Thom Yorke Names New Band, Announces Shows, Continues Being Awesome Thursday, Feb 25 2010 

According to Radiohead’s blog, which I always have open in a browser tab, Thom Yorke has decided to name his new band Atoms for Peace. The band, who played a few kick ass shows awhile back, was put together to play material from Thom’s 2006 electro-rock album The Eraser. The band includes such awesome folks as Radiohead/Beck producer Nigel Godrich and slap-bass icon Flea. The band also announced some new shows, including a performance at Coachella, which is shaping up to be one of the best festivals in recent memory. Still, I know a lot of people are going to clutch their chest, their breath caught up in their lungs, at the idea of Thom Yorke continuing his involvement with a band that is not named Radiohead. Before you start calling “breakup,” keep in mind that Radiohead have been working diligently on their new album, and have semi-guaranteed a release date sometime this year. If we only get one more album out of the band, I certainly won’t be depressed. We’re talking about the most important band of the 21st century. I think they’ve earned the right to call it quits whenever they want, if that’s what they’re planning.


Review – Rhetoric – Go to Hell Duke Vol. 1 Friday, Feb 19 2010 


Damn, he’s the man. I don’t think I’ve seen too many rappers with the work ethic of newcomer Rhetoric. Without a penny to his name, this Chapel Hill hip-hoppster is looking to found an empire. He refers to his future kingdom as Heel Hop, and Go to Hell Duke Vol. 1 is the first rebel yell of this new movement. This mixtape has confident boastfulness sharing a tracklist with almost self-deprecating honesty, songs about hoes only a few spaces above freestyles about summer days and girlfriends. It sounds like a mess, and it kind of is, but it strangely works, at least most of the time.

Let’s get down to the meat of it. Where Rhetoric shines here is where he seems the least aware of it. Sure, there’s decent rhymes and storytelling in tracks like “Greatness,” and lifting beats from popular songs is typical mixtape fanfare, which is why it makes sense for “Tarheel Wow” and “You’re a Jerk (hoemix)” to be here, but all that stuff seems too deliberate. Rhetoric seems to accidentally stumble upon the best parts of the mixtape. The “Wingman For Life Freestyle” doesn’t seem like something most aspiring hip-hop kings would put out, and when was the last time you heard a rapper references farts, getting head in the drive-thru, and The Church of Latter Day Saints all in one track like Rhetoric does in “Let’s Spar?” Moments like these mix Rhetoric’s natural rhyming ability with the type of originality and freshness that could keep people coming back for more. It’s clear he’s just getting a footing on his swag, but when he steps onto the right things, it’s awesome. But of course, he doesn’t always, so we get tracks like “Hear Us Out” and “The Origin of Morgan,” which come out feeling superfluous and undercooked.

When Rhetoric doesn’t waste words or moments, the results can be thrilling. It’s hard not to believe him when he tells us he’s the man on the mixtape’s opening track, because he never lets up on his assault on the beat. The same goes for “Triumph.” When the beats are big, Rhetoric is bigger. When the music is more sparse, Rhetoric gets more light-hearted, like on the aforementioned “Let’s Spar.” It’s a musical sensibility that is noticed, if only subtly. He seems to know the rules of the game. Now, all he’s got to do is find the best ways to throw them out the window.

Go to Hell Duke Vol. 1 is Rhetoric. There isn’t anyone in the game quite like him. This scatter-brained, confident, silly, completely and totally genuine debut sets Rhetoric apart from a lot of the other hip-hop you’ll hear this year. From rapping about farts and being a good ass wingman, to urging his future dominance of the game, every word that comes out of Rhetoric’s mouth is infectiously natural. There are still steps to be taken, but Vol. 1 is a strong first step. Yeah, the “white rapper” thing may cause some people to either completely ignore Rhetoric, or to listen to him expecting Eminem or Asher Roth, and then completely ignore him afterward. So let’s get this out of the way: Rhetoric is not anyone’s copycat, nor is he a novelty. Rhetoric is Rhetoric. And Rhetoric’s legit.

Oh, and “Heel Hop” is the best fucking track on the mixtape.

Overall score: 7.1/10

New Poema Song Online, New Album Out March 23 Wednesday, Feb 17 2010 

Elle and Shealeen Puckett

“2 AM,” the first new song from indie pop group Poema, is now up on their MySpace page. The single will be released through iTunes on February 23, and their Tooth & Nail debut, Sing It Now, hits stores March 23.

Poema consists of two sisters, Shealeen and Elle Puckett, ages 19 and 17. Their angelic voices sing infectious melodies over cutesy-but-elegant piano and acoustic guitar. The end result falls somewhere around Sixpence None the Richer, Eisley, and Taylor Swift. The band has a self-released album available for purchase here, which comes completely personalized by the sisters. These CDs will surely be worth a lot when these girls hit it big someday (maybe even a whole $10), so it’s highly recommended that you pick it up while you can. You can follow them on Twitter here.

Perhaps I’m biased, as I’ve been a big fan of this kind of cute chick pop since I first saw the video for Avril Lavigne’s single “Complicated” while channel surfing years ago, but I absolutely love the fun jams these young ladies have crafted. Maybe I’m a sucker for anything acoustic, but these playful songs are simply delightful. If you’re down for some good summer bonfire songs, mark March 23 on your calendars.


Kevin Max’s Cotes d’ Armor to be released this April Wednesday, Feb 3 2010 

Kevin Max will release his next musical project, Cotes d’ Armor, on April 27 through dPulse Recordings. This project will consist of remixes of songs from his 2009 EP Crashing Gates, as well as some new material harkening back to the 80s bands that inspired him to pick up music. The playful lyrics to new track “On Yer Bike” can be read here, and the nine-minute remix of “Traveler” can be streamed here.

Cotes d' Armor final cover

What can I say about this man? I’ve been a fan of his musical output for years, ever since his former band, dc Talk, inspired my love of music with their 1995 album, Jesus Freak. Last year’s Crashing Gates EP was a very raw collection of apocalyptic rock ‘n’ roll jams, so I’m definitely looking forward to hearing those songs re-envisioned as danceable tracks. Although it will be a rather significant change sonically, this project seems only natural, as those songs had a notable swagger to them anyways. More than anything, I’m always excited to hear Kevin’s amazing voice again.


A Decade in Decomposition Monday, Feb 1 2010 

So, I promised myself I wouldn’t try to list my top albums of 2000-2009 for a few reasons. I simply don’t feel as if I’ve consumed enough music to be able to put together a decent list. My tastes are still dominated by Western pop music and any list I put together will leave out most genres that aren’t well represented here in the United States. Still, for some reason, I was moved today to make an attempt at doing a list of albums that are not necessarily the best music released this decade, but of records that I truly loved and that I believe are some of the best albums released. Having said that, this list isn’t composed of all my favorites, as there were a few albums I adore, but I simply don’t believe that they are good enough to be called one of the best of the decade (namely, albums by Brand New, The Matches, Bright Eyes, and Say Anything). Either way, I feel as if that’s enough of a preface. So, um, here’s the list that no one cares about.

Dion Beary’s Top Twenty Albums of 2000-2009

20. The Mountain Goats – The Sunset Tree
John Darnielle is the kind of artist who made it on earnest skill alone. Unlike most musicians, he’s never had to create a character for himself in order to attract attention; his music speaks volumes on its own. Before The Sunset Tree, it was hard to actually tell how much of Darnielle’s songwriting was autobiographical. This album, which he ironically dedicated to his abusive father, takes us into Darnielle’s past with such striking honesty, it is hard to not be moved. At no point during the album does he use emotionally heavy language to try and force a reaction from his listener. No, he just tells his story the only way he knows how, with incredibly detailed lyricism, rich with beautiful imagery and emotional depth.

19. DJ Danger Mouse – The Grey Album
It’s hard to make Jay-Z sound better than he already is. He’s the kind of rapper whose voice alone insists upon itself. How audacious, in that sense, is DJ Danger Mouse’s decision to remix Jay-Z’s vocals from The Black Album with music from The Beatles’ self-titled White Album? For a band that insists to their last days that they were nothing more than a regular pop band to be mixed with an artist who refers to himself non-ironically as Jayhova sounds like a stretch, at best. This is where Danger Mouse’s genius comes in, because somehow, both artists are given a new, unique light in this landmark album. I hesitate to refer to it’s twisting melodies as a “mashup,” because that takes away from how drastically original the album sounds. It doesn’t sound like Jay-Z vocals over Beatles samples; it sounds like wholly new arrangements lifting lyrics from Jay’s best album to a level they’d never found before, and never have since.

18. The White Stripes – Elephant
Of all the garage-rock revivalists, The White Stripes have always had one thing that sets them apart; they don’t have a bass player. Yeah, there’s all that shit about their them only wearing red, white, and black, and there’s the former mystery about the relationship between guitarist Jack White and drummer Meg White, but that was never what really made the band musically interesting. Bass is the foundation of music, and The White Stripes don’t have one, which is what makes Elephant such a musical triumph. This little duo makes themselves sound like an army. The sound is thick, powerful, and pounding. While it’s not quite as gripping as the originality found on White Blood Cells, this record easily earns recognition as a testament the growing musical genius of Jack White.

17. Iron & Wine – The Shepherd’s Dog
The lyrics, the arrangements, the psychedelics, the percussion; Sam Beam may just be the most prolific “folk” musician of all time, and The Shepherd’s Dog is his most intense record. He tends to avoid adding too much obtuseness to his lyrics, making me them deceptively simple, while placing the weight of the imagery solely in his music. The guitar playing is great, but it’s the “other” things going on that make the record truly great; the ambiguous noise paints abstract mental pictures for the listener. In that sense, it is a wholly unifying record, whose musical interpretations will vary from listener to listener, but most will agree on one thing; the album is absolutely beautiful.

16. Brian Wilson – Smile
The story of Smile is, perhaps, the most intriguing musical tale of all time. Originally conceived in the sixties by prototypical insane genius Brian Wilson, creating this “teenage symphony to God” became too much for Wilson’s psyche, and he soon found himself in the midst of a mental breakdown that echoed for years, causing his withdrawal from the Beach Boys. Forty years later, Wilson once again attempted to complete the album. This time, he finished. The result was something more beautiful than anyone could have ever imagined. The melodies ascend, the chord progressions seem all-at-once extremely foreign and obvious, the instrumentation is varied and dense. This album turned out to be everything Brian Wilson and the rest of the world envisioned. It is quite possibly the greatest collection of pop songs to ever be assembled.

15. The White Stripes – White Blood Cells
From the opening guitar squeals of “Dead Leaves on the Dirty Ground,” White Blood Cells is a nonstop thrill of an album. There is no subtlety here, no methodical approach. Jack White never lets up on the volume knob, but this album isn’t just loud. It is intense and heavy. This album is different from any other Jack White album because it has no purpose but to be itself, to be an incredible rock and roll album. It’s feels as natural as breathing. With that in mind, I make the claim that White Blood Cells is the greatest pure rock album of the decade.

14. Jonny Greenwood – Bodysong
Jonny Greenwood comes from a little band called Radiohead. Aside from lead singer Thom Yorke, it is Greenwood’s influences that direct Radiohead albums. In this decade, both Yorke and Greenwood released solo albums, but whereas Yorke’s record often felt scatterbrained and unfocused, Bodysong is a wonderfully cohesive piece of work. This post-rock gem recalls the krautrock influences that first drove Radiohead into the land of Kid A, which spoke to society as a whole (more on that later). But here, Greenwood explores something much more physical: the human body. Most of the record lacks any real guitar work, but it consciously aims to maintain a guitar aesthetic, making the record fascinatingly experimental. It’s one of those albums where the songs simply can’t exist on their own. It’s abstractly beautiful, oddly discomforting, yet wholly satisfying.

13. Girl Talk – Feed the Animals
Girl Talk is extremely fitting in lists like this, as his songs are mostly collections of every interesting nugget of pop music he can find. There’s not really much to be said about Girl Talk except that his mashups are extremely refreshing. It’s so carefree to listen to music without an ounce of pretense. Each song is tons of tiny happy musical moments thrown into a blender, producing a sugary sweet concoction that is as hyperactive as it is exciting.

12. Eminem – The Marshall Mathers LP
This album is why I simply can’t accept anything Eminem has released in the last few years. With this record, Eminem became the biggest artist in the world, thrust there by his amazing sense of characterization. Whether rapping as Eminem, Marshall Mathers, or the insane Slim Shady, the lyrical depth of this record cannot be denied. Eminem’s flow is carefree and natural and his subject matter has never been more varied as it was on MMLP.

11. mewithoutYou – Brother, Sister
The simplicity of the music can be forgiven. mewithoutYou is a band that is driven solely by one man: Aaron Weiss. It is in his lyrics that mewithoutYou find their main strength. Delivered through Weiss’ desperate screams, the words weaved into this album jump between praise, worship, and questioning of God. In that vein, it is amazing to see an artist right strictly about God without having to be divisive. I’ve never really been one to believe music is a great venue for ministry, but Weiss turns his musings to God into personal narratives, which may mean more to him than any of his listeners, but I’m still thankful for the opportunity to hear them.

10. Lil’ Wayne – Tha Carter III
I hated Lil’ Wayne for a long time. I didn’t get it. Unlike most people who hate Lil’ Wayne though, I decided to give him a chance. I downloaded Tha Carter III and listened to “A Milli” first. Afterward, I said to myself, “Wow, this really is the most terrible thing I’ve ever listened to. How could anyone like this? It’s so bad, I want to hear it again.” and I spent the next three hours listening to the record non-stop. Lil’ Wayne’s appeal lies in his swagger, which permeates into his rap. His punchlines are constantly assaulting, and he only slows down to parody big ass sell-out hits (I find it funny that so few people know that “Lollipop” is an intentionally over-the-top, oversexed radio anthem).

9. Paul Baribeau – Grand Ledge
One man and one acoustic guitar. That’s all Paul Baribeau has, plus a keen sense of melody and heart-wrenchingly honest lyrics. What separates Paul Baribeau from other overly melancholic acoustic acts is that he’s eternally optimistic. There’s something so genuine about an artist who can sadly reminisce about past relationships while still able to acknowledge the beauty in things as simple as clouds. This is an album that has helped me get through a lot of things; it’s so genius in it’s relatability. Lyrics like “And even though I’m home now, I feel completely homeless” perfectly sum up those little moments in our lives that we never want to forget, no matter how good or how bad they are. For an artist who seems so anti-pop, Baribeau captures so much of what pop music should be.

8. Elliott Smith – From a Basement on a Hill
It’s not just lo-fi. It’s not just melancholy. It’s not just a suicide record. From a Basement on a Hill is the perfect Elliott Smith albums because it captures every aspect of his music on one disc. There’s the sad finger-plucked guitar loner Elliott Smith, the chamber-indie genius Elliott Smith, and the pop aesthetic struggling against the rock instrumentation Elliott Smith. Although the album is technically unfinished, it feels more complete and cohesive than almost any other album I’ve ever heard. It’s a testament to Elliott’s vision as an artist. Perhaps the record is summed up best with it’s climax track “King’s Crossing,” in which Elliott Smith delivers what many consider to be his suicide note over a sprawling, noisy musical landscape. It’s a beautiful song, the best of a beautiful record.

7. Weatherbox – American Art
Maybe there are albums out there a lot better than American Art, but I know that every time I think of this decade during my life, I will remember this album and this band. The sharp, double guitar attack of the album is somehow overshadowed by Brian Warren’s sprawling lyrics. He touches on everything; God, drugs, the origin of man, Native American Boxism, hip-hop, and everything else. Still, the record remains deeply personal, reflecting Warren’s inner-thoughts at the height of their absolute insanity. What’s best is Warren is absolutely unforgiving about everything he says, barely feeling the need to conceal it in metaphor. He was ballsy here, although out of his mind.

6. Kanye West – Late Registration
Next time you get pissed about Kanye West saying something cocky, remember Late Registration; he’s earned the right to say anything he wants. Before this record, “arrangements” weren’t a word you often heard in hip-hop. The music here is more than just beats, they’re compositions. The absolute grandiosity of “We Major” will always as one of the brightest moments in music history, no matter how many Grammy’s and VMA’s Taylor Swift wins. Kanye West’s lyrics are deeply personal, representing a shift in hip-hop that many have since followed, but it truly is the music that dominates this record. Kanye really is hip-hop’s first (and currently only) true singer-songwriter, willing to experiment without fear, with a self-confidence that everyone loves to hate. But no amount of hate will change that Kanye is the most important solo artist making music today. Period. No questions.

5. Cloud Cult – The Meaning of 8
Out of all the deeply personal records on this list, none are quite as touching as The Meaning of 8. Lead singer and songwriter Craig Minowa lost his infant son six years before this record was created, in celebration of what would’ve been his son’s eighth birthday. Going through something that would’ve destroyed so many people, Minowa instead used it to create music dedicated to his son. Before this record, however, a lot of it was cute, but here, we’re presented with what is the real heartbreak Minowa suffers through everyday. On “Your 8th Birthday,” Minowa screams the name of his dead son over and over again during the chorus. On “Dance for the Dead,” he says he’ll miss his son everyday, and through that, he will live on. The music is strikingly original and affected. Strummed acoustic guitars, buzzed electronics, and unidentifiable noises make the album’s music as deeply rooted in Minowa’s mind as the memory of his son. This is the only album that has ever made me cry. On top of that, it was the first indie-rock record I ever listened to, beginning a musical journey that lead me to become the annoying music snob you see before you today. Exciting, eh?

4. Dirty Projectors – Bitte Orca
Through almost-too-bright guitars playing post-pop chord progressions, through on-again off-again three part harmonies providing the canvas for seemingly random melodies, through touchingly tender acoustic numbers side by side with indie’d out modern R&B numbers, through lead lines that either express guitar virtuosity or a complete lack of playing ability, Dirty Projectors crafted an album that pleases everything I’ve secretly lusted for as a music fan. Remember when we were younger? We listened to anything and everything, and we danced to it, because we loved music. Before we knew the internet, the blogs, the Pitchfork, the AbsolutePunk, the genres, the cred, we knew unabashed love for sound. This album appeals to that part of our psyche without condescension. Its lyrics are infantile and immature, its music rebels against the rules of both the pop and indie rock worlds. Finally, we have an album that teaches us how to be young again, but does it in a way that we can understand: guitar, drum, bass, laptop, voice. When it comes down to it, that’s all it is. Yet, it’s brilliant.

3. Sufjan Stevens – Illinois
Sufjan Stevens is like a musical version of a novelist. He tells the stories of others and creates soundtracks for them, always careful to separate himself from the music as far as possible. He tells the stories of America. How odd that a man named Sufjan is probably the most essentially American artist since Bruce Springsteen. He sings about American issues with American references, often times using American modes of expression. The musical arrangements on Illinois are dizzying at times, recalling classical composition, indie-rock, folk, Americana, country, gospel, and everything in between. All of this serves to highlight Sufjan’s comparatively sparse vocals, which are soft and flat, but are elevated by his arrangements. It all works together to create a record that is as pleasing as it is long, never coming across a boring moment. It’s a testament to everything self-indulgent, but awesome.

2. Kanye West – The College Dropout
With his production work on Jay-Z’s The Blueprint, Kanye West revolutionized the way hip-hop sounded. The samples were soulful, rich, and just as much a part of the songs as Jay-Z’s rhymes. On The College Dropout, he revolutionized everything else about it. Kanye didn’t walk around in jerseys and oversized clothes; he dressed fashionably. He didn’t rap about guns and gold, but about Jesus, poverty, and family, creating an album more universal than any hip-hop record before it. But all of these aspects on their own aren’t what make The College Dropout the greatest hip-hop album of the decade (and of all time). It’s hard to put into words, so I’ll just what I feel; this album is perfect. There is no weak moment, there is no wasted breath, and even the skits serve to tie the album off with it’s anti-college theme. No other artist can give testament to having such an original debut album, to finding their individual musical voice so quickly. Keep in mind, this was before any of the antics, before the blog rants, before the stage crashes. This is who Kanye is: an artist, maybe the best one ever.

1. Radiohead – Kid A
No Surprises here (lol OK Computer joke). In the same way Kanye West broke through hip-hop’s slump, Radiohead broke through rock’s. From it’s opening lines of gibberish, to it’s leanings towards techno, Kid A is the kind of album rock needed to break to levy, to make it known to the industry that there were still a ton of things left to be done. The album is incredible challenging and it took me months to really get into, but the pay off is so rewarding. Rarely has a record seemed so simultaneously alien and so familiar, so warming and so disturbing. Everything I think about music in one way or another can be traced back to this record.

-Dion (I know there are a shit ton of typos. I’ll fix them whenever.)

Quick Listen – Marina and the Diamonds – “I am Not a Robot” Friday, Jan 29 2010 

The other day, I was chilling in a 3D Design class. I say “chilling” because I’m not actually in this class; I have the professor for the class before, know a good portion of the students in the class, and have nothing more worthwhile to do with that period of time until more screen printing orders come in at work, so I bring my laptop and mingle with my fellow art students. This is a very laid back class anyways, so much so that I got away with gluing some random toothpicks to the table and naming it “Spear.”

Like I was saying, though, I was chilling in this class, and my friend put on some music video about not being a robot or something. My initial reaction was, “Oh, Dan’s going to play yet another fun, mildly catchy jam that I’ll bob my head to and forget about by the end of class. Cool. I wonder when he’s going to pick another Lady GaGa single.”

Then the song started… and I liked it. I actually liked it a lot. By the end of the video, I was mentally humming along with the chorus, and I couldn’t get it out of my head. The infectious hook had latched onto the inside of my skull, and I couldn’t undo it, but I was kind of alright with that. There was something so delightful about it. This was just a really good pop song.

“Guess what… I am not a robot!”

Just in case you were too lazy to read that subject at the top of this page (which is unlikely, especially if you just took the time to read that rather pointless story that didn’t even end with me finding five dollars), the song I’m talking about is “I am Not a Robot” by Marina and the Diamonds. The song empowers the listener and elevates him/her into the cosmos. Marina’s voice shows some signs of vulnerability, but for the most part, especially during the anthemic chorus, she asserts herself as a majestic force to be reckoned with. Under this frame rest lyrics dealing with a subject matter that sounds a bit silly on paper but feels quite personal and meaningful nonetheless.

“It’s okay to say you’ve got a weak spot.
You don’t always have to be on top.
Better to be hated than love, love, loved for what you’re not.”

Yeah, I might love this song. Just a bit.


Patrick Stump Announces Solo Album Thursday, Jan 28 2010 

On the day Fall Out Boy announced their indefinite hiatus, I was the saddest camper around. Thankfully, I got to see them three times on their last tour and was at their very last headlining show.

And while Pete, Joe, and Andy have been keeping themselves busy (Andy especially so), FOB’s singer/songwriter has yet to announce any future plans… until now.

After drastically changing his website last week, (and apparently losing a lot of weight) he updated today with a new logo and a video (which can also be viewed below) that features him playing every instrument from the cowbell to the trumpet (and the drums he originally joined FOB to play). The incredibly funky new track is accompanied by a message from Patrick:

I’m working on an album.
I’ll be writing/producing/performing everything myself.

Stay tuned.

Color me incredibly stoked. Call me a fanboy if you must, but Stump has been a major inspiration for me since middle school, and I love everything Fall Out Boy have ever done. This is going to be my most anticipated release for a while.


The National’s 5th Studio Album Out This May Monday, Jan 25 2010 

Matt Berninger, vocalist and lyricist of The National

Brooklyn-based indie rock group The National will be releasing their as yet untitled fifth studio album this May. A handful of European shows and a US tour will follow. This followup to 2007’s Boxer is said to have “one song you can dance to,” but the album “can’t be described as happy.”

Boxer was given Pitchfork’s “Best New Music” tag in 2007, and it was also declared the third best album of the decade by Sun on the Sand, behind only Radiohead and Arcade Fire. It was also my personal favorite album of the decade, making this easily my most anticipated album of 2010. Matt Berninger has claimed that this is going to be their best album; here’s hoping he’s right.


Mr. West is (back) in the Building Wednesday, Jan 13 2010 

Firstly, I’m pretty sure I read something about Kanye West being back in the studio on his official blog, but sometimes it’s hard to tell exactly what the hell he’s trying to say when he types on that thing. According to the NY Times, he was talking about going back into the studio. Complain all you want about Kanye’s ego, but he was, undeniably, the most important solo artist of the past decade. Not only did he remind us what a rock star is supposed to be like (what with the stage crashes, political comments, and all that shit), but he also reinvented his genre, both musically and lyrically. Kanye West successfully killed gangsta rap, paving the way for the increased success of Mos Def, Common, Drake, Kid CuDi, and one of my favorite up-and-comers, J. Cole. There’s simply no way to argue against this dynamo of an artist; the entirety of the music world should be anxiously awaiting his return. Plus, have you heard his guest verses lately? The dude is on fire, so don’t expect another sappy record about Robocops and Pinocchio.

In other Kanye news, West’s new live CD/DVD from his VH1 Storytellers special can now be purchased here, among other places.

Recommendation – Regina Spektor’s Soviet Kitsch Wednesday, Jan 13 2010 

I know I’m late to the party on this, but DAMN, is Regina Spektor amazing. I’ve recently been perusing her discography, and there’s nothing I seem to enjoy more than her 2004 album Soviet Kitsch. I don’t know what’s regularly considered her best album, or what I’m SUPPOSED to be falling head-over-heels for, but I’ve fallen completely in love with this.

From the tenderness of “Carbon Monoxide” to the fury of “Your Honor,” Spektor here shows so many sides of her piano-based anti-folk songwriting genius. She alludes to Fitzgerald and Hemingway in “Poor Little Rich Boy,” and it feels almost like an afterthought, it’s so casual. But it’s all delivered so deliberately. It’s brilliance in the same vein as Ben Folds (though Spektor has a very different style, if the comparison still makes sense).

She’s incredible, but in particular on Soviet Kitsch. The whole album is addictive. It’s beautiful, it’s nasty, it’s powerful, it’s light and fun. I’m honestly completely taken aback by this. Again, I know I’m late to the party, but get this now.

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