Author Archive
The second life of Weezer’s “Pinkerton”
Thursday, November 11th, 2010
Let’s forget Weezer’s last decade. Forget everything since they re-emerged with 2001’s untitled “Green Album.” Weezer have been a shell of the band since they went on an unannounced hiatus in 1997. Songs like “Beverly Hills,” “Dope Nose” and the Lil Wayne-assisted “Can’t Stop Partying”? Nope, not buying them.
This post-millennial abandon they have full-on embraced has produced nothing but anthems for whoopee cushion enthusiasts. Barring the lovely “Island In The Sun” (and it’s animal-friendly video), it’s as if Rivers Cuomo, Pat Wilson, Brian Bell and insert bassist’s name here ______ ________ were invaded by the body snatchers.
So, how exciting it was earlier this year when they “emancipated” themselves from major label Geffen and signed to “indie” label Epitaph, fueling rumours that the ’90s-era Weezer we once loved would finally return for an eighth album? But then, slowly it began to fall apart. The name? Hurley. The album cover? Hurley from Lost!?! The promotional tie-in with Hurley, the “youth lifestyle brand.” The flaccid single “Memories.” And then the finished product, which resulted in their sixth clunker in nine years. Sigh.
Thankfully, we always have the past and this week marks the deluxe reissue of Weezer’s 1996 opus, Pinkerton.
Weezer’s 1994 debut self-titled “Blue Album” will always go down as one of the greatest, straight-forward power pop albums of all time. But their sophomore effort is a complex, multi-faceted achievement that is has a back-story to rival the music itself.
Originally, album number two was planned as a synth-based space-themed rock opera featuring the band playing characters with a seamless flow from track to track. The title was Songs From The Black Hole, but then bassist Matt Sharp released a Moog-heavy pop album by his side-project The Rentals, which completely derailed Cuomo’s concept. Instead, he rewrote most of the record based on his miserable time studying at Harvard University and an obsession with the play Madama Butterfly, which can be found in the album’s title and final track, “Butterfly” for direct evidence. (It should be noted that Pinkerton’s “Tired of Sex”, “Getchoo”, “No Other One” and “Why Bother?” were all part of Black Hole’s tracklisting.)
When it was released in September 1996, Pinkerton was a head-scratcher for many fans of their debut. Gone was the catchy, carefree geek rock about sweaters, looking like a dead bespectacled rock star and surfing to work, only to be replaced by anxious confessionals about a forbidden long distance relationship with a Japanese cellist, falling for a lesbian and growing old too soon set to a much rawer sound.
At the time it was considered a bit of a disaster not just by fair-weather fans and some critics, but even Cuomo who later disowned it in Rolling Stone as “a hideous record… It was such a hugely painful mistake that happened in front of hundreds of thousands of people and continues to happen on a grander and grander scale and just won’t go away.” So bad was it that when the band reunited in 2000, they refused to play any of the album at their shows.
But a funny thing happened. As the years went by, Pinkerton began to grow a cult following and earn a reputation for being a misunderstood masterpiece. As ludicrous as it sounds, it’s also considered one of the inspirations for many emo bands. Though Weezer were far removed from the self-mutilating, whiny joke that emo eventually became, there are few albums as emo-tional as Pinkerton.
Fourteen years after its release, Weezer are now publicly promoting their second album more than they did the first time around, and even as much as they are their latest album Hurley, I might add. In fact, the band are set to launch a short tour called “Blinkerton,” which will see them play their first two albums over Cuomo has changed his tune, recently admitting to Exclaim!, “I think it’s a brilliant album; I love it. I love the songs and I love playing those songs and I hope the positive message gets through.”
Of course, the best part of this re-appreciation is Geffen’s reissue of the album as a deluxe edition. Aside from the original ten-track album getting the remaster treatment, there are 33 additional tracks altogether. Yes, the bulk of them are either a live, acoustic or alternate version with radio mixes of singles thrown in, but it’s the bonus tracks that make this reissue worth the hefty price alone.
Comprised of mostly B-sides, there are some real gems here. “You Gave Your Love To Me Softly,” originally from the “El Scorcho” single and Angus soundtrack sounds like it was accidentally left off their debut, while that single’s other B-side, “Devotion,” a Black Hole cast off, is all gorgeous harmonies and crunchy fuzz. “The Good Life” single spawned two more beauties, another Black Hole throwaway, the Moog-heavy “I Just Threw Out The Love Of My Dreams” sung by Rachel Haden (that dog., The Rentals) and the longing “Waiting On You.” Disc two begins with “You Wont’ Get With Me Tonight,” which sounds like their heroes Kiss, had they been AV nerds instead of Gods of Thunder. “Long Time Sunshine,” on the other hand is worshipping at the altar of Lennon & McCartney. “Getting Up And Leaving” and “Tragic Girl” are both undercooked production-wise, but nonetheless sound like the kind of thing they should re-record for future albums… God knows they could use a decent song these days.
And for kicks, there’s “Interview - 107.7 The End - Blue vs. Pinkerton,” where a caller phones in to complain to Weezer about how much better the band’s first album is compared to the second. Awkward!
Tags: Pinkerton, Weezer
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Earworm of the Day: Tennis “Take Me Somewhere”
Tuesday, November 9th, 2010
In just over two months, the debut album by Denver couple Tennis (Alaina Moore and Patrick Riley) will be with us. Titled Cape Dory, the album will be released by Fat Possum and based on our listens, will wipe away whatever winter blues await us.
In writing “Take Me Somewhere,” they were obviously thinking of a warm, pastoral location, most likely a beach, which seems to be the feel everyone attaches to them. Maybe it’s just the mile-high elevation of their hometown, but this is the kind of breezy, indie pop that will make you swoon.
If you’re looking to hear more, check out the Daytrotter Session they recorded back in September.
Tags: Add new tag, Fat Possum, Tennis
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Earworm of the Day: Austra “The Beat and the Pulse”
Friday, November 5th, 2010
The name Austra might sound new, but if your finger is on the pulse of Toronto’s independent music scene, then you might find the face familiar. It belongs to Katie Stelmanis, a former member of the band Galaxy and solo artist who released one of 2008’s finest albums, Join Us.
Austra might find Stelmanis still tickling ivory, but in a different respect. Eschewing the leftfield piano pop on debut single “The Beat and the Pulse,” she’s opted for undulating synthesizers, midtempo club beats and a voice as haunting and morose as Zola Jesus or Siouxsie Sioux.
The Beat and the Pulse is released through One Big Silence on November 16th. Catch her live at the EP’s release party in Toronto at the Bovine Sex Club on December 3rd.
Tags: Austra, Katie Stelmanis, One Big Silence
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Review: Clinic - Bubblegum
Friday, November 5th, 2010
Clinic Bubblegum [Domino]
Need to know: Clinic was formed by Ade Blackburn and Jonathan Hartley in Liverpool, England in 1997, with a DIY, kitchen sink, lo-fi aesthetic. In their first two years they released three EPs, which were released as a compilation by Domino Records, which signed the band in 1999. Clinic released their debut album, Internal Wrangler, the following year, which put them on the map and to this day is regarded as not just one of the strongest albums of the decade, but also their finest record to date. Single “The Second Line” was featured in a Levi’s ad and Radiohead brought them on tour as their opening act. The band maintained a consistent release schedule over the next decade, putting out an album every two years, which included Walking With Thee (2002), Winchester Cathedral (2004), Visitations (2006), Do It! (2008) and Bubblegum (2010). They also released a second compilation in 2007 title Funf, which collected B-sides from the band’s first decade. Clinic are known for their distinct costume, which includes but is not restricted to hospital scrubs and face mask.
In a 100 words or so: Bubblegum is arguably the first Clinic album to have the distinction of not immediately sounding like a Clinic album. Not to write off their first five albums, but if there’s any way to describe Clinic’s previous output it’s consistency, both in quality and identity. Ade Blackburn’s mumble is hard to miss, so it remains the one true identifier, but this evolution is anything but a disappointment. Where they’ve always shown a fondness for ’60s psychedelia and garage, Bubblegum explores many other textures, like the Brill Building pop of “Baby,” the haunting folk of “Linda” and “Forever (Demis’ Blues),” a rollicking adventure based around twang. For all of the attempts to expand Clinic’s horizons, the only definite misstep is “Radiostory,” an dispensable spoken word track that shows like a BBC Radiophonic Workshop outtake. Should their development rub any fans the wrong way, well “Lion Tamer” and “Evelyn” are two of the better garage songs they’ve done in years, demonstrating that all of their forward progress isn’t without keeping an eye on the past.
Best track: “Lion Tamer”
R.I.Y.L. The Fall, We Are Wolves, Pavement, Archie Bronson Outfit, Electrelane
Rating: 7/10
Buy, download, steal or don’t bother: The packaging is hard to resist, so buy in some format.
Sample: Bubblegum instrumental “megamix”
Website: Clinicvoot.org
Tags: Bubblegum, Clinic, Domino
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Earworm of the Day: The Pains Of Being Pure At Heart “Heart In Your Heartbreak”
Thursday, November 4th, 2010
Last year Brooklyn’s The Pains Of Being Pure At Heart seduced us with their self-titled debut album, a generous helping of dreamy pop that was heavy on warm ‘n’ fuzzy romance and distortion. Their follow-up to June’s “Say No To Love” single, “Heart In Your Heartbreak” is a little less shoegaze, a lot more ’90s alt-y power pop, thanks to the handy work of producer Flood (Sigur Rós, PJ Harvey, Smashing Pumpkins) and mixer Alan Moulder (Nine Inch Nails, Yeah Yeah Yeahs, My Bloody Valentine), who work their magic with the searing guitars, clunky bass and ethereal synths that build a gauzy cloud for Kip Berman’s sweet voice.
“Heart In Your Heartbreak” is the first taste of The Pains’ second album, which is scheduled to drop on Slumberland some time in March 2011.
Tags: Add new tag, Slumberland, The Pains Of Being Pure At Heart
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Earworm of the Day: No Joy “Heedless”
Wednesday, November 3rd, 2010
No Joy are a duo from Montreal, Quebec comprised of Laura Lloyd and Jasamine White-Gluz. Formed just a year ago, the band have since added a couple guys and expanded to a quartet, befriended Best Coast (who called them “the best band ever”), signed to buzzy boutique indie label Mexican Summer and released a sold-out 7″. They were all the rage at both Pop Montreal and CMJ last month and are currently playing shows with Vivian Girls side-project La Sera.
Taken from No Joy’s debut album, Ghost Blonde (out November 16), “Heedless” is a pure throwback to shoegaze’s golden era, drowning in discombobulating, sludgy guitars, washed out, angelic vocals and murky production that rivals the best work of forebears like Ride, Lush and My Bloody Valentine.
Catch No Joy live in Canada this month when they play Parts and Labor in Toronto with METZ on November 17 and Casa Del Popolo in Montreal for their official album launch with Grimes, Ducktails and METZ on November 27.
Tags: best coast, La Sera, Mexican Summer, No Joy
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Review: The Salteens - Grey Eyes
Thursday, October 28th, 2010
The Salteens Grey Eyes [Boompa]
Need to know: The Salteens were formed in Vancouver in 1997. Three years later they released their debut album, Short-Term Memories, which was a hit with the indie and college crowd, rising to the top of the national college radio chart and earning a nod for Best Alternative Album at the Indies. Their syrupy harmonies also caught on worldwide, earning them an even bigger audience outside of Canada. In 2003, they released their second album, Let Go Of Your Bad Days, which again topped the college radio charts. But afterwards they kind of vanished once they finished some touring. Never called a hiatus, The Salteens reappeared in a 2007 Zellers commercial, which used their song “Nice Day.” The same year they made an appearance on Yo Gabba Gabba!, which they also wrote some songs for. The next year they released a few songs, which they gave away as digital downloads on their website, followed by a six-song EP called Moths this past May. Grey Eyes marks their first new album in seven years
In a 100 words or so: The return of The Salteens is more unexpected on paper than it is on your stereo. The band’s saccharine indie pop (it really is laced with sugar) is as comforting as that old knit sweater you can’t rid your closet of, thus feeling just like they never left. Though you’d never tell it from Scott Walker’s (no, not that guy) chipper tone, Grey Eyes is largely inspired by his father’s death and his mother’s struggle with Alzheimer’s. The guy just can’t shake his sweetness, which is still the most beguiling facet of The Salteens’ repertoire. Those familiar with their vivid pop should find some major growth in the band’s sound. Once known more for mod-ish, plucky melodies, Grey Eyes features a wider range of instrumentation, like strings, brass (I do believe there is a both a flugelhorn and tuba in there) and a choir that not only boosts their core, but strikes much closer to influences like Burt Bacharach, AM golden greats and Brill Building compositions. On top of that, with help from producer Tim Simko, The Salteens have really buffed up the shine on their songs, most noticeably on the horn-laden “You Stayed Up With The Lights On.” A marked leap forward, Grey Eyes proves with their absence The Salteens were missed greatly. Let’s hope they don’t pull something like that again.
Best track: “Weird Times”
R.I.Y.L. Belle and Sebastian, Yo Gabba Gabba!, The Lucksmiths, Sloan, The Meligrove Band, Apples in Stereo, Camera Obscura, anything on Kindercore
Rating: 8/10
Buy, download, steal or don’t bother: Buy the CD, which comes in a 6-panel eco-sleeve, printed with gold ink.
Sample: Check out the whole album on their BandCamp page.
Website: Salteens.com
Tags: Add new tag, Scott Walker, The Salteens
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Review: The Corin Tucker Band - 1,000 Years
Thursday, October 28th, 2010
The Corin Tucker Band 1,000 Years [Kill Rock Stars]
Need to know: Corin Tucker originally got her start in the early ’90s by singing and playing guitar in the Olympia, Washington-based band Heavens To Betsy. Along with Huggy Bear, Bikini Kill, Fifth Column and Frumpies, the band helped establish the female-fronted underground movement best known as “Riot grrrl.” Tucker started Sleater-Kinney in 1994 with guitarist/vocalist Carrie Brownstein (Excuse 17) and drummer Janet Weiss (Quasi) as a side-project, but the band quickly usurped their other bands and became the full-time gig. Sleater-Kinney became one of the underground’s most influential rock bands, building a fanatical following that carried fans over from the Riot grrrl scene into a more streamlined indie rock audience. The band’s driving, angular guitar sound paired with Tucker’s impassioned voice and a deeply political agenda that tackled anti-war, LGBT and liberal issues gave S-K a distinct sound that produced classic albums like 1997’s Dig Me Out, 1999’s The Hot Rock and 2005’s The Woods. In 2006, they called a hiatus, however earlier this year Brownstein hinted their may be a return. Tucker used the time to start a family and eventually release a solo album under the moniker, The Corin Tucker Band.
In a 100 words or so: First things first, 1,000 Years is not a Sleater-Kinney record. Janet Weiss and Carrie Brownstein are nowhere to be found. But this album will satiate those suffering from withdrawal since S-K called their hiatus. Self-described as a “middle-aged mom record,” Tucker and her bandmates Seth Lorinczi and Sara Lund have a much more toned down sound, eschewing S-K’s angular punk for an intimate and reflective record filled with folkier moments like “It’s Always Summer” and “Thrift Store Coats.” Tucker is still a heroine, 1,000 Years confirms this, it’s just that she’s swapped those pained political cries for mellow musings about being an adult who recognizes her place in this world, singing “Who is the zombie that is wearing Mommy’s clothes?” And to answer her question, it’s Corin and it looks good on her.
Best track: “Half A World Away”
R.I.Y.L. Sleater-Kinney, Cat Power, PJ Harvey, Helium/Mary Timony
Rating: 7/10
Buy, download, steal or don’t bother: Buy.
Sample: “Doubt”
Website: KillRockStars.com
Tags: Add new tag, Corin Tucker, Sleater-Kinney, The Corin Tucker Band
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Interview: PS I Love You
Thursday, October 21st, 2010
Kingston, Ontario is the former capital of Canada located just outside of Ottawa and halfway between Montreal and Toronto. Known mostly as a university town (home to Queens), Kingston saw its music scene blossom in the late ’80s and ’90s, with bands like The Inbreds, The Headstones, Moist, Weeping Tile (which featured Sarah Harmer) and most famously, The Tragically Hip, paving the way. But the last decade has seen the city become stagnant from an outsider’s perspective. Despite being only two men, PS I Love You should single-handedly put Kingston back on the map.
That might sound like a colossal task, but it’s not nearly as colossal as the sound that emanates from the pounding drum kit of Benjamin Nelson and the virtuosic guitar work and yelping vocals of Paul Saulnier. The band’s debut album, Meet Me At The Muster Station (out now on Paper Bag), is a sonic juggernaut reminiscent of the scrawling, guitar-driven ’90s indie and alt-rock boom. In just a year, they’ve attracted universal acclaim (including a favourable 8.1 from Pitchfork) and found shared bills with the likes of Diamond Rings, Japandroids and Frog Eyes.
Saulnier answered some questions during the American leg of their North American about their album title, paying homage to Joy Division in their video and why there’s hope for Kingston’s music scene.
When it comes to Kingston and music, only a few bands like The Tragically Hip and The Inbreds come to mind. Am I missing something?
Kingston is a musical town with a lot of great bands of all sorts of different genres. But it’s the sort of scene where you only really know it if you’re in it, so to speak. When I was a kid I was totally into the hip and the Inbreds and I would also include Weeping Tile (that’s Sarah Harmer and Luther Wright’s old rock band). My favourite current bands from K-town are The Gertrudes, False Face and Madam Raz.
What is the significance of a muster Station?
A muster station is the place on any large boat where people are supposed to gather if the boat is sinking to get on lifeboats. On the Wolfe Island ferry, in Kingston, the muster station is near the front of the boat. It’s where I like to stand up on these little steps that are there and watch the city get closer or further away. I guess it’s one of my favourite spots in all of Kingston.
Did PS I Love You form as a duo? Was there ever any discussion to expand?
PS was my solo project for a couple of years before becoming a duo. I wasn’t really looking for a drummer or any other band members, I asked Benjamin to drum with me for one show just for fun and it went so well that it became permanent. Things are going really well with just Benjamin and myself and there currently aren’t any plans to expand. We get the sound that we want with what we have. Umm… sometimes I think about how it would be cool to have an organ player in the band but the right person hasn’t shown up yet and I’m not really looking. If it happens, it happens.
What are the pros and cons of only having two people in the band?
Pros: It’s easy for us to agree on what our sound should be like. We fit nicely in a van or small motel room.
Cons: We can’t drive yet.
That’s pretty much it.
You were working on music by yourself for a number of years. How hard was it for you to invite someone else to be a part of it?
It was pretty easy. Benjamin and I have a good musical rapport. Adding him to the band did not compromise my songs in any way it only made them better. I can see how it may have been hard if I auditioned people and tried to find someone that way. I think what works with Ben and I probably wouldn’t work with anyone else.
You guys were previously in a band called Magic Jordan. That’s a pretty awesome name for a band. What happened to it?
It just kind of fizzled out. It happens.
Did you realize that if you Google “PS I Love You” the band is the fourth result – three behind that delightful rom-com starring Hilary Swank and Gerard Butler? Any thoughts on how to secure that #1 spot?
Hopefully people start forgetting about that movie soon and also we start winning Junos or whatever. Ha ha ha. That’ll do it.
The common reference for PS I Love You’s music is late ’80s/early ’90s alt- and indie rock. But your riffs to me sound as inspired if not more than ‘80s metal, like the dual riffing on “Facelove” and fret tapping in “Butterflies & Boners.” How much of a fan were you guys of bands like Pixies, Dinosaur Jr. and Mudhoney?
When I first started learning guitar I was a metal head. I’ve never been a fan of Mudhoney but I do like the Pixies and Dinosaur Jr a lot, but I don’t really listen to either of them very often. I think after seeing the Pixies live I was like, “Okay, I don’t want to listen to their records anymore, but I’ll go see them again in a heartbeat.” The same goes for Dinosaur Jr. Both of those bands live shows made their records sound like just a tease, or something.
A few weeks ago, Paul had a couple of guitars stolen. How did it happen and what’s the current status?
Two of my guitars were left unattended for a few minutes and they got grabbed. Friends of mine in Toronto put up posters with pictures offering a reward and sure enough, someone called and we got the guitars back. I’m not sure if someone intended to steal them or hold on to them because they thought they might get stolen or something like that. Whatever. I’m just happy to get them back. My advice to any other touring bands out there is always be holding on to your guitar at all times, no matter what.
In your video for “Facelove,” you remade Joy Division’s “Love Will Tear Us Apart.” Where did the concept for that come from? What made you want to pay homage to such a classic?
It’s one of our all-time favourite songs and videos. And watching the Joy Division documentary I learned that they rehearsed and wrote songs in a warehouse with no heat. And for their video they just simply filmed themselves in that space, doing what they do. We make music in a very similar environment and when [director] Colin Medley heard about this he wanted to make an homage video.
Tags: Meet Me At The Muster Station, Paper Bag Records, PS I Love You
Posted in The New Music, interview | No Comments »
Review: The Vaselines - Sex With An X
Wednesday, October 6th, 2010
The Vaselines Sex With An X [Sub Pop]
Need to know: Glasgow, Scotland’s Eugene Kelly and Frances McKee formed The Vaselines way back in 1987. Along with The Pastels and the Sarah Records roster, they helped found what is often referred to as “indie pop.” While their influence then and later on was sizeable, the band only lasted two years, calling it quits in 1989 after releasing only two singles and an album called Dum Dum. However, thanks to Kurt Cobain’s name-dropping them as his “most favourite songwriters in the whole world,” not to mention Nirvana’s covers of The Vaselines’ “Molly’s Lips” and “Son Of A Gun,” the band’s legacy was secured. After the split, Kelly went on to form Captain America and Eugenius, while McKee played in Suckle. In 1992, Sub Pop issued a compilation called The Way Of The Vaselines: A Complete History that collected the band’s entire catalogue. In 2006, Kelly and McKee reformed for a gig, their first since a 1990 opening slot for Nirvana. Last year the duo announced a full-on reunion, which resulted in a world tour as well as another Sub Pop compilation called Enter The Vaselines, which reissued and remastered the The Way Of… and included a bonus disc of demos and live tracks. Sex With An X is the band’s official second album and first new recorded material in more than 20 years.
In a 100 words or so: For the most part, reunions are for nostalgic reasons only. But The Vaselines are proving to be an exception to the rule. The fact that they existed for only a blink of an eye in the first place makes Sex With An X such an anomaly amongst all of the grey hairs reliving their glory years. Aside from Cobain giving his seal of approval, this last year has been the band’s most glorious time, receiving props for influencing the third/fourth wave of indie pop. Were it not for the cleaner production, The Vaselines circa 2010 (which includes Stevie Jackson and Bob Kildea from Belle And Sebastian) are virtually the same band on record as they were in 1987. The lyrics are still bitingly Scottish, adorably twee and most importantly, fun, reflecting on their missed heyday in “I Hate The 80s,” describing the easy bliss of a kiss in “Mouth To Mouth,” and answering their previous comp with something as simple as “Exit The Vaselines.” It’s difficult to be disappointed by Sex With An X, considering few could have expected it in the first place. Thankfully, it’s an absolute delight that builds on the promise they showed more than two decades ago. And hopefully it will give The Vaselines that heyday they deserved all this time.
Best track: “I Hate The 80s”
R.I.Y.L. The Pastels, Belle And Sebastian, Television Personalities, Black Tambourine, Nirvana, The Pains Of Being Pure At Heart
Rating: 8/10
Buy, download, steal or don’t bother: Buy on vinyl. It’s super cheap!
Sample: “Sex With An X”
Website: TheVaselines.co.uk
Tags: Belle And Sebastian, The Vaselines
Posted in The New Music | No Comments »
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