• MR|Review – Ted Leo And The Pharmacists’ "The Brutalist Bricks," Broken Bells’ "Broken Bells"

    I write this as a guy who thinks “Shake The Sheets” is a 5-star record, and got into Ted Leo’s older stuff because of it and to the extent that it points toward “Sheets;” “The Brutalist Bricks” is less than the sum of its parts.

    tedleo_jpg.jpg Must-hear!
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    Leo & Co.’s inclusion of some fresh sounds – acoustic guitar, synthy noise – are welcome in theory, but make “Bricks” seem a bit too ProTooled.  Song arrangements depart from verse/chorus/verse, which, again, seems good on paper but never gels.  Wish I could say it did; my hopes were high, but this is a classic record that’s for fans only.  If you don’t love TL+P already, “The Brutalist Bricks” won’t convert you.

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    As impossible as it would seem to predict before hearing “Broken Bells,” this superduo’s debut – the Shins’ James Mercer and Danger Mouse (The Grey Album, Gnarls Barkley, Gorillaz’ “Demon Days” – sounds about like you’d expect. And it will probably deliver at about the level you anticipate.

    I imagine it went down like this:

    1) James demo’d some songs

    2) DM took each element, chords, vocals, lead lines, etc., and treated them as sample sources for his own re-creations

    3) Voila; “Broken Bells.”

    I’m sure it was more collaborative than that, but that’s about what we hear.  And it’s super-solid; no more, no less.

    MR|Review directs readers’ limited attention among works via ratings, and within works via prose, focusing on works where our opinion diverges from critical or popular consensus, or we have significant insight that compliments or challenges readers’ aesthetic experience.
  • 2010-03-20 Dynamic Range Day

    Dynamic Range Day – Loudness War ProtestMastering is tricky business; there are so many options, and such fine balances to weigh, that it’s never a straightforward proposition.  That being so, the final dynamics of the music I work with is always my top concern.  If the final master is too crushed, loud, and flat, or (on the other side of the spectrum) perceived as too soft relative to other music that listeners are likely to hear, nothing else I do is going to make up for it; it won’t be an enjoyable listen.

    Toward that end, from the Production Advice blog:

    Dynamic Range Day is March 20th, 2010

    Join us in a day of protest against the CD “Loudness Wars” – more info below

    • Show your support – check out the Facebook Event and RSVP to say you’ll “attend”
    • It’s easy to take part – just SHOUT (type in all caps) ALL DAY, EVERYWHERE !
    • And when people ask, tell them why you’re shouting
    • Add a Dynamic Range Day Banner to your website or blog
    • Use the Twitter hashtag #DYNAMICRANGEDAY

    Read the full story here: Dynamic Range Day – The Idea

    Latest News

    What are the “Loudness Wars” ?

    Music is getting louder, and sounding worse.

    Engineers and artists are using modern technology to push the average level of recorded music up and up and up against the “brick wall” maximum level of the CD format.

    This results in distortion, lack of punch and a flat, two-dimensional, lifeless sound …

  • PANDA FACE | Panda Face

  • Panda Face Release Wednesday

    This Wednesday, March 3, Mr. Furious Records and Brandon McKenzie will release Panda Face’s self-titled record.

    Some of you know Brandon from Lincoln, NE indie band Strawberry Burns and his solo work as BLANE.  To my ears, if you dig BLANE (or MFR’s own Bike) you’ll enjoy Panda Face.

    If you don’t know, give it a shot on Wednesday! -h

  • Five Star Crush show Monday, March 8

    My ’80s-ish pop band, Five Star Crush, will perform in Kansas City at the Riot Room (formerly the Hurricane) in Westport on Monday night, March 8.  Hope to see you there! -h

  • A Late Entry…

    As I finally got to answering the week’s email, I wrote the below to my friend J. who asked me what I thought of The Who at the Super Bowl last weekend.  I know it’s kind of late in interwebs time to weigh in, but I think I captured my sentiments pretty clearly. -h

    The Who – meh… #1) I love The Who and Pete Townshend, especially. #2) Likewise with grunge, it bums me out that my generation and younger know them through the credits to the NCIS franchise. #3) I know these guys have bills, but I have to say the Super Bowl performance eroded their legacy. They looked very human; those old records have become something more. #4) That said, I enjoyed the halftime show. #5) The NFL has *got* to loosen up its post-Janet’s-boob prudishness, and find an act under 40 with some fresh material to play the halftime. You know what I’d love to see? Marching bands! Have a nationwide marching band contest for high school bands, have them submit videos or whatever, send scouts out to see the top 20 and pick one, and give them an all-expenses paid trip to the Super Bowl. Great PR, exciting, safe, cheap halftime show… seems like a win all around.

  • SONGWRITER POWER RANGERS on KZUM

    DOWNLOAD ALL via .zip from archive.org

    1. SWPR CoverI Ain’t A Prophet – Ember Schrag
    2. It’s The Only – Cory Kibler
    3. The Wind Knows My Name – Manny Coon
    4. Potion – Lori Allison
    5. La Maria – Ember Schrag
    6. Dreams Really Do Come True – Cory Kibler
    7. Your Momma Called – Manny Coon
    8. Hope and Kindness – Lori Allison
    9. Songwriter Power Rangers on KZUM, full original broadcast from Hardy Holm’s “Alive in Lincoln”
  • The Sleepover Update, by Cory

    Dear Friends + Family: the Sleepover record is finally finished (the title is yet to be determined), and we’re in the process of figuring out what will be done with the record. In the meantime, I would like to share with you four songs from the record, available for stream:

    http://www.reverbnation.com/thesleepover

    or

    http://www.myspace.com/thesleepoverlincoln (scroll to the “Bio” section for the reverbnation widget. Myspace sucks and would NOT let me upload).

    These songs were recorded/edited by Chris Steffen at Steffonic Recording, mixed/edited by Eric Medley at Medley Productions, and mastered by C. Howie Howard at Mr. Furious Records. We started recording in August, and have slowly been trying to make the best record that we could make. It is an understatement to say that this record was a team effort including the band + Eric, Chris and Howie.

    If nothing else, please give these songs a shot. In my opinion, they sound great, and I happen to like the songs a lot, too, although I am biased, lulz. If you hate them, you’ll have only sacrificed 20 minutes, and now you’ll have something new to dislike, which can be fun.

    If you like/love them, I strongly encourage you to pass them along to others who might be interested in hearing them. Post them to your blog/Facebook/myspace/website/whatever else. Send them to friends and family. Grab the music-player widget from either site and spread it around like a nasty rash.

    As I said, we hope to release the record in the next few months, and it all hangs on if anyone is interested or if it’s self-released. Hopefully we’re able to find a small label who is interested in helping us with the pressing costs, but if not, we’re dedicated to making sure it comes out in a timely manner. Either way, it’ll be out soon. And then it will be full-quality .wav files instead of the 6 megabyte mp3s that these sites require, so that Eric/Chris/Howie’s expertise can fully shine.

    Thanks in advance for listening! We’re really proud of this record, and we think we (everyone who was a part of this record) made something really special.

    Love, Cory + The Sleepover.

  • MR|Review – Spoon’s "Transference," Vampire Weekend’s "Contra," The xx’s "xx"

    “Transference” poignantly illustrates the difference between “catchy” and “poppy”; it’s the former, only.

    spoon-transference.jpg Must-hear!
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    Songs on Spoon’s latest album seem to fall into two categories: arranged and de-arranged*.  The arranged tunes are new Spoon classics, the kind of hooky, simmering jams the band has been cranking out since “Girls Can Tell” (“Written in Reverse,” “Trouble Comes Running,” “Out Go The Lights”).  They’re so consistent, it would be easy to take them for granted if their consistency didn’t make your next favorite band sound like fakers.  The arranged stuff gels as songs, with verses and choruses, and reminds me more of older Spoon than “Ga…” or “Gimme Fiction.”

    The de-arrangements are stuffed full of memorable hooks that are assembled into less-recognizable sections that aren’t easily classified into traditional pop structure (“Before Destruction,” “Is Love Forever?” “Nobody Gets Me But You”).  It’s tempting to call this the experimental stuff, but it isn’t for Spoon; this type of production has been part of their DNA for a long time, and they pull it off.  I’m as likely to sing a catchy part from “Before Destruction” as “Who Makes Your Money?”

    Of course the songs exist on a spectrum between the artificial poles of “arranged/de-arranged.”  The record as a whole plays as a weirdo collection of super-catchy rocking-out bits.

    Describing Spoon as minimalist never quite rang true to me.  They’re economic; they don’t waste a note.

    “Nobody Gets Me But You” is a great tune, but leaves the album feeling unfinished.  It’s not a closer; I always think there’s one more song to come.  Thinking about the psychotherapeutic record title, maybe that’s intentional.
    Another way I describe the five-star “must-hear” rating is “revelatory.”  While “Transference” is outstanding, it hasn’t yet shown me anything new about music, myself, or the world.

    *Note; not “deranged.”

    Vampire-Weekend-Contra.jpg Must-hear!
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    Vampire Weekend’s debut seemed impossible to follow up; I could not imagine what this record would sound like.  Somehow, almost magically, it is perfect.  I didn’t let myself work up hopes that the band would both experiment and succeed wildly, but if I had they would have been fulfilled.

    Beautiful earworm hooks, stellar lines like “Here comes a feeling you thought you’d forgotten” and “My ears are blown to bits / from all the rifle hits / but still I crave that sound…,” Afro-pop tones, meticulous performances – they’re all here.  The arrangements are lightweight and underplayed, ending up being all the more meaningful for it.

    Comparing this record to “Transference,” I’d give it the edge, which surprises me.  I enjoyed “Vampire Weekend,” but never figured I’d become as passionate about the band as I have in the past two weeks.

    The XX XX Cover.jpg Must-hear!
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    “Contra” and “Transference” have been almost universally lauded by critics.  So has “xx” by The xx.  The difference is there’s nothing special about “xx.”  It’s completely serviceable, nondescript indie music.
    Some of my usual haunts – AV Club, P4k, AllMusic – raved about “xx,” and it made a ton of year-end lists.  If you’re hearing something I’m not, I invite you to comment and set me straight.

    MR|Review directs readers’ limited attention among works via ratings, and within works via prose, focusing on works where our opinion diverges from critical or popular consensus, or we have significant insight that compliments or challenges readers’ aesthetic experience.
  • Studio update

    Been busy in the studio:

    • Finishing up mastering for The Sleepover’s LP
    • Re-amping the last round of tracks for [Fifty Bears in a Fight?] and starting to mix.  I just got six songs out to the guys last night
    • Slowly getting to Songwriter Power Ranger mastering, a little Sleepover EP collaboration thing, and talks about future releases

    “Contra,” the new Vampire Weekend record, is suuuuuuuper good.  4/5 stars.  Get it!

  • WHITE AIR | White Air

    DOWNLOAD ALL via .zip from archive.org

    1. WHITE AIR COVER2.jpgBust My Teeth
    2. Am I Getting Through To You?
    3. Making Out Like A Bandit
    4. Terrible Truth
    5. After All
    6. Are You Happy Now?
    7. My Words In Your Mouth
    8. Kickassio
    9. Endure
  • Best Music Drew Heard in 2009

    Here is what I remember of my musical experience in 2009. I didn’t limit this to just albums, cuz I am special. In no particular order:

    All the shows I missed in 2009

    Seriously, I bet they were SOOOO much fun. 2 am bar closing times and a square job don’t play nice. I feel so old this year. I missed too many damn shows to count, so I’m not going to get into specifics. But I’m sure each one of them was the best show ever.

    Sunn O))) Live at the Riot Room

    If there was a sentence I could type that would make your ears ring for the next 5 days, I would type it. Otherwise, I don’t even know where to begin when trying to describe what this show felt like. I had never seen anything like it before. I like Sunn’s records, but this was something else entirely. “Monoliths and Dimensions” is great, but this live show was like hearing the formation of the universe.

    Crystal Stilts – “Alight of Night”

    This came out in 2008, but it was re-released in 2009, so I’m including it in my list. Simple and catchy guitar riffs, simpler and catchier organ lines, lazy, barely intelligible vocals, primal sounding percussion with emphasis on tambourine, and LOTS OF REVERB. That’s at least 50% of what I like about music in general.

    Wooden Shjips – “Wooden Shjips” and “Dos”

    The production on these two albums isn’t as blisteringly raw or weird as their previous “Vol. 1” effort, but the jams themselves are really good. Heavily damaged, droning yet adventurous, repetitious yet unpredictably spastic. Just listen and nod your head. This represents the other 50% of what I like about music.

    Thee Oh Sees – “HELP” and “Dog Poison”

    This John Dwyer guy apparently just craps out good, spacey garage rock with awesome sing-along hooks. I missed them in Lawrence due to prior engagements. I’ll definitely catch them next time.

    Deerhunter – “Rainwater Cassette Exchange” E.P.

    This Deerhunter band apparently just craps out good, spacey garage post-rock with awesome sing-along hooks.

    Times New Viking – “Born Again Revisited”

    It sounds like shit, but it doesn’t *sound like shit.*

    The Assemble Head in Sunburst Sound – “When Sweet Sleep Returned”

    I got into both AHISS albums this year. “Ekranoplan” (2007) has more of the crunchy, riff-driven psych rock that I typically cherish, but “Sweet Sleep” has a laid back, hazy sound that really grew on me. It’s awesome summertime music.

    Sleepy Sun – “Embrace”

    Fuzzed out guitar fuckery, swaggering blues rhythms, and excessive use of floor tom are the things that typically draw me to psychedelic music. But when I hear a band with members who can actually SING… Damn. This record is really diverse, too. Slow burning, riff-driven jams that end in chaotic effect pedal wankery, sleepy, reverb-soaked acoustic strumming, and piano ballads all play nicely together. This variation in style gives the record an odd pace, but this kind of versatility really makes me look forward to what these guys will do in the future.

    Lightning Bolt – “Earthly Delights”

    I like Lightning Bolt. That’s all that really needs to be said.

    HEALTH – “GET COLOR”

    GET HEALTH “GET COLOR.” IT IS REALLY GOOD AND KIND OF CATCHY FOR A NOISE RECORD. SERIOUSLY THIS IS AWESOME AND YOU SHOULD TAKE MY WORD FOR IT. JUST GO BUY IT.

    Darren Keen SHREDS “Homosexual Mohawk” Live at the Record Bar

    Darren, I like it when you play guitar. There were several moments when I was like, “why does this guy have to make it look so fucking EASY?” It was RAD, dude.

    Oneida – “Rated O”

    The whole beast that is Oneida comes together here. Crazy, garage-rocking guitar spaz? Yeah. Oddly ass-shaking prog jams? U betcha. Weird, dub-influenced techie/dork sounding shit? Yup. The totality of “O.” So many weird sounds, I don’t even want to get into specifics. Just check it out if you want a record with many many many many many layers to explore.

    Ty Segall – “Lemons”

    Solid garage rocking goodness. The instrumentation varies a lot and he does a nice cover of Captain Beefheart’s “Dropout Boogie.”

    Soul/Funk Night at my favorite Mid-Town bar

    There’s this dude who has a Library of Congress-sized collection of 60s/70s Motown/Funk/Soul/R&B records, and he spins them at a Mid-Town bar every Friday night. I’m not telling you where it is because it’s already too fucking packed as it is. His collection has plenty of deep cuts that I definitely didn’t hear on oldies radio when I was growing up. Going there to drink, people watch, and nod my head for 3 or 4 straight hours has been one of the highlights of this year, for sure. My friends Brian and Anna deserve big-time high fives for letting my wife and me in on this little secret.

    Part Chimp – “Thriller”

    This slab of sludgy monotony really hits a sweet spot for me. Awesome riffs, sing the guitar line choruses, and totally ambiguous low end (is somebody playing synth?) all stand out here for me. This sounds like mid-90s Unwound played through a Big Muff. I’m also digging one of their previous efforts, “Cup” (2007). I’m going to enjoy working back through their discography.

    T.V. Ghost at a house in Lawrence

    T.V. Ghost played at a house in Lawrence this summer. I drank a fine Belgian ale while these weirdos from Indiana gyrated about and the local kids flicked the light switch on and off for like a half hour straight to make a poor man’s strobe light show. Afterwards I went to Burrito King. I felt sick before going to bed, and I’m not sure if it was because of the flickering light or Burrito King. I fucking love house shows.

    Beep Beep – “Enchanted Island”

    The first time I saw Beep Beep, it was at the Culture Center in Lincoln, NE. They had a small-ish young lady playing bass, and they sounded like early Cursive. Then they got a new rhythm section and started making pervy dance music that sounded like Ex Models, if Ex Models were child molesters. Then they got another rhythm section and started playing music that I don’t even know how to describe. It’s just really strange and it makes me feel gross (in a good way(?)). I like this version of Beep Beep the best. It’s too bad they apparently broke up now.

    Polvo – “In Prism”

    If you like any of the following, please go buy this record:

    • Music
    • Songs
    • Fun, awesome things

    .
    Box Elders – “Alice and Friends”

    Fuckin’ crank it and sing along. Wear a loin cloth as you do so.

    Ladyfinger – “Dusk”

    Read Howie’s review of this album. He’s smarter than I am. I just use words like “loud” and “distorted” and “fuck” to describe records. You’ve got to be tired of that by now.

    Sonic Youth – LIFETIME ACHIEVEMENT AWARD

    Sonic Youth kind of scares me. They seem to be in that late career groove where they are comfortable, consistent, and don’t really care what you think. Usually, bands get boring when they hit that phase. But SY keeps putting out solid shit that I can’t find flaws in. “The Eternal” is not blowing my mind or changing my world view, yet at the same time it’s meeting all of the lofty expectations that their previous masterpieces have ingrained into my brain. Aside from Sunn O))), they put on the best and LOUDEST show I saw in 2009. Aren’t these guys like 60 years old??

    Ron Asheton, RIP

    I have been pretty hard into the Stooges since I was a freshman in college, but it seems like I listen to their records more and more with each passing year. “Funhouse” is one of those records that I can never passively listen to. It’s loose and wild, yet entirely focused. Every note and squeal of feedback is perfectly in the moment. This is one of those rare records where the production method perfectly compliments the band and songs. Calling this record “raw” is such a pointless understatement. Just go buy the record if you don’t already have it. Listen to it over and over and over. Let it seep in.

    I dismissed “The Weirdness” as soon as I heard it, and I never really planned to try and experience the new, live version of “the Stooges,” so Ron Asheton’s passing really didn’t affect my selfish little sphere of existence. Still, hearing that this dude died felt somewhat like a gut punch. I don’t want to belabor this any further. I just want it to be known far and wide that this guy deserves rock and roll immortality.

    Stuff that would have made my list but I don’t go to record stores very much anymore and I am lazy:

    • That New Flaming Lips album
    • Om – “God is Good”
    • Mannequin Men – “Lose Your Illusion, Too”
    • Pissed Jeans – “King of Jeans”
    • Brimstone Howl – “Big Deal. What’s He Done Lately?”
    • Ideal Cleaners – “Chord Jams”
    • That new No Age EP

    .

    Stuff that I missed the first time around:

    The Pretty Things, The Feelies, High Rise, Residual Echoes, and Bang. Look ‘em up.

    All the stuff I forgot:

    I know I forgot to list your band. I am sorry.