are smart and often fascinating.The marriage of intellectual lyrics with an aggressive and wiry guitar attack makes for an exciting listening experience. Throughout all of this, Spoon never loose track of their pop instinct and their roots in classic rock'n'roll, unlike nearly everyone of their indie rock peers (finally, a rock band who sound like a rock band!).

This eclectic and brilliant album states its intentions from the get-go. "Everything Hits At Once" an ominous pop song driven by vibes and electric piano is a mini masterpiece; longing and hurt pride are evident in Daniel's impassioned vocal. "Lines in the Suit" is a great slice of guitar pop with a brilliant middle section that recalls John Lennon. "The Fitted Shirt" is a Ray Davies/Kinks style homage to shirts that fit right, set to a groovy guitar riff, funky drums, and a harpsichord on which Daniel laments the loss of more proper times and better shirts: "I Long For The Days/They Used To Say/Ma'am And Yes Sir/For Now I'm Going To Find/Buttons For My/ Dad's Old Used Shirt." "10:20 AM" is a great piece of trippy '60's style folk, complete with harmonies and flute mellotrons. The pulsating "Take A Walk", the soulful and minimalistic "Take the Fifth", the upbeat and poppy "Anything You Want" and the jagged "Believe Is Art" are testaments to the diversity of this records, yet all of the songs are performed with the same emotional, gritty and stylish verve, which gives the album a consistency almost never found in albums these days. "This Book Is A Movie", tense and chilling instrumental and "Chicago At Night", a pop song that is just chilly and jagged enough to keep up the albums noir vibe close this beautifully succinct, 36 minute record on a high and slightly creepy note.

Next time you go out to get your fitted shirts pressed, pick up a copy of this creative rock and roll jem. This is the record that will make the curmudgeons who say "they don't make records like they used to" change their tune.

Key Tracks: Everything Hits At Once, Me and the Bean, Lines In the Suit, The Fitted Shirt, 10:20 Am

Brett Dennen

It's late and I'm not all that inspired at the moment, so this will be brief. Brett Dennen is the name of the funny looking man hidden under the mop of red hair in this picture. He recently recorded a Daytrotter Session that I found to be pretty enjoyable. Simplistic and cute. His song "Ain't No Reason" (which, sadly, wasn't part of the daytrotter session) puts into question all the madness of modern society, and it's unsettling how many buttons he manages to push. It's also kind of genius. His voice is strangely charming, the way it falls out to a whisper at the ends of some words, threatening a shrieking "S" but never quite producing one.
If you decide to write him off as just another singer-songwriter, I won't blame you, but you will miss out on some cute, simple, and easy tracks with wisdom to share.

Barry and Robin Gibb Plan Onstage Bee Gees Reunion! Jubilation!

We here at Phat Fellas try to stay on top of music news in order to ensure that you know the latest and the greatest in the world of audio candy, as well as everything in between. One crucial music story that has shaken up our world has gotten surprisingly little press, especially due to the resurgence of disco due to such magnificent acts as Hercules and Love Affair.

It is official: The two remaining Bee Gees are reuniting! This is big news for many music lovers who remember the Bee Gees more for their incredible vocal blend, great songwriting, and stream of classic records than for chest hair, leisure suits, and crazy gold medallions.

This has the potential to be an great tour (or the potential to be a fiasco in the tradition of the Rolling Stones' Bigger Bang mess, but I don't think the brothers Gibb would let that happen). Welcome back Barry and Robin!

VMAs according to Bob Lefsetz

I have been following The Lefsetz Letter for a couple of years now, and I can confidently say that he is one of the most knowledgeable men in the music industry. He knows the tricks of the trade, and is not afraid to call out on peoples' bull shit when it gets out of hand. (He always rips on Madonna, Bruce Springsteen, and major labels lol).

I heard about his news letter a couple of years back when I was attending a music business program in LA. John Wesely, the guitarist from Porcupine Tree, was teaching one of the courses and mentioned to me Bob Lefsetz's newsletter and his zealous opinions.

Thousands of industry insiders and musicians subscribe to his newsletter, gaining insight from his informative and provocative works.

Here is a excerpt from his VMA review article:

"Madonna was narcissistic, Kanye demonstrated he knows no limits, the Michael Jackson tribute was lacking oomph, a neutered Russell Brand was strangely unfunny, but none of that truly mattered. What we saw last night was a television network that was once different, playing to a disenfranchised younger generation, employing the same damn playbook as the networks...Kings Of Leon were nominated, but they didn’t win. Because they’re not visual enough, on MTV it’s about train-wreck, not music."

If you are even considering making a career out of music, do yourself a huge favor and subscribe.

Access his archive here.
Subscribe here.

Great Albums: The La's (Self Titled)

The only album recorded by the La's, this record was released by troubled perfectionist Lee Mavers and company in 1990. An incredibly unique album that exists in an oasis of pure guitar pop perfection, the record recalls the best elements of the Beatles, the Who, the Hollies, and the Kinks, yet is not overly indebted to the past. Punchy and alive yet not frantic, the album floats along at an unhurried pace, with no song overstaying its welcome. Totally unaffected, this sensational and highly melodic record is one of the most refreshingly accessible, rich, and above all fun records I have ever heard.

The record is forceful and lean sounding, partially thanks to Steve Lillywhite's clean and unobtrusive production, chock full of sinewy and clean electric guitars and textured layered acoustic strumming. Lee Mavers' voice is a marvel; full of attitude and distinctly British, it would be a big influence on Liam Gallagher and Oasis, Blur and the entire Brit-pop movement of the 1990's.

19 years after its release, this record hasn't aged a day and is nostalgic and timeless in a way that only a select handful of records are (i.e the Beatles' catalogue). This is a perfect pop album; 35 minutes of pure jangle-y melodic joy. The main factor that is responsible for the total brilliance of this record is Lee Mavers' heavenly melodies; this man can write a hook like no other. Take "There She Goes" for example; certainly one of the finest pop singles of the 1990's, if not all time, this simple ditty's pure melody will be stuck in your head for weeks at a time (if that guitar riff doesn't do the trick first). Why this album is so unknown and sold so poorly is a mystery to me, as there is nothing more life affirming than authentic, energetic, and supremely tuneful pop music. If you don't own this simply exquisite masterpiece, you should.

Key Tracks: Timeless Melody, I Can't Sleep, There She Goes

Great Child Stars #1

Danny Bonaduce

Movies You Haven't Seen

I'm being a bit presumptuous with with that title there, but I've decided that from this point on when I go out of my way to watch an obscure Sundance film, or when I dig through Asian pop culture to find gems like the previously reviewed "Old Boy," this is where those reviews will go. Sorry if I am mistaken.

ME AND YOU AND EVERYONE WE KNOW

Before I went to sleep after viewing this film, I despised it. I thought it was pretentious and awkward, a Sundance standard flop, and I was disappointed with the many film festivals that had showered it with praise and awards. After sleep, it seemed interesting and thought provoking, despite the indeterminable separation between drama and comedy (were the metaphors also the punchlines?). Still, the awkwardness with which it carried itself plagued me, and I can't say I enjoyed watching it. There was too much garbage in between the truly interesting bits. Cinematic dumpster diving.
The most interesting dialogue in the film:
"How did you hurt your hand?"
"Do you want the long story, or the short one?"
"The long one."
"I was trying to save my life, and it didn't work."
"Well what's the short one?"
"I burned it."

World's Stellar Duos

The Presets hail from Australia, and are world-renound for ther special brand of gloomy,new-wave infused electronica.

There have been many great new wave duos in history.
Eurasure
Blancmange
and now the Presets are fucking dominating!

A.A. Bondy, New(ish) Album

I love this man dearly. I really do. I still don't know if he's TRYING to look like Woody Guthrie or not though.

It was several months ago that I found A.A. Bondy's first album American Hearts. I'd like to say I loved him from the very first pluck and croak, but to be honest I was not impressed at the time with that album and I am not impressed now. That's not to say it wasn't good: it just wasn't very original, and it wasn't all that captivating. Ya, he sounded like Bob Dylan. More accurately, he sounded like someone that sounded like Bob Dylan, not like Dylan himself. Or maybe like Dylan without the ambition.
I soon forgot the name and actually forgot I'd ever even heard him, until the day I discovered "When The Devils Loose", the title track of his newly released CD.
Woah.
The track was catchy, but haunting. It carried on like a twisted slow dance tune. It's from another world, another time. The mentality of it's central character brings to mind the dust bowl and the great depression, spinning a story about a man who is aware of tragedy but unwilling to carry it.

He is something different from his previous self; fleshed out, denser, something outside of the Bob Dylan Guarantee. His previous album found it's moments of charm with it's happiest songs, like "Lovers Waltz" and "Vice Rag," but When The Devil's Loose is an entire new world. The tracks that get under your skin will do so with stealth and grace, like a tiny musical ninja. Tracks like "Mightiest of Guns" and "Oh the Vampyre" will bury themselves in your subconscious and come to you on rainy days. "When the Devil's Loose" will remind you of dangers of mortality. "The Mercy Wheel" and "I Can See the Pines Are Dancing" Are the closest things to pick-me-ups on the album, The former being lyrically enticing and the latter melodically so. They will heal you, remind you that there is in this world a time to be happy and a time to be fearless.

All the tracks echo faintly, giving them an etheral feel, and the inclusion of piano, violin, heavier drums, electric guitar and stronger vocals, all well distributed throughout the album (sparcly so on American Hearts) give A.A. Bondy the power to drive emotions and shift opinions.
Bravo.

(I cannot imagine why this links to where it does...Sorry.)

Great Albums: Spirit- The Twelve Dreams of Dr. Sardonicus

This is the first installment of a series of post on great albums, both new and old, well liked and obscure. If you like a record that's a good listen from beginning to end, these posts are the place to go.

Forget what you know about the rock music scene in California in the 1960's; for my money, this 1970 masterpiece from Spirit is among the least dated, richest and most creative LP releases to emerge from that scene.

Founded in Los Angeles in 1967 by Randy California (guitars, vocals), Mark Andes (bass) and Jay Ferguson (vocals, percussion), their lineup was fleshed out by Ed Cassidy (drums) and keyboard player John Locke. A jazz drummer 20 years the other musicians senior who had played with Thelonious Monk, Gerry Mulligan and Cannonball Adderley among other, Cassidy was Randy California's stepfather.

This, the fourth and last album issued by the original incarnation of this group, is at the same time tight and experimental, loose and disciplined. It manages like few other albums to balance the excesses of '60's psychadelic experimentation and pop tunecraft. Songs run the gamut from hard driving soul that give Sly Stone a run for his money ("Mr. Skin") to jazzy progressive psychadelia bathed in a plethora of tape loops ("Space Child", "Love Has found a Way") to tight hard rockers with killer fuzz guitar and harmonies ("When I Touch You", "Street Worm"), among other styles. The group also demonstrates their gentler side on songs such as the hit single "Nature's Way", the sensitive and intimate "Soldier", and the absolutely stunning "Why Can't I be Free", which recalls the best of the Beach Boys' late '60's and early '70's output. However, this does not result in a disjointed album; on the contrary, this record flows like no other. Produced by Neil Young producer David Briggs, the record is graced with clean production that only enhances the strong tunes, virtuoso playing (California codified his guitar style with friend Jimi Hendrix), and excellent vocals courtesy of Ferguson and California.

While a critical success, the album simply didn't sell. However, today, this album has stood the test of time far more than most of its contemporaries; compare this to a concurrent Led Zeppelin album and tell me which one is tighter, more creative, more tuneful and more listenable.

Check this jem out. You are in for a real treat.

Key Tracks: "Prelude-Nothing To Hide", "Mr. Skin", "Nature's Way", "Morning Will Come"

http://www.youtube.com/watch?v=PLTSFeWCvjU&feature=PlayList&p=B42B43C4824AE3DE&index=0&playnext=1

Justice @ Hard Haunted Mansion 2009

I got the chance to speak with Gaspard back in April at Coachella, and he said they are busy working on Justice's sophomore album, soon to debut. 

Expect to be graced by some new banging Justice material at Haunted Mansion '09!

Also, be sure to catch Shinichi Osawa.

He doesn't tour out of his native Japan much, but he sure has provided a steady supply of massive tracks over the past few years.

Hard Haunted Mansion 2009

Our bros over at Nitrus really threw us a curveball with this one.

In addition to returning to the Shrine, Hard Haunted Mansion will be a two-day spooktacular event.

filled with great blog-house artists relevant from 2007.

Which days will you go?

Har Mar Superstar

All of us here at Phat Fellas spent our Saterday at FYF fest.

Lots of great bands, cool people, and questionable fashion.

By chance, we caught some of Har Mar Superstar's set and were thoroughly impressed.

Each member of the band is in their early 20's, except for the lead vocalist who very well could have been the lead singer from Whitesnake back in the day.

Their single DUI, is faintly reminiscent of the Jackson's 5 I Want You Back.

But then again, what isn't. Enjoy!

Frightened Rabbit

Just a little suggestion for anyone who has never heard them, Frightened Rabbit hails from Scottland, and they play some of my favorite pop rock of this decade. Last years album, The Midnight Organ Fight, is the tale of one mans (or ALL mens) frightening journey through adulthood and his eternal search for a decent woman. The singer Scott Hutchison explores the ideas of love, sex, drunkenness, god, and self-loathing in such a ruggedly poetic manner that, like any good book, it draws you in and takes you on a ride you won't soon forget. The band plays a dozen different styles on the album, from "The Twists" rolling piano keys and tamberine, and "Head Rolls Offs" layered rock sound and much darker organ drone, to "The Modern Lepers" marching band on crack feel.
I don't think I've ever been happier to hear about someones failed attempts at life, and I'm sure you'll feel the same way.

Happy weekend yall

Sample series #1

This is the first of a series of posts disclosing the sample origions of songs many assume are original material.  

(ahem, justice, ahem, daft punk)

Daft Punk's Somthing About Us, Voyager, (in addition to the Thomas Bangalter remix version) is all based on Get Down Saturday Night by Oliver Cheatham.

It is time to give credit where it's due folks.